The Art of Earth Architecture demonstrates the wide-ranging applications and sustainability of this building material, while presenting a manifesto for its ecological significance. Featuring raw-earth masterpieces, monumental structures, and little known works, the book includes the temples and palaces of Mesopotamia, the Great Wall of China, large-scale urban developments in Tenochtitlan in Mexico, the medinas of Morocco, and housing in Marrakech and Bogota.
For almost ten thousand years, unbaked earth has been used to build remarkable structures, from simple dwellings to palaces, temples, and fortresses both grand and durable. Jean Dethier spent fifty years researching this landmark global survey, which spans five continents and 250 sites.
This definitive reference features many UNESCO World Heritage sites and contains essays on the historical, technical, and cultural aspects of raw-earth construction from twenty experts in the field, as well as hundreds of photographs, illustrations, and architectural drawings.
Jean Dethier has dedicated his life to the research, safeguarding, and development of earth structures around the world. Dethier worked at the Centre Pompidou as a curator of influential architectural exhibits for thirty years. Winner of the prestigious Grand Prix national de l’architecture, he sat on the jury of the 2016 Terra Award, the first international prize for contemporary earthen structures.
Since it first opened its doors in Rio de Janeiro in 1870, Granado has remained true to its founding mission: to concoct local, natural remedies and cosmetics, crafted from flora of Brazil. Such a formula is responsible for Granado’s endurance through time and its current standing as Brazil’s oldest pharmacy and apothecary. 
Today, Granado has three boutiques in Paris and a significant online presence in Europe; but the story of Granado’s rise begins with the tale of one man’s singular vision. At a time when medicines used toxic substances such as mercury and arsenic, José Antonio Coxito Granado began to develop natural alternatives that would quickly revolutionize the world of pharmaceuticals in Brazil. In a text enlivened by more than 200 images that capture the bright colors, botanical terrain, and vibrant aesthetics of Rio, writer Hermés Galvao traces the brand’s history, from its modest roots to its time as the Official Pharmacy of the Brazilian Imperial Family and its eventual growth into a global brand under a new family’s ownership. Featuring an illustrious cast of characters and overlapping with some of the most influential eras in Brazilian history, the story of Granado is a tale as rich as the land that yields its products.
Striking, innovative, and dramatically sited, the twenty-nine projects in Tom Kundig: Working Title reveal the hand of a master of contextually astute, richly detailed architecture. As Kundig’s work has increased in scale and variety, in diverse locations from his native Seattle to Hawaii and Rio de Janeiro, it continues to exhibit his signature sensitivity to material and locale and to feature his fascinating kinetic “gizmos.” 
The International Photography Hall of Fame and Museum mourns the passing of its first Lifetime Achievement Award Winner and 2017 inductee Kenny Rogers. Rogers was a dedicated and talented photographer for nearly four decades. His best-known images are portraits of well-known singers, actors, and dignitaries from around the globe.
At First Light chronicles twenty-six extraordinary artists of the last two hundred years who have lived and worked in Maine. Published to coincide with the state’s bicentennial in 2020, the volume considers the significant contributions artists have made to a deeper and more profound understanding of Maine’s history, its land and its peoples. Maine’s unique and breathtaking landscape–from its rugged coastline, quaint harbors, majestic mountains, and verdant forests–continues to have a powerful effect on the artists who are drawn to its shores.
Wildlife photographers and filmmakers, have a wonderful opportunity and great responsibility to share stories about wildlife, stories that both celebrate and also raise concern around conservation issues. My tireless efforts to document and protect the few remaining areas of wilderness are fueled by true love for nature and a desire to protect what’s left. As photographers, we have the chance to put into clear focus the beauty and richness of nature which we all have a communal responsibility to protect. But there is always more we can do.
As you will see from my portfolio, travel plays a huge part in my image-making. I visited nine countries in 2017 alone, and close to twenty since my journey into architectural photography began. I have always been fascinated by different cultures, foods, textures and colours. It is this love for travel, combined with my deep passion for photography, that keeps me motivated and dedicated to putting in the long lonely hours of research and logistical planning to then get out with the camera time and time again.
Adam Stevenson won the best Australian photograph with an incredible shot of a Kookaburra watching over the devastation of the bushfires that tore through the country over the past few months. The shot is titled “That’s Nothing to Laugh About” and was snapped with a Iphone X near Stevenson’s home at Wallabi Point in New South Wales.
comes over my life when I think […] that I’ve earned my reputation out of other people’s downfall. I’ve photographed dead people and I’ve photographed dying people, and people looking at me who are about to be murdered in alleyways. So I carry the guilt of survival, the shame of not being able to help dying people.’ 
On top of a hill a few miles from Don McCullin’s house in Somerset is a dew pond, a perfectly circular artificial pond for watering livestock. Nobody knows how long it has been there; some dew ponds date back to prehistoric times, and it’s tempting to think that this one served the Bronze Age hill-fort that overlooks the site. McCullin is obsessed with the pond. For more than 30 years, whenever he has had the time, he has walked up the hill and stood there with his camera waiting for the right moment to take a photograph. Often, the moment never comes: he can spend hours there, just looking. ‘It’s as if it has a hold over me,’ he tells me when I visit him at home in early January. ‘I can’t leave it alone, I photograph it all the time. And yet I think I’ve done my best picture the first time I ever did it. I can’t tell you how.’
Boomers Daily 