In the mid-2000s, Adam Hinton turned his camera on Shanghai as China’s domestic market expanded at a pace that seemed to leave social structures behind. The resulting book, *Lovin’ It*, is a study of consumer culture and its discontents: the allure of modern goods, the benefits they promise, and the alienation that can follow when communal identities give way to individual ones. Hinton’s 100 colour photographs do not simply document storefronts and shoppers; they register the emotional weather of a society in rapid transition, one the publisher’s introduction famously likens to a new Cultural Revolution—capitalist in form, total in reach, and no less ideological than the one launched in the 1960s.

Hinton is a London-based documentary photographer whose projects have taken him to a favela in Rio de Janeiro, a coal-mining family in Ukraine, and a Himba community in Namibia. That background matters here. *Lovin’ It* belongs to a tradition of long-form photographic engagement with communities under pressure, and its Shanghai pictures are made with the same patient attention to daily life. The book is introduced by John Gittings, for many years foreign leader-writer and East Asia editor at *The Guardian*, who first visited China in 1971 and later opened the paper’s first mainland staff bureau in Shanghai. An interview with Hinton by writer and cultural critic Nigel Warburton rounds out the volume, giving the photographer’s own account of the work.

The design is modest and purposeful: hardback, 112 pages, 18 by 24 centimetres, with 100 colour plates. The sequence moves through the city’s surfaces—advertising, retail, leisure—without reducing them to easy critique. What distinguishes *Lovin’ It* from much writing on China’s boom is its refusal to separate the seduction of consumer goods from the unease they generate. The photographs hold both in view.

For collectors of documentary photography and photobooks about contemporary China, this is a considered example of the publisher’s list. It should interest readers of Gittings and Warburton as well as admirers of Hinton’s earlier work.