Continuing the tradition of creating the next level of breathtaking pin-up girls in the modern world, internationally acclaimed photographer and pin-up artist Celeste Giuliano presents her classic style of pin-ups in stunning 3-D for the first time ever. The pin-up girl has been a staple of classic American culture since the 1920s. Featured on advertisements and novelty items, their coy smiles and flirtatious ways captivated millions while selling everything from colas to cars. During the 1950s, a whole new dimension of tease gained popularity once these timeless beauties were presented in 3-D. This book features all new images of the classic girl next door that tease both on and off the pages in breathtaking realism.

Jenny Sampson’s follow-up to her acclaimed collection of tintype skateboarder portraits (Skaters, Daylight 2017) focuses on female skateboarders. Although historically a male-dominated sport, there have always been girls in the skate- boarding landscape. By turning her lens on these members of the community all over California, Washington and Oregon, Sampson hopes to increase visibility and honor these girls, young and older, who have been breaking down this gender wall with their skater girl power.

`Here Comes Everybody' is a phrase that echoes repeatedly through the shifting dream-narrative of James Joyce's FinnegansWake. It aptly captures the intense poetry of this new collection of photographs by Chris Killip, taken over repeated trips to Ireland between 1993 and 2005. On each visit Killip attended the annual pilgrimages at Croagh Patrick and Mamean in the west of Ireland, places of wild beauty and ancient spirituality. His poignant photographs convey the dedication and community of the modern pilgrims' journey as they make their way across shingled mountainsides to take part in age-old rites. Images of the pilgrims' trek are complemented by landscapes, townscapes and details photographed in the west of Ireland and beyond. Presented as a facsimile of an album of prints from a decade of travels, this book includes the first colour photographs Killip has ever published. This Limited edition features hand-tipped reproductions and a signed and numbered print.

Terence Donovan (1936-1996) was one of the foremost photographers of his generation, with a career spanning almost 40 years. He came to prominence in London as part of a post-war renaissance in art, design and music, representing a new force in fashion and, later, advertising and portrait photography. He operated at the heart of London's Swinging Sixties, both as participant in, and observer of, the world he so brilliantly and incisively captured with his camera. Born into a working-class family in East London, Donovan was fascinated by photography and printmaking from an early age. He opened his own studio in 1959 at the age of twenty-two and was immediately sought after by a range of clients, including leading advertising agencies and fashion and lifestyle magazines of the time, including Vogue, Harper's Bazaar and Elle. Terence Donovan: 100 Fashion Photos brings together the very best of his fashion photography, from his ground-breaking work in the sixties to the superlative glamour of the supermodels of the nineties. Gifted with an unerring eye for the iconic as well as the transformative, Donovan was a master of his craft, a technical genius who pushed the limits of what was possible with a camera. This stylish book contains some of his most famous shots, as well as previously unseen images, and is a perfect gift for lovers of both fashion and photography.

Learn how renowned photographer and conservationist David Yarrow manages to get his incredible shots. For two decades Yarrow has been venturing further and further afield in search of amazing animals to photograph. Here he shares the incredible knowledge and stories he has gathered along the way and distils them down into the key lessons to take into your own photography. Including guides to composition and perspective, tips on using remote cameras and dealing with dangerous animals, and the philosophy behind his boundary-pushing approach to image taking.

For more than two decades, legendary British photographer David Yarrow has created evocative photography of some of the world s most iconic personalities, sporting moments, and endangered wildlife. With his images raising huge sums for charity, he is one of the most relevant and best-selling photographers in the world today. This stunning volume is a retrospective of Yarrow s storytelling work, which has earned him wide acclaim in the fine-art market. This assemblage of truly unmatched work brings the magic and brilliance of the big screen to each singular image. Inspired by the great cinematic directors, Yarrow tells stories from the Wild West to the pirates of the Caribbean, the coasts of Alaska to the plains of Africa, Manhattan to an old saloon in Montana. Whether poignant, dramatic, or provocative, they are always epic. Offering additional insight are behind-the-scenes photos and Yarrow s own first-person contextual narratives. The book features a mix of more than 150 yet-to-be-published and already iconic photographs, including work from assignments with some of the biggest names and brands in fashion, sports, and culture, like Cindy Crawford, Cara Delevingne, Russell Wilson, Ciara, and Alessandra Ambrosio.

Think you know photography? Think again. Through a carefully curated selection of quotes and images, this book reveals what matters most to the masters of photography. With 50 iconic images and accompanying text by Henry Carroll, author of the internationally bestselling Read This If You Want To Take Great Photographs series, you'll learn what photography actually means to the giants of the genres and how they developed their distinctive visual styles.

Working with a large format 5x4 camera, Gli Isolani draws upon the visual language of Tomlinson's previous projects, lending the black and white photographs a veil of timelessness. At the project's genesis, Alys researched the literature and poetry connected to the history and culture of the islands of Italy, exploring tradition and identity, ancient myths, folklore and fairy tales. Set against crumbling stone and rural fields, the images depict the elaborate and uncanny costumes and masks worn for Holy Week, and other events and festivals, sometimes inspired by pagan ritual and beliefs. The fantastical tales and precious costumes have been passed down many generations within these communities where customs run deep. The gestures and the costumes depicted in the photographs draw on the relationship between man and the land, the sacred and the profane, and good and evil.

It was in 1978, during my first summer of making portraits while using an 8x10 inch large format camera, that I found myself drawn to photographing redheads. I have often been asked; 'why redheads,' and I've often felt it was because in summer redheads seem to bloom in the sun more gloriously than the rest of us. But it also might have been my living far out on the tip of Cape Cod, surrounded by all the blue light of sea and sky, which made me pay more attention to the flamboyant qualities of redheads. Their hair and the exotic markings of their skin in sunlight became even rosier and more astonishing in that blue atmosphere. Redheads, like film itself, are transformed by sunlight. It seems natural to me now that I would have paid attention to this new phenomenon as it appeared within the larger subject of the Cape itself. After making more than 50 portraits that first month, in which at least 30 were of redheads, I understood that this was an impulse to be taken seriously. I ran an ad in the local paper, the Provincetown Advocate: "REMARKABLE PEOPLE! If you are a redhead or know someone who is, I'd like to make your portrait, call...." They began coming to my deck, bringing with them their courage and their shyness, their curiosity and their dreams, and they shared their stories of what it was like to be a redhead. They spoke of the painful remembrances of childhood, the violations of privacy and name calling-"Hey, red," "freckle face," "carrot head." They also shared with me their sense of personal victory at having overcome this early, unwanted celebrity, and how like giants or dwarfs or athletes they had finally grown into their specialness and by surviving had been ennobled by it. You could say that they had been baptized by their own fire, and that their shared experience had formed a "blood knot" among them. I had begun making portraits with the intention of photographing ordinary people. But redheads are both ordinary and special. Their slender slice of the genetic pie accounts for only 2 or 3 percent of the world's population. As different as redheads are in terms of nationality and religion, they often give the appearance of a strong familial connection. My way of making portraits is not by getting down on my hands and knees, nor climbing high on a ladder, nor getting into bed with a celebrity, but simply standing eye to eye with anyone has found their way to me, young or old. I need only one or two sheets of film and the patience to see it through. This new edition of 'Redheads' will have a number of new and previously unseen portraits.

To celebrate the acquisition of the Tom Phillips archive, the Bodleian Library has asked the artist to assemble and design a series of books drawing on his themed collection of over 50,000 photographic postcards. These encompass the first half of the twentieth century, a period in which, thanks to the ever cheaper medium of photography, 'ordinary' people could afford to own their portraits. Readers shows people reading (or pretending to read) a wide variety of material from the Bible to Film Fun, either in the photographer's studio, in their own home or holidaying on the beach. Each book contains 200 images chosen with the eye of a leading artist from a visually rich vein of social history. Their covers will also feature a thematically linked painting, especially created for each title, from Tom Phillips' signature work, A Humument.

A new collection from the award-winning Magnum photographer. A master of colour-saturated images, Harry Gruyaert has roamed the world searching for the perfect light for more than forty years. His very intuitive and physical sense of place immerses the spectator in a world that borrows simultaneously from the cinematic universe and from that of the painter. Dissolving the boundaries between the exterior and interior, Between Worlds offers just such a sensory immersion. No matter the setting, the country or the era, Gruyaert deploys a luminous alchemy suspended in time. Where are we? It doesn’t matter: in Gruyaert’s world, the pleasure of getting lost reigns.

About "Exiles," Cornell Capa once wrote, "Koudelka's unsentimental, stark, brooding, intensely human imagery reflects his own spirit, the very essence of an exile who is at home wherever his wandering body finds haven in the night. " In this newly revised and expanded edition of the 1988 classic, which includes ten new images and a new commentary with Robert Delpire, Koudelka's work once more forms a powerful document of the spiritual and physical state of exile. The sense of private mystery that fills these photographs--mostly taken during Koudelka's many years of wandering through Europe and Great Britain since leaving his native Czechoslovakia in 1968--speaks of passion and reserve, of his rage to see. Solitary, moving, deeply felt and strangely disturbing, the images in "Exiles" suggest alienation, disconnection and love. "Exiles" evokes some of the most compelling and troubling themes of the twentieth century, while resonating with equal force in this current moment of profound migrations and transience.
Josef Koudelka (born 1938) has published ten books of photographs, many of which focus on the relationship between man and the landscape, including "Gypsies" (1975; revised and enlarged edition in 2011), "Exiles" (1988), "Black Triangle" (1994), "Invasion 68: Prague" (2008) and "Wall" (2013). Significant exhibitions of his work have been held at The Museum of Modern Art and the International Center of Photography, both in New York; Hayward Gallery, London; and Palais de Tokyo, Paris. Koudelka is the recipient of the Medal of Merit awarded by the Czech Republic (2002) and numerous other awards. In 2012, he was named Commandeur de l'Ordre des Arts et des Lettres by the French Ministry of Culture. He is based in Paris and Prague.

From its beginnings in York, Pennsylvania, in 1847, until the death of Wallace L. Goodridge in Saginaw, Michigan, in 1922, the Goodridge Brothers Studio was the most significant and enduring African American photographic establishment in North America. The studio was made possible by the financial success of the family patriarch, William C. Goodridge, a York barber mined entrepreneur. With the financial assistance of his father, young Glenalvin Goodridge founded the studio in York in 1847. Glenalvin worked as a successful daguerreotypist and ambrotypist, until the community's perception of his own financial success and the family's involvement in abolitionist activities resulted in his trial and imprisonment. As a result of his imprisonment Glenalvin contracted tuberculosis, which led to his untimely death.

With the outbreak of the Civil War and the circumstances surrounding the trial, the family left York for new homes in Minnesota and in East Saginaw, Michigan, where Glenalvin's younger brothers, Wallace and William O. Goodridge, reopened the studio in 1863. During the next three decades the brothers worked as a team, with William providing the artistic inspiration and Wallace the financial direction. The brothers continued the family tradition of excellence and innovation by concentrating on the latest photographic images, including flash, panoramic, and motion pictures.

In Enterprising Images, John Vincent Jezierski tells the story of one of America's first families of photography, documenting the history of the Goodridge studio for three-quarters of a century. The existence of more than one thousand Goodridge photographs in all formats (daguerreotypes to motion pictures) andthe family's professional and personal activism enrich the portrait that emerges of this extraordinary family. Weaving photographic and regional history with the narrative of a family whose lives paralleled the social and political happenings of the country, Jezierski provides the reader with a complex family biography for those interested in regional and African American, as well as photographic, history.

A flaneur and photographer at once, Eugene Atget (1857-1927) was obsessed with walking the streets. After trying his hand at painting and acting, the native of Libourne turned to photography and moved to Paris. He supplied studies for painters, architects, and stage designers, but became enraptured by what he called "documents" of the city and its environs. His scenes rarely included people, but rather the architecture, landscape, and artifacts that made up the societal and cultural stage. Atget was not particularly renowned during his lifetime but in the 1920s came to the attention of the Dada and Surrealist avant-garde through Man Ray. Four of his images, with their particular fusion of mimesis and mystery, appeared in the surrealist journal, La Revolution Surrealiste, while Ray and much of his artistic circle purchased Atget prints. Atget's fame grew after his death, with several articles and a monograph by Berenice Abbott. Several leading photographers, including Walker Evans and Bill Brandt, have since acknowledged their debt to Atget. This fresh TASCHEN edition gathers some 500 photographs from the Atget archives at Musee Carnavalet and the Bibliotheque Historique de la Ville de Paris to celebrate his outstanding eye for the urban environment and evocation of a Paris gone by. Down main streets and side streets, past shops and churches, through courtyards and arcades and the 20 arrondissements, we find a unique portrait of a beloved city and the making of a modern photographic master. About the series Bibliotheca Universalis - Compact cultural companions celebrating the eclectic TASCHEN universe!

The Fotobus Society, founded by Christoph Bangert, provides a network connecting more than 700 photographers who are currently studying at German and European universities or photography schools. Members have access to a wide range of cultural and social activities offered by the association. At the heart of the community is a 30-year-old bus that serves as a mobile photography school and regularly carries members to photo festivals, symposia, and professional events. This book is the second volume in a series presenting selected works by members. Whereas the main mission of the association is to promote exchange within the international photography scene, the coronavirus pandemic prevented the artists from travelling and meeting up as usual. For many of them, taking photos became an outlet and a medium to communicate with the "outside world". As a result, the projects showcased in this publication also tell of the insecurity, hope, and distress of the last months, giving an inside view of the experiences and stories of people from around the world. In different ways, the images document their lives and the spaces in which they live, or the concepts and ideas, in which they believe.