Presents more than 250 photographs from different perspectives of the 2003 war in Iraq, gathered from international photographers, and includes pieces of Saddam Hussein's art and pictures from his personal photo album.

Introduces the land, history, government, culture, people, and economy of Iraq.

With previously unpublished photographs by an incredibly diverse group of the world's top news photographers, Photojournalists on War presents a groundbreaking new visual and oral history of America's nine-year conflict in the Middle East. Michael Kamber interviewed photojournalists from many leading news organizations, including Agence France-Presse, the Associated Press, the Guardian, the Los Angeles Times, Magnum, Newsweek, the New York Times, Paris Match, Reuters, Time, the Times of London, VII Photo Agency, and the Washington Post, to create the most comprehensive collection of eyewitness accounts of the Iraq War yet published. These in-depth interviews offer first-person, frontline reports of the war as it unfolded, including key moments such as the battle for Fallujah, the toppling of Saddam's statue, and the Haditha massacre. The photographers also vividly describe the often shocking and sometimes heroic actions that journalists undertook in trying to cover the war, as they discuss the role of the media and issues of censorship. These hard-hitting accounts and photographs, rare in the annals of any war, reveal the inside and untold stories behind the headlines in Iraq.

Photographs and notes on the war in Iraq from photojournalists Ghaith Abdul-Ahad, Kael Alford, Thorne Anderson and Rita Leistner.

Accompanied by descriptive text, a compilation of 256 snapshots taken by soldiers on the ground in Iraq offer a personal record of the Iraq War and the experiences of Americans.

Testament is a collection of photographs and writing by late photojournalist Chris Hondros spanning over a decade of coverage from most of the world's conflicts since the late 1990s, including Kosovo, Afghanistan, the West Bank, Iraq, Liberia, Egypt, and Libya. Through Hondros' images, we witness a jubilant Liberian rebel fighter exalt during a firefight, a U.S. Marine remove Saddam Hussein's portrait from an Iraqi classroom, American troops ride confidently in a thin-skinned unarmored Humvee during the first months of the Iraq war, "the probing eyes of an Afghan village boy," and "rambunctious Iraqi schoolgirls enjoying their precious few years of relative freedom before aging into more restricted adulthoods." Hondros was not just a front-line war photographer, but also a committed observer and witness, and his work humanizes complex world events and brings to light shared human experiences. Evident in his writings, interspersed throughout, Hondros was determined to broaden our understanding of war and its consequences. This unyielding determination led Hondros to take dozens of trips to Iraq and Afghanistan, even as the news turned elsewhere. During these "routine" trips, Hondros examined and observed daily life in these war-torn societies. His inventive Humvee picture series frames the ever-changing landscapes of these countries, offering a glimpse into the daily lives of those most affected by conflict. "One of the ongoing themes in my work, I hope, and one of the things I believe in, is a sense of human nature, a sense of shared humanity above the cultural layers we place on ourselves [which don't] mean that much compared to the human experience." —Chris Hondros As a photographer working in the world's most difficult and dangerous places, Chris Hondros had the distinctive ability to connect his viewers with people embroiled in far-flung and sometimes obscure conflicts. He recognized the shared humanity among those affected by war, regardless of culture or beliefs, and he was determined to share their challenges to the wider world in the hope of provoking thought, raising awareness, and fostering understanding. In the introduction to the book, Getty Images Co-founder and CEO Jonathan Klein writes, "Chris believed that his work could and would make a difference. He dedicated and ultimately lost his life in pursuit of that belief. I have no doubt that Chris was correct. Images can and do influence public opinion, galvanize people and societies, and force governments to change. They bring much-needed focus and attention to the suffering of people who are otherwise unable to communicate their plight." Inspired by his life, work, and vision—The Chris Hondros Fund endeavors to bring light to shared human experiences by supporting and protecting photojournalists. Through their generous support, Getty Images' proceeds from the sale of the book will be donated to the Fund. For more information please visit www.chrishondrosfund.org.

-First complete overview of Latif al Ani's work Latif al Ani (born 1932, Baghdad) is known as the father of Iraqi photography. He was the first to capture cosmopolitan life in Iraq from the 1950s to the '70s. His black and white images represent a unique visual archive of the country during its 20th-century heyday. Al Ani photographed Iraq's vibrant culture in all its abundance and complexity; as well as documenting the country's westernised everyday life, political culture and industry, he also captured images of Iraq from the air for a British-owned oil company. Later, under Saddam Hussein's oppressive regime, Al Ani ceased photographing. For a long time, nothing was heard of the artist. Today, his images provide testimony of an era long gone. In 2015 Al Ani was presented with the Prince Claus Award, given annually by the Dutch Royal Family. In the same year he exhibited his work at the Venice Biennale in the Iraq Pavilion. This widely praised exhibition focused on works from the early period of his career and showed how Al Ani saw his country jump impatiently towards modernity while at the same time holding on to its traditions. The publication is introduced by an interview with Latif al Ani by Tamara Chalabi, the president of the Ruya Foundation in Iraq. It also contains an essay by Iranian Morad Montazami, curator of Middle Eastern Art at Tate Modern, London. Montazami puts Al Ani's work into the broader context of the modernization of Iraq, as well as the architecture, archaeology and the development of photography and visual culture in the country. Contents: Interview with Latif al Ani (by Tamara Chalabi); Essay by Morad Montazami

For more than a decade, the United States has been fighting wars so far from the public eye as to risk being forgotten, the struggles and sacrifices of its volunteer soldiers almost ignored. Photographer and writer Ashley Gilbertson has been working to prevent that. His dramatic photographs of the Iraq war for the New York Times and his book Whiskey Tango Foxtrot took readers into the mayhem of Baghdad, Ramadi, Samarra, and Fallujah. But with Bedrooms of the Fallen, Gilbertson reminds us that the wars in Afghanistan and Iraq have also reached deep into homes far from the noise of battle, down quiet streets and country roads—the homes of family and friends who bear their grief out of view. The book’s wide-format black-and-white images depict the bedrooms of forty fallen soldiers—the equivalent of a single platoon—from the United States, Canada, and several European nations. Left intact by families of the deceased, the bedrooms are a heartbreaking reminder of lives cut short: we see high school diplomas and pictures from prom, sports medals and souvenirs, and markers of the idealism that carried them to war, like images of the Twin Towers and Osama Bin Laden. A moving essay by Gilbertson describes his encounters with the families who preserve these private memorials to their loved ones, and shares what he has learned from them about war and loss. Bedrooms of the Fallen is a masterpiece of documentary photography, and an unforgettable reckoning with the human cost of war.

A "debut novel about a young Afghan orphan and the harrowing, intractable nature of war"--Amazon.com.