Original / British English Ali wants to take photos of people and places in Istanbul, but he has a big problem. He hasn't got a camera. How can he get one?

From the time of its invention in 1839, photography had a crucial link to the Middle East. When Daguerre s invention was introduced, it was immediately hailed as a boon to Egyptologists and Orientalists wanting to document their archeological findings. The Middle East also beckoned European experimenters in this new medium for a simple technological reason: early photographs were more quickly and easily made in the intense light of the desert than in gloomy Paris or London. In Camera Orientalis, Ali Behdad examines the cultural and political implications of the emergence of photography in the Middle East. He shows that the camera proved useful to Orientalism, but so too was Orientalism useful to photographers, because it gave them a set of conventions by which to frame these exotic cultures in images for Western audiences. Behdad breaks with standard postcolonial approaches by showing that Orientalist photography was the product of contacts between the West and the East. Indeed, local photographers participated enthusiastically in exoticist representations of the region, adapting Orientalism to the taste of the local elite. Orientalist photography, we learn, was not a one-way street but rather the product of ideas and conventions that circulated between the West and the East."

The Passion of Trees is a collection of photographs taken in Iran and Azerbaijan’s stunning nature. However, this is a collection of nature photographs with a difference. Over the years, Ali has witnessed the beauty of the forests that he has loved since his childhood severely decline. As the number of roads and dams have increased, and more and more of the forests have been destroyed, the situation has become increasingly desperate. “To me, each tree, like a human being, has a tale to tell. When a tree dies, a whole story is interrupted, a destiny is altered for the worse. I feel as if the trees, bundled in the back of trucks, are cursing us with their broken hands, wounded faces and severed roots.” The Passion of Trees is Ali’s stark reminder that the natural world deserves our care. Through his photography, Ali encourages viewers to consider the world around them and to look upon nature with a different perspective, to consider the very real possibility that without swift action, the devastating effects of climate change and the decline of countless animals and plants.

In June, 1963, on assignment fromSports Illustrated, peerless portrait photographerSteve Schapirotraveled to Louisville, Kentucky to spend some time with the young Olympic champion boxer Cassius Clay, and accompany him on a road trip to New York City. At 21, Clay was yet to adopt the mantel ofMuhammad Ali,but his boastful persona, intelligence, black pride, and sharp tongue were already fully formed. Over the course of their five days together, Schapiro-a master at developing trust and capturing unguarded intimacy on film-revealed both sides of the young Ali: the one side posing and preening for the camera, ever conscious of his image; the other, unguarded and unselfconscious, in candid images of the young fighter at home with his family and immersed in his community and neighborhood. Alicollects the best of Schapiro's images of the late fighter; many in print for the first time ever. They offer a glimpse of a star on the rise. It is an indelible portrait of the early life of one of the most talented, graceful, controversial, athletic, and influential American figures of the 20th century.

An examination of the lingering effects of a hydroelectric power station on Pimicikamak sovereign territory in Manitoba, Canada. The child of South Asian migrants, Kazim Ali was born in London, lived as a child in the cities and small towns of Manitoba, and made a life in the United States. As a man passing through disparate homes, he has never felt he belonged to a place. And yet, one day, the celebrated poet and essayist finds himself thinking of the boreal forests and lush waterways of Jenpeg, a community thrown up around the building of a hydroelectric dam on the Nelson River, where he once lived for several years as a child. Does the town still exist, he wonders? Is the dam still operational? When Ali goes searching, however, he finds not news of Jenpeg, but of the local Pimicikamak community. Facing environmental destruction and broken promises from the Canadian government, they have evicted Manitoba’s electric utility from the dam on Cross Lake. In a place where water is an integral part of social and cultural life, the community demands accountability for the harm that the utility has caused. Troubled, Ali returns north, looking to understand his place in this story and eager to listen. Over the course of a week, he participates in community life, speaks with Elders and community members, and learns about the politics of the dam from Chief Cathy Merrick. He drinks tea with activists, eats corned beef hash with the Chief, and learns about the history of the dam, built on land that was never ceded, and Jenpeg, a town that now exists mostly in his memory. In building relationships with his former neighbors, Ali explores questions of land and power?and in remembering a lost connection to this place, finally finds a home he might belong to. Praise for Northern Light An Outside Magazine Favorite Book of 2021 A Book Riot Best Book of 2021 A Shelf Awareness Best Book of 2021 “Ali’s gift as a writer is the way he is able to present his story in a way that brings attention to the myriad issues facing Indigenous communities, from oil pipelines in the Dakotas to border walls running through Kumeyaay land.” —San Diego Union-Tribune “A world traveler, not always by choice, ponders the meaning and location of home. . . . A graceful, elegant account even when reporting on the hard truths of a little-known corner of the world.” —Kirkus Reviews “[Ali’s] experiences are relayed in sensitive, crystalline prose, documenting how Cross Lake residents are working to reinvent their town and rebuild their traditional beliefs, language, and relationships with the natural world. . . . Though these topics are complex, they are untangled in an elegant manner.” —Foreword Reviews (starred review)

An intimate 48 hours with Muhammed Ali in his fighting prime, as he prepared for the biggest fight of his life at 'Fighter's Retreat'. The book features over 150 photographs, of which most have never been seen or published. The photos include images of Ali in training, with his family, in the ring and relaxing. Together, they form a remarkably candid portrait that shows Ali taking part in a spectrum of activities and reveals something of the complexity of his character.