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'Lens on Life' is intended to inspire the reader to explore, define, plan, shoot, and share documentary photographs, sparking creative ideas and guiding them as they define their own approach.

• Crimean war essay (intentions of the photographer)
• Abu Ghraib essays (photographs reveal and conceal
• Photography and reality (captioning, propaganda, and fraud)
• Civil War (photography and memory).

In this landmark photography publication and accompanying exhibition, Clement Cheroux demonstrates how Magnum Photos owes its pre-eminence to the ability of its photographers to encompass and navigate the points between photography as art object and photography as documentary evidence. A Magnum photograph can be expressive and bear witness at the same time. Magnum Manifesto is organized into three main parts: Part 1 (1947-1968) views the Magnum archive through a humanist lens, focusing on post-war ideals of commonality and utopianism. Part 2 (1969-1989) shows a world fragmenting, with a focus on subcultures, minorities and outsiders. Part 3 (1990-present day) charts the ways in which Magnum photographers have captured - and continue to capture - a world in flux and under threat. Featuring both group and individual projects, the book includes contact sheets, notebooks, magazine spreads and other previously unseen material to accompany the photographs. Complete with extensive texts by Clement Cheroux and photographic historian Clara Bouveresse, Magnum Manifesto is an essential purchase for anyone seeking to understand the very best in photography.
(source: Nielsen Book Data)

• Introduction : engaged observers in context
• The photographers
• Leonard Freed
• Philip Jones Griffiths
• W. Eugene and Aileen M. Smith
• Susan Meiselas
• Mary Ellen Mark
• Lauren Greenfield
• Larry Towell
• Sebastiao Salgado
• James Nachtwey.

This is a superbly illustrated survey of photographers at the forefront of the development of independent, critically engaged photojournalism. In the decades following WWII, an independently minded, critically engaged form of photojournalism began to flourish. It was not destined for the morning papers or exclusively for newsmagazines, and it did not attempt to be neutral. This kind of photojournalism was self-assigned. It declared its independence from the mainstream media's editorial control, and it was disseminated to the public through books, exhibitions, articles, and, more recently, the Web. "Engaged Observers" offers a critical survey of the work of nine photographers at the forefront of the documentary approach - Leonard Freed ("Black in White America"), Philip Jones Griffiths ("Vietnam Inc."), W. Eugene Smith ("Minamata"), Susan Meiselas ("Nicaragua: June 1978-July 1979"), Mary Ellen Mark ("Streetwise"), Larry Towell ("The Mennonites"), Sebastiao Salgado ("Migrations"), Lauren Greenfield ("Girl Culture"), and James Nachtwey ("The Sacrifice"). Each section opens with an introductory essay that sets the work in its evolving historical context.
(source: Nielsen Book Data)

• [1]. Inferno
• [2]. Paradiso.