When Gianni Bozzacchi accepted an assignment as a photographer on the set of The Comedians (1967), he didn't know that his life was about to change forever. His ability to capture the beauty of candid moments drew the attention of the film's star, Elizabeth Taylor, and prompted her to hire him as her personal photographer. Not only did he go on to enjoy a jet-set life as her friend and confidant -- preserving unguarded moments between the violet-eyed beauty and Richard Burton as they traveled the world -- but Bozzacchi also became an internationally renowned photographer and shot some of the biggest celebrities of the 1960s and 1970s. In My Life in Focus, Bozzacchi traces his journey from humble beginnings to the sphere of the rich and famous. As a child, he cultivated his skills by working with his father -- a photographer for the Italian government. Following in his parent's footsteps was not something Bozzacchi had foreseen for his future; but his passion for taking pictures and his ability to put his subjects at ease enabled him to capture stunning images of some of the greatest stars of the twentieth century, including Audrey Hepburn, Steve McQueen, Raquel Welch, Mia Farrow, Clint Eastwood, and the royal family of Monaco. Beautifully illustrated with many of the photographer's most iconic images, this lively memoir reveals private moments in the Taylor-Burton love story and provides an invaluable behind-the-scenes look at the business of filmmaking and the perils of celebrity.

In the early 1970s, a small band of young rock climbers, decked out in bandanas, shades and cut-offs, came together and blew open the conventions of climbing. Dubbing themselves the Stonemasters, these now legendary adventurers established techniques that allowed for some of the most spectacular climbs to be done with a minimum of apparatus. Beyond their unsurpassed skills as climbers, the Stonemasters embodied a lifestyle--they were loud, proud, smoked dope, chalked their lightning-flash insignia across rockfaces, took the light stuff seriously and the serious stuff lightly--and the glamour of this lifestyle made a massive impact on 1970s youth culture across the world. Among the first Stonemasters were Rick Accomazzo, Richard Harrison, Mike Graham, Robs Muir, Gib Lewis, Bill Antel, Jim Hoagland, Tobin Sorenson, John Bachar and John Long, but the character or myth of the Stonemaster caught on like wildfire, spreading from coast to coast and across the ocean, and spawning Stonemasters everywhere. Here, Dean Fidelman's thrilling archival photos reveal for the first time an era defined by risk, camaraderie and non-conformity. Tales from original Stonemaster John Long and others recall the highs and lows of the early days--a magical time in the annals of adventure sports--in this exciting and beautifully produced volume.

Many of the photographs are as familiar as they are iconic: Nelson Mandela gazing through the bars of his prison cell on Robben Island; a young Miriam Makeba smiling and dancing; Hugh Masekela as a schoolboy receiving the gift of a trumpet from Louis Armstrong; Henry ‘Mr Drum’ Nxumalo; the Women’s March of 1955; the Sophiatown removals; the funeral of the Sharpeville massacre victims …

Photographer Jürgen Schadeberg was the man behind the camera, recording history as it unfolded in apartheid South Africa, but his personal story is no less extraordinary. His affiliation for the displaced, the persecuted and the marginalised was already deeply rooted by the time he came to South Africa from Germany in 1950 and began taking pictures for the fledgling Drum magazine. In this powerfully evocative memoir of an international, award-winning career spanning over 50 years – in Europe, Africa and the US – this behind-the-scenes journey with a legendary photojournalist and visual storyteller is a rare and special privilege.

Schadeberg’s first-hand experiences as a child in Berlin during the Second World War, where he witnessed the devastating effect of the repressive Nazi regime, and felt the full wrath of the Allied Forces’ relentless bombing of the city, are vividly told. The only child of an actress, who left her son largely to his own devices, Jürgen became skilled at living by his wits, and developed a resourcefulness that held him in good stead throughout his life. At the end of the war, his mother married a British officer and emigrated to South Africa, leaving Jürgen behind in a devastated Germany to fend for himself. With some luck and a great deal of perseverance, he was able to pursue his interest in photography in Hamburg, undergoing training as an unpaid ‘photographic volunteer’ at the German Press Agency, then graduating to taking photos at football matches.

After two years there, Jürgen made the decision to travel to South Africa. He arrived at Johannesburg station on a cold winter’s morning. He had a piece of paper with his mother’s address on it, his worldly possessions in a small, cheap suitcase on the platform beside him, and his Leica camera, as always, around his neck.