Once isolated from the modern world in the heights of the Andean mountains, the indigenous communities of Ecuador now send migrants to New York City as readily as they celebrate festivals whose roots reach back to the pre-Columbian past. Fascinated by this blending of old and new and eager to make a record of traditional customs and rituals before they disappear entirely, photographer-journalist Judy Blankenship spent several years in Cañar, Ecuador, photographing the local people in their daily lives and conducting photography workshops to enable them to preserve their own visions of their culture. In this engaging book, Blankenship combines her sensitively observed photographs with an inviting text to tell the story of the most recent year she and her husband Michael spent living and working among the people of Cañar.

Very much a personal account of a community undergoing change, Cañar documents such activities as plantings and harvests, religious processions, a traditional wedding, healing ceremonies, a death and funeral, and a home birth with a native midwife. Along the way, Blankenship describes how she and Michael went from being outsiders only warily accepted in the community to becoming neighbors and even godparents to some of the local children. She also explains how outside forces, from Ecuador's failing economy to globalization, are disrupting the traditional lifeways of the Cañari as economic migration virtually empties highland communities of young people. Blankenship's words and photographs create a moving, intimate portrait of a people trying to balance the demands of the twenty-first century with the traditions that have formed their identity for centuries.

The devastation of New Orleans after Hurricane Katrina has been imprinted in our collective visual memory by thousands of images in the media and books of dramatic photographs by Robert Polidori, Larry Towell, Chris Jordan, Debbie Fleming Caffrey, and others. New Orleanians want the world to see and respond to the destruction of their city and the suffering of its people—and yet so many images of so much destruction threaten a visual and emotional overload that would tempt us to avert our eyes and become numb.

In The Color of Loss, Dan Burkholder presents a powerful new way of seeing the ravaged homes, churches, schools, and businesses of New Orleans. Using an innovative digital photographic technology called high dynamic range (HDR) imaging, in which multiple exposures are artistically blended to bring out details in the shadows and highlights that would be hidden in conventional photographs, he creates images that are almost like paintings in their richness of color and profusion of detail. Far more intense and poetic than purely documentary photographs, Burkholder's images lure viewers to linger over the artifacts of people's lives—a child's red wagon abandoned in a mud-caked room, a molding picture of Jesus—to fully understand the havoc thrust upon the people of New Orleans.

In the deserted, sinisterly beautiful rooms of The Color of Loss, we see how much of the splendor and texture of New Orleans washed away in the flood. This is the hidden truth of Katrina that Dan Burkholder has revealed.

In Cosmopolitics of the Camera, the leading experts in the field present Les Archives de la Planète—Albert Kahn’s stunning collection of early color photography and documentary film—and discuss the extraordinary intellectual context from which it grew. The archives, collected between 1909 and 1932, show the cultural richness and diversity of humanity at a time of drastic geographical and historical change. Consisting of 183 thousand meters of film, 72 thousand autochromes and more than 6 thousand stereographs, it portrays the beauty and creativity of cultures whose fatal disappearance Kahn believed to be only a question of time.
 
The Archives of the Planet was one of a string of institutions for research and international cooperation established in Kahn’s utopian World Gardens near Paris. Some of the best-known minds of the age met there regularly to discuss the problem of how to make new media of communication serve the cause of peace and human development. Cosmopolitics of the Camera presents ten expert voices from seven different countries, studying the work of Kahn and his key collaborators, the geographer Jean Brunhes and the philosopher Henri Bergson, in the spirit of their culturally diverse venture, placing it in its proper historical and intellectual context, and exploring its ambitious achievements and failures. By pushing Kahn’s work back into active discussion, the analysis forces us to reflect on the ways our world is shaped and recorded by the media, and reactivates the time capsule that Kahn designed to communicate with the future.

Imagine being unable to return to your homeland for thirty-six years. What would you do if you finally got a chance to go back?

In 1996, after travel restrictions between the United States and Cuba were relaxed, Cuban exile Tony Mendoza answered that question. Taking his cameras, notebooks, and an unquenchable curiosity, he returned for his first visit to Cuba since summer of 1960, when he emigrated with his family at age eighteen. In this book he presents over eighty evocative photographs accompanied by a beautifully written text that mingles the voices of many Cubans with his own to offer a compelling portrait of a resilient people awaiting the inevitable passing of the socialist system that has failed them.

His photographs and interviews bear striking witness to the hardships and inequalities that exist in this workers' "paradise," where the daily struggle to make ends meet on an average income of eight dollars a month has created a longing for change even in formerly ardent revolutionaries. At the same time, Cuba—Going Back is an eloquent record of a personal journey back in time and memory that will resonate with viewers and readers both within and beyond the Cuban American community. It belongs on the shelves of anyone who values excellent photography and well-crafted prose.