Tir a'Mhurain is a collection of photographs that reflects the impressions gathered by Paul Strand and his wife Hazel during their 3-month visit to the Hebrides in 1945. Juxtaposing people and landscape, Strand's beautifully sequenced photographs depict the perfect complicity he saw between nature and habitation in their wild terrain. Whether it is a view of the rocks and the sea or a grinning shepherd boy; scuddling clouds hanging over seaside house or the wrinkled face of an old lady framed by a knitted shawl, Strand's images transcend the ephemeral. This extended portrait captures the essence and complexity of a singular place. This is a true masterpiece of photography.

In a unique visual dialogue, Deja View brings together the work of beloved photographer Martin Parr, master of capturing the art in everyday existence, with The Anonymous Project's archive of unidentified vintage slides, collected from across Europe and America. Surprising and delighting in their similarity, these affectionately matched images celebrate photography's power to capture the small moments of humour, warmth, ennui and absurdity that are in fact our most important of all.

T&HFL12 After a lifetime of working on a series of "collective portraits" in far-flung places such as Mexico; Ghana; Italy; Tir a'Mhurain, Scotland; and his adoptive country, France, an aging Paul Strand decided to concentrate on still lifes and the stony beauty of his own garden at Orgeval, France, as a site in which to distill his discoveries as a photographer. The work that constitutes The Garden at Orgeval is marked by close and careful study of the forms and patterns within nature--of tiny buttonshaped flowers, cascading winter branches, and fierce snarls of twigs. While the images bear the same directness and precise vision that is quintessentially Strand, the work also reflects a growing metaphorical turn. Renowned photographer Joel Meyerowitz--whose own affinity toward Strand's Orgeval series stems from a lifetime of photographing in different genres and ultimately returning to nature as an enduring subject--will select the photographs in the book, and respond to them in an accompanying personal essay, reflecting on issues, including the contemplation of one's garden and growing old. Beautifully produced in a modest size, in the manner of a volume of poems, this book's task is to do credit to Strand's final work, both as an individual and as a key figure in Modernist photography.

In 1725 an extensive military road and bridge-building programme was implemented by the British crown that would transform 18th-century Scotland. Aimed at pacifying some of her more inaccessible regions and containing the Jacobite threat, General Wade's new roads were designed to replace 'the old ways' and 'tedious passages' through the mountains. Over the next few decades, the laying out of these routes opened up the country to visitors from all backgrounds. After the 1760s, soldiers, surveyors and commercial travellers were joined by leisure tourists and artists, eager to explore Scotland's antiquities, natural history and scenic landscapes, and to describe their findings in words and images. In this book a number of acclaimed experts explore how the Scottish landscape was variously documented, evaluated, planned and imagined in words and images. As well as a fascinating insight into the experience of travellers and tourists, it also considers how they impacted on the experience of the Scottish people themselves.

Photographer Iain McKell, well-known for identifying emerging cultural trends, befriended a tribe of young female artists and spent two years documenting their lives in and around a shared warehouse in Tottenham. His resulting photographs depict a hedonistic lifestyle of freedom and creativity co-created in an urban environment. Calling themselves 'the sisterhood', the characters in McKell's work form a fierce army of women with their own particular take on self-expression.

When the internationally renowned photographer Paul Strand visited South Uist in 1954 to create a series of powerful portraits and landscape views, he was not alone in singling out the Western Isles for photographic attention. This book discusses why and how various photographers have been drawn to these fascinating islands and the ways in which photographic images have been created and viewed within Hebridean communities from the late 19th century onward. From Captain F. W. L. Thomas’s first images of St. Kilda in 1860 to George Washington Wilson’s topographical images of the Highlands, this beautiful compilation celebrates the distinctive way of life in the isles and the legacy of the talented photographers who were inspired by them.