Sunil Janah, Photographing India (New Delhi: Oxford University Press, 2013) xii, 300 pp. ISBN 9780198065807. Sunil Janah’s nearly 300 photographs in this volume capture both pre-Independence and post-Independence India. “In the commentary preceding the photographs, Janah provides rare and valuable insights into Indian history, the country’s social and cultural life, as well as his development as an artist [from the book jacket].”

Hyung Il Pai, “’Staging ‘Koreana’ for the Tourist Gaze: Imperialist Nostalgia and the Circulation of Picture Postcards,” History of Photography, vol. 37, issue 3, 2013, pp. 301-311. “This article analyses the production and distribution of the first generation of picture postcard views of historical monuments in the Korean peninsula. These sites were preserved, reconstructed and promoted as tourist destinations by the Japanese colonial administration, the transportation industry and local developers in order to promote Japanese tourism during the colonial occupation of Korea (1910–45). Through an analysis of picture postcards and other tourist materials made for Japanese tourists in Korea, this study argues that the aesthetic, historical and ethnographic knowledges contained in this body of colonial-era visual materials were pivotal in the creation of a ‘timeless’ image of Korea and its peoples as the most picturesque and ancient land in the Japanese empire [from the article’s abstract].”

Jong Joon Lee, “Envisioning Modernity, Practising Desire: Baby and Family Photographic Portraiture in Korea,” History of Photography, vol. 37, issue 3, 2013, pp. 312-325 “... Korea's unique set of photographic portrait types revolves around the stages of life: a portrait on the hundredth day after birth and the first birthday; family portraits on the sixtieth, seventieth and eightieth birthdays; and a portrait for use at the subject's funeral. These constitute photographs as rites of passage, commemorating the importance of certain stages in life, and such commemorative portraiture has come to comprise an integral part of modern traditions in Korea. ... This article argues that family and baby studio portraits, as ‘rite of passage’ practices, not only reflect the changing demographics of the population – the shift from extended families in rural areas to nuclear families in urban centres – but also promote a family model suited to the modernisation scheme of the military government [from the artcle’s abstract].”

Jelena Stojkovic, “The City Vanishes: Urban Landscape in Staged Chinese Photography,” History of Photography, vol. 37, issue 3, 2013, pp. 360-36 “[The] Recent practice of staged photography in China renders views of urban landscapes as active elements in performative actions directed for the camera. These cityscapes... not only reflect the country's rapid urbanisation but also ongoing processes of globalisation. The same processes reconfigure time–space relations around the globe and offer an opportunity to ‘decentre’ the world, but they equally escape capture and document in real time. Fictional photographic elaborations of their accompanying elements... provide a point of departure to explore photography's role in response to the challenges posed by global urban living...[from the article’s abstract].”

Wakita Mio, Staging Desires: Kusakabe Kimbei’s Meiji Feminity (Berlin: Reimer, 2013) 206 pp. ISBN 9783496014676. A revised version of the author’s dissertation, In the Guise of Elusive Veracity: a Visual Construct of Meiji Femininity in Kusakabe Kimbei’s Nineteenth-century Souvenir Photographs in the Age of Visual Modernity, Heidelberg University, 2010.

Qin li Yan’an sui yue: Yan’an dian ying tuan she ying ji shi 亲历延安岁月: 延安电影团摄影纪实, ed. by Liu Ni 刘 妮 (Beijing: Ren Min Chubanshe人民出版社, 2012) 361 pp. ISBN 9787010105802. Dust jacket text: “Red Yan’an in Films and Photos by Yan’an Film Studio.” A pictorial history of the Chinese Communist Party’s years in Yan’an during China’s 20th century civil war.

Inoue Yūko 井上祐子, Nisshin, Nichi-Ro Sensō to shashin hōdo : senjō o kakeru shashinshitachi 日清・日露戦争と写真報道: 戦場を駆ける写真師たち (Tokyo: Yoshikawa Kōbunkan 吉川弘文館, 2012) 7, 248 p. (Rekishi bunka raiburarī 歴史文化ライブラリー, 348) ISBN 9784642057486. A history of photojournalism of the Sino-Japanese War (1894-1895) and the Russo-Japanese War (1904-1905).

Traces of Life: SeenTthrough Korean Eyes, 1945-1992. Ed. by Chang Jae Lee, with contributions by David R. McCann & Sun Il (New York: The Korea Society; Seoul: Noonbit, 2012), xi, 95, 25 p. Text in English and Korean. Exhibition catalog. "The fifty-four photographs showcase the first generation of Korean realists who played a pivotal role in the development and enrichment of Korean photography as an art form. The exhibition marks the first time these original black and white photographs have been mounted in the United States and fills a chasm not only in the visual archive of modern Korean photography but also in the visual vernacular of the period [from Korea Society website].”

Philip Chinnery, Images of War: Korea: the Ground War from Both Sides: Rare Photographs from Wartime Archives (Barnsley, South Yorkshire: Pen & Sword Military, 2013), 192 pp. ISBN 9781848848191. Documents the US-Korean War, 1950-1953.

Hong, Sun-tʻae 洪淳泰, Hong Sun-t’ae: onŭl to Sŏul ŭl kŏnnŭnda = Hong Soontai Seoul 글홍순태, 최봉림(Seoul: Han-Mi Sajin Misulgwan한미사진, 2013) 175 pp. ISBN 9788993748437. Exhibition catalog. "This book is published in conjunction with the exhibition Hong Soontai Seoul at the Museum of Photography, Seoul from March 9 through May 19, 2013.”

Kim Nyŏng-man, Kim Nyŏng-man = Kim Nyung Man (Kyŏnggi-do P’aju-si: Yŏrhwadang, 2013) 143 pp. ISBN 9788930104449. B&W photographs of contemporary South Korea.

Andreas Gursky, Andreas Gursky: Bangkok, edited by Beat Wismer, texts by Hans Irrek, Beat Wismer and John Yau (Göttingen: Steidl; London: Thames & Hudson [distributor], c2012) 67 pp. ISBN 9783869305547. Catalog of an exhibition held at Stiftung Museum Kunstpalast, Düsseldorf, Sept. 23, 2012-Jan. 13, 2013. “Andreas Gursky’s new photobook about Bangkok's Chao Phraya river delivers an experience close to abstraction and abstract painting. As such, Gursky has used in his series different digital and computerized techniques to reconstruct and radically rearrange photographic elements, up to the point of abstraction....Gursky alludes to the ecological problems that jeopardize Bangkok, and which shortly after these images were made, culminated in the widespread flooding that devastated great parts of Thailand...[http://www.urbanspree.com/90-andreas-gursky-bangkok.html].”

Charles D. Jones, Chopper Blues (Nacogdoches, Texas: Stephen F. Austin State University Press, 2012) 265 pp. ISBN 9781936205691. On the US-Vietnam War. Includes a DVD of photographs, songs, poems and “raw video.”

Rian Dundon, Changsha: A Photobook. Foreword by Gail Hershatter; essay by YZ (Dublin: Emphas.is Journalism Experiences Ltd., 2012) 203 pp. ISBN 9781909076037. On social life and customs and social change in Changsha, Hunan Province, China.

Keiko S. Hooton and Tony Godrey, Contemporary Photography in Asia (Munich: Prestel, 2013) 223 pp. ISBN 3791348078. “...this unique collection contextualizes contemporary Asian photography against the backdrop of massive cultural, social, and political changes in the region...South Korea, China, and Southeast Asia are also emerging as powerhouses in the photographic realm. This beautiful, up-to-date volume documents the growing culture of photography as an art form in Asia, including often overlooked countries such as Indonesia, the Philippines, Malaysia, Thailand, Cambodia, Vietnam, Taiwan, and Singapore. The book features short essays on the status of photography by region and introduces each artist through spreads of their work, a short biography, and a personal statement given exclusively for this unique book...[from publisher’s website].”

Rinko Kawauchi, Rinko Kawauchi: Ametsuchi (New York: Aperture Foundation; dist. by Artbook/D.A.P., 2013), 80 double pp. ISBN 9781597112161. “In her latest work, Kawauchi shifts her attention from the micro to the macro—images of distant constellations and tiny figures lost within landscapes, as well as photographs of a traditional style of controlled-burn farming (yakihata) in which the cycles of cultivation and recovery span decades and generations [from publisher’s website].”

Jin Ohashi 大橋仁, Surrendered Myself to the Chair Of Life=そこにすわろうとおもう. Text by Nobuyoshi Araki (Tokyo: Akaaka Art Publishing, Inc. 株式会社赤々舎, 2012) 400 pp. ISBN 9784903545905 “Surrendered Myself to the Chair of Life challenges us to look at the place where we live, the place where life begins. A fundamental body of work, it reflects the life of an individual rather than society as a whole. By exploring the last frontiers of life, new meanings can be created through the formation of relationships with others. It is this exploration that makes Ohashi's work multi-layered and real [publisher’s statement].”

Parallel Visions: Japan and Korea Contemporary Photographs. Text by Hong Kong Photographic Culture Association (Hong Kong: Asia One Books, 2012) 196 pp. ISBN 978-988-15317-7-3. “Five female Japanese photographers each finds her own way to come to terms with oneself and drifts between personal realities and the crude reality of the world – a reflection of the state of mind of the younger generation of Japan today. Eight Korean photographers showcase the unique “literariness” in contemporary Korean photography – paradoxical ideas, poetic but contradictory semiotics, and sometimes fictional literary style, leading the audience to contemplate upon the truth underlying the apparent truths [http://hkipf.org.hk/exhibition-jp-kn-contem.php].” The photographs were featured at the 2012 Hong Kong International Photo Festival.

Ogawa Kazumasa, Some Japanese Flowers: Photographs by Kazumasa Ogawa (Los Angeles: J. Paul Getty Museum, 2013) 5, 38 pp. ISBN 9781606061305 A near facsimile of Ogawa’s 1896 book of hand-colored photographs of flowers of Japan (the originals were a series with the same title) with the addition of a biographical essay on the photographer by Dinah Berland and a note on the plates. Stitch-bound, like the original. Ogawa was both a publisher and “the foremost photography publisher of the Meiji era [from back cover].”