Historic Photos of Austin captures the remarkable journey of this city and her people, in still photography from the finest archives of city, state, and private collections. From the Civil War period, to the rise of industry, two World Wars and into the modern era, Austin has remained a city of change and innovation. With about two hundred archival photographs reproduced in stunning black and white on heavy art paper, this book is the perfect addition to any historian's collection.

The history of law enforcement in the Lone Star State goes back well before photography, dating to Texas's days as part of the Spanish empire. After that Texas became a province of Mexico and for nearly a decade stood among the nations as an independent republic before becoming the 28th state in the Union in 1845. Beyond the contribution to law and order made by constables, sheriffs, town marshals, city police officers, and federal lawmen, Texas is the birthplace of a law enforcement institution unique in the world, the legendary Texas Rangers. Historic Photos of Texas Lawmen features close to 200 images of Texas lawmen, bad men (and a few bad women), assorted characters with a law enforcement connection like the legendary Judge Roy Bean, and shots of the places they did their work--for good or bad. Each photograph has a story to tell. Some of the images in this volume, coming from the author's personal collection, are published here for the first time. But all of the images command attention, many as attention-getting as the business end of a Texas Ranger's .45.

Known to some as "Capitol City," "River City," and "Groover's Paradise," Austin is a diverse mix of university professors, students, politicians, musicians, state employees, artists, and both blue-collar and white-collar workers. The city is also home to the main campus of the University of Texas and several other universities. As Austin has grown to become more cosmopolitan, remnants of its small-town heritage have faded away. Austin's uniqueness--both past and present --is reflected in its food, architecture, historic places, music, and businesses. Many of these beloved institutions have moved on into history. While some are far removed in the mists of time, others are more recent and generate fond memories of good times and vivid experiences. Images of America: Lost Austin explores, through the collections of the Austin History Center and others, where Austinites once shopped, ate, drank, and played.

This Light of Ours: Activist Photographers of the Civil Rights Movement is a paradigm-shifting publication that presents the Civil Rights Movement through the work of nine photographers who participated in the movement as activists with SNCC, SCLC, and CORE. Unlike images produced by photojournalists, who covered breaking news events, these photographers lived within the movement—primarily within the Student Nonviolent Coordinating Committee (SNCC) framework—and documented its activities by focusing on the student activists and local people who together made it happen. The core of the book is a selection of 150 black-and-white photographs, representing the work of photographers Bob Adelman, George Ballis, Bob Fitch, Bob Fletcher, Matt Herron, David Prince, Herbert Randall, Maria Varela, and Tamio Wakayama. Images are grouped around four movement themes and convey SNCC's organizing strategies, resolve in the face of violence, impact on local and national politics, and influence on the nation's consciousness. The photographs and texts of This Light of Ours remind us that the movement was a battleground, that the battle was successfully fought by thousands of “ordinary” Americans among whom were the nation's courageous youth, and that the movement's moral vision and impact continue to shape our lives.

Montopolis is a multiethnic neighborhood located approximately four miles southeast of downtown Austin. The area was long visited and occasionally occupied by various Texas Indian nations; the first documented European or American to settle here was Jessie C. Tannehill, who in 1830 built a cabin and townsite and gave the new community its pretentious name. Instead of establishing a permanent presence in Montopolis, however, subsequent European colonizers looked a few miles upriver to the new settlement of Waterloo, later to be called Austin. Rural and sparsely populated, the remainder of the 19th century saw the Montopolis area used primarily for plantation agriculture. In the 1920s, succeeding waves of Mexican migrants helped establish the modern neighborhood that exists today. Between the 1950s and 1970s, the City of Austin annexed Montopolis, although the area retains much of its rural character.

The best moments from some of the most brilliant, mesmerizing, quirky, esoteric, and unforgettable performances on "Austin City Limits"--the longest-running popular music series in American television history--are captured in this volume.

The Byrd Williams Collection at the University of North Texas contains more than 10,000 prints and 300,000 negatives, accumulated by four generations of Texas photographers, all named Byrd Moore Williams. Beginning in the 1880s in Gainesville, the four Byrds photographed customers in their studios, urban landscapes, crime scenes, Pancho Villa’s soldiers, televangelists, and whatever aroused their unpredictable and wide-ranging curiosity. When Byrd IV sat down to choose a selection from this dizzying array, he came face to face with the nature of mortality and memory, his own and his family’s. In some cases these photos are the only evidence remaining that someone lived and breathed on this earth. The 193 photos selected here are organized into thematic sections such as “Landscapes,” “Violence and Religion,” and “Darkness.” They are significant not just for the range of subjects, but for the inclusion of a variety of examples of the evolving photographic technology from the 1880s to the present. This book is an unprecedented portrait of both photographic history and the history of Texas, as well as a record of one unique family. Roy Flukinger’s Foreword places the photographs in a historical context, and Anne Wilkes Tucker’s Afterword discusses the ethics of memory and preservation.