In 1967, a 17-year-old aspiring photographer named Ed Caraeff found himself front row at the Monterey Pop Festival, California. Caraeff had never seen Hendrix before, nor was he familiar with his music. But Caraeff had his ever-present camera and as Hendrix lit his guitar, he snapped a photo. That picture - Hendrix burning his guitar at Monterey - has become one of the most iconic images of rock and roll. A photo that defined Hendrix as an artist, appeared on the cover of Rolling Stone magazine not once, but twice, and launched Caraeff's photographic career. Timed to celebrate the 50th anniversary of the Monterey Pop Festival, Burning Desire reveals never-before published images from the magnificent, Hendrix-dedicated archive that Caraeff has compiled. From onstage to backstage, Jimi Hendrix was as electric in front of the camera as he was when he strummed his guitar. In Burning Desire, Caraeff showcases more than 100 images, including rare shots and contract sheets, and discusses his experiences with this incredible musician.

Ifa Brand never felt satisfied as a model. The dissatisfaction stemmed from not being able to represent her true identity: 'I fell "between styles": alternative but not alternative enough; fetish but not in a typical sense. I also disliked photographers telling me how I should look, pose, behave; telling me no to red lips, no to precious lingerie and all the things I loved.' In 2017, she decided to go her own way. She saw photography as an opportunity to be her own creative director, to follow her own storylines, and to explore her own vision of sensuality, eroticism and fetish. Hers is a quest for personal empowerment through the art of self-portraiture: 'I find it very important to present a strong, independent woman. There needs to be an element of being untouchable. The message to the viewer is: yes you can look but solely on my terms.'

Man Ray, surrealist master and exponent of the Dada movement, managed to reinvent not only the photographic language, but also the representation of the body and face, as well as the genres of the nude and the portrait themselves. This book brings together around 200 photographs produced from the 1920s right up to his death in 1976, all featuring female subjects.Through rayographs, solarisations and double exposures, the female body undergoes a continual metamorphosis of forms and meanings, becoming an abstract form, an object of seduction, classical memory or realistic portrait, in endless playful and refined variations. Among the protagonists of his shots are Lee Miller, Berenice Abbott, Dora Maar and Juliet, a lifelong companion, to whom is dedicated the amazing The Fifty Faces of Juliet portfolio (1943-1944). But these women were, in turn, great artists: as evidence is presented here a corpus of works dating back to the time - between the 1930s and '40s - of their most direct association with Man Ray and with the environment of the Dada avant-garde and Parisian surrealism. This volume offers a wide survey of one of the most exuberant periods of the 20th century, with authentic masterpieces of photographic art such as the Electricite portfolios (1931) and the very rare Les mannequins. Resurrection des mannequins (1938). Text in English and Italian.

Pablo Picasso andy Warhol, Frida Kahlo . . . so many great artists have shared one very special love: the companionship of cats. Gathered here for the first time are behind-thescenes stories of more than 50 famous artists and their feline friends. From Salvador Dali's pet ocelot Babou to John Lennon and Yoko Ono's menagerie of cats, including Salt (who was black) and Pepper (who was white), Artists and Their Cats captures these endearing friendships in charming photographs and engaging text and reveals what creative souls and the animals best known for their independent spirits have in common. In this clever compilation, art aficionados will discover a softer side of their favourite artists and cat lovers will enjoy a whole new way to celebrate their favourite furry friends.

A surprise discovery in the 1980s unearthed the remarkable early twentieth century photographs of Berry & Co., now held in Te Papa's collection. Amongst the thousands of mystery images are more than a hundred of ordinary First World War servicemen, taken directly before the men left to fight. But who were they? A heartfelt public response has helped reunite many soldiers with their identities, and careful research has brought more to light. Though these soldiers represent only a tiny fraction of the thousands of men who departed to join the fighting overseas, through their poignant stories we are granted a remarkable lens on New Zealanders' experiences - their hope, anxiety, fear, pride and love - over the span of the Frist World War. Published alongside the TVNZ documentary, Berry Boys features the full collection of beautifully reproduced portraits, accompanied by the unique stories of the soldiers and their loved ones. Some died overseas, others lived long after the war and all were changed by it. Although they are only a fraction of the thousands of men who served, they offer a potent snapshot of the New Zealand of the time - and the changing face of the First World War itself.

Gullberg combines images of women bearing scars on their bodies with those of the natural world - hinting at both a sense of inevitability and our unrealistic dreams of perfection. These women expose themselves, putting on display what our culture seeks to forget - the imperfect, the ugly and the embarrassing. And yet we need to be loved as we are. Unravelled is made in the hope that the viewer will come to love themselves a little bit more. The expressive qualities of Gullberg's work are both intimate and edgy. Her viewers are given a raw, yet poetic, look at life. She looks for beauty, strength and pride where you would not always expect to find it. Gullberg says "I deliberately put myself in situations that make me vulnerable. It makes me remember what it's like to have pictures taken of yourself. That again helps me uncover the traces that bind us together."

In 1948, photographer Tom Kelley took a photograph of an out-of-work actress, a nude posed against a scarlet background. That actress was Marilyn Monroe, and a few years later, the photo became Playboy's first ever centrefold. This volume offers a complete look at Kelley's visionary colour nude photography of the 1940s-1970s.

Musical Ink is a portrait project from Toronto-based photographer Jon Blacker that spotlights 62 musicians and their tattoos. This exciting volume of imagery not only has something for every musical taste - featured artists range in genre from heavy metal to hip hop and opera - the tattoo styles include elaborate sleeves, creative one points, and traditional Japanese themes. Each portrait is photographed in black and white using a special infrared camera, which allows the tattoos to truly stand out from the skin because while infrared light largely reflects off of skin, it is absorbed by the tattoo ink, creating a great deal of contrast between the almost glowing, ethereal appearance of the skin and the deep blacks and greys of the tattoos. But Musical Ink goes more than skin deep and focuses on the personal meanings of the artists' body art, be it a deep personal reflection or simply a great funny story. This outstanding collection of images, including artists like Dave Navarro, Chad Smith, and Sammy Hagar, is ideal for music lovers, tattoo aficionados and artists, and photographers.

A moving and joyful celebration of not only survival but also resilience and joy, expressed through 90 black-and-white portraits of Holocaust survivors and personal stories of their postwar lives. The survivors, many photographed with their family members, share lessons they have learned and pass on the wisdom that comes from building a life of one's choosing out of the wreckage of despair. Van Sise, an award-winning 20-year veteran photojournalist, spent four years working with Holocaust museums and outreach organizations to compile these captivating images and textual vignettes. The result is an inspirational keepsake that readers will treasure. Completing the volume are essays by Dr. Mayim Bialik, Neil Gaiman, and Sabrina Orah Mark.

Peter Lindbergh, one of the world's foremost fashion photographers, celebrates the female form in this classic book. Peter Lindbergh's Images of Women is now available in this new unabridged compact edition. Lindbergh, who passed away in 2019, took a comprehensive look at his body of work from the 1980s and '90s and hand selected these black-and-white photographs of the most beautiful and famous women in the world. It was the era of the supermodels, a phenomenon he himself had helped create, and he left his own unique stamp upon it, influencing an entire generation of fashion photographers with his distinct style. Lindbergh was always interested in the aura, individuality, and personality of his models which resulted in images that captured an ideal of beauty more than just perfection and glamour. This splendid monograph represents the definitive collection of Lindbergh's considerable oeuvre: classic fashion photographs, arresting candids, portraits of female celebrities--including Madonna, Isabella Rossellini, Sharon Stone, Catherine Deneuve, Charlotte Rampling, Daryl Hannah--and of course his signature shots of the world's supermodels.

This richly illustrated book is the first monograph to explore the prolific career of the celebrated photographer Anthony Barboza. Anthony Barboza (b. 1944) is a celebrated artist and writer who has made thousands of photographs in the studio and on the street since 1963. A member of the Kamoinge collective of photographers in New York, Barboza is largely self-taught and has an inimitable, highly intuitive vision that he refers to as "eye dreaming," or "a state of mind that's almost like meditation." Throughout the years he has made countless commercial images, including celebrity portraits, advertisements, and album covers. His personal photographic projects illuminate his deep investment in the art and concerns of Black communities, not only in the United States but also around the globe. This lavishly illustrated volume follows Barboza's prolific career from his youth in New Bedford, Massachusetts, to his formative years in New York in the 1960s, to the present day. An introduction by renowned author and critic Hilton Als underscores Barboza's importance and impact. An essay by curator Aaron Bryant contextualizes Barboza's life and career as they map against major civil rights events in the United States. In an intimate interview between the artist and curator Mazie M. Harris, Barboza offers astute, humorous, and intimate musings on his long career, foundational influences, and artistic legacy. This monograph, the first on the artist, will appeal to aficionados of photography and Black art and culture.

Artist-photographer Tim Walker has won a cult following for his flamboyant, lavishly staged and surrealist fashion photography. Now he brings his unique brand of very British fantasia to a subject close to his and all our hearts: grandmothers. Pour yourself a cup of tea and step into an enchanted realm, where twinkling Miss Marple-types elope to Egypt in head-to-toe tartan or jet off to Mars on a flying saucer.... You'll find Lucinda, whose hat addiction shows no sign of waning (she even goes to bed in one), and Hattie, who'll give you a humbug if you're helpful. Brush up on your knitting skills to rival Kitty. Book 1 of this two-volume collection offers an assortment of characterful portraits by Tim Walker of grannies and the things dearest to them, arranged alphabetically and accompanied by short, gently humorous verses written by Kit Hesketh-Harvey. In Book 2, fashion illustrator Lawrence Mynott contributes his own A-Z of drawings of lively old ladies. Spirited, stylish, sweet - here are granny archetypes of every stripe.

Amelia is 14 years old. In many ways, she is your average American teenager: since she was three years old, she has been her mother's muse, and the subject of her photographs. However, not every mom is a world-class photographer with a predilection for photographing animals. And it's not every teenager who has portraits of herself with elephants, llamas, ponies, tigers, kangaroos, chimpanzees and endless dogs, cats, and other animals--portraits that hang in the collections of major art museums around the world. "Amelia and the Animals" is Robin Schwartz's second monograph featuring this collaborative series dedicated to documenting her and Amelia's adventures among the animals. As Schwartz puts it, "Photography is a means for Amelia to meet animals. Until recently, she took these opportunities for granted. She didn't realize how unusual her encounters were until everyone started to tell her how lucky she was to meet so many animals." Nonetheless, these images are more than documents of Amelia and her rapport with animals; they offer a meditation on the nature of interspecies communication and serve as evidence of a shared mother-daughter journey into invented worlds.
Robin Schwartz (born 1957) earned an MFA in photography from Pratt Institute, and her photographs are held in the collections of The Metropolitan Museum of Art and The Museum of Modern Art, in New York; Smithsonian American Art Museum, Washington, D.C.; San Francisco Museum of Modern Art; Brooklyn Museum; Chrysler Museum of Art, Norfolk, Virginia; Bibliotheque Nationale, Paris; and Museum Folkwang, Essen, Germany. She is an assistant professor of photography at William Paterson University and lives in New Jersey with her husband, Robert Forman, daughter, Amelia, and five companion animals.

Cecil Beaton (1904-1980) is one of the most celebrated British Portrait photographers of the twentieth century and is renowned for his images of elegance, glamour and style. His influence on portrait photography was profound and lives on today in the work of many contemporary photographers. Beaton used his camera, his ambition and his larger-than-life personality to mingle with a flamboyant and rebellious group of artists, writers, socialites and partygoers. These 'Bright Young Things' captured the spirit of the roaring twenties and thirties as they cut a dramatic swathe through the epoch. Beaton quickly developed a reputation for his beautiful, often striking and fantastic photographs, which culminated in his portraits of Queen Elizabeth in 1939. More than a photographer, Beaton became a society fixture in his own right. In a series of themed chapters, covering Beaton's first self-portraits and earliest sitters to his time at Cambridge and as principle society photographer for Vogue and Vanity Fair, over 60 leading figures who sat for him are profiled and the dazzling parties, pageants and balls of the period are brought to life. Among this glittering cast are Beaton's socialite sisters Baba and Nancy Beaton, Stephen Tennant, the Mitfords, Siegfried Sassoon, Evelyn Waugh and Daphne Du Maurier. Beaton's photographs are complemented by a wide range of letters, drawings and ephemera and contextualised by artworks created by those in his circle, including Christopher Wood, Rex Whistler and Henry Lamb.

Revealing and insightful, Lauren Greenfield's classic monograph on the lives of American girls is back in print. Greenfield's award-winning photographs capture the ways in which girls are affected by American popular culture. With an eye for both the common and the eccentric, she visits girls of all ages, discussing issues ranging from eating disorders and self-mutilation to spring break and prom. With more than 100 mesmerizing photographs, 18 interviews, and an introduction by social and cultural historian Joan Jacobs Brumberg, this book is as vital and relevant now as when it was first published.

In The Dramatic Portrait: The Art of Crafting Light and Shadow, Chris Knight addresses portraiture with a unique approach to both light and shadow that allows you to improve and elevate your own portraiture. Without light, there is no photograph. As almost every photographer knows, the word "photograph" has its roots in two Greek words that, together, mean "drawing with light." But what is less commonly acknowleEAed and understood is the role that shadow plays in creating striking, expressive imagery, especially in portraiture. It is through deft, nuanced use of both light and shadow that you can move beyond shooting simply ordinary, competent headshots into the realm of creating dramatic portraiture that can so powerfully convey a subject's inner essence, communicate a personal narrative, and express your photographic vision. In The Dramatic Portrait: The Art of Crafting Light and Shadow, Chris Knight addresses portraiture with a unique approach to both light and shadow that allows you to improve and elevate your own portraiture. He begins with the history of portraiture, from the early work of Egyptians and Greeks to the sublime treatment of light and subject by artists such as Caravaggio, Rembrandt, and Vermeer. Chris then dives into a deep, hands-on exploration of light, shadow, and portraiture, offering numerous lessons and takeaways. He covers: - The qualities of light: hard, soft, and the spectrum in between - The relationships between light, subject, and background, and how to control them - Lighting patterns such as Paramount, Rembrandt, loop, and split - Lighting ratios and how they affect contrast in your image - Equipment: from big and small modifiers to grids, snoots, barn doors, flags, and gels - Multiple setups for portrait shoots, including those that utilize one, two, and three lights - How color contributes to drama and mood, eliciting an emotional response from the viewer - How to approach styling your portrait, from wardrobe to background - The post-processing workflow, including developing the RAW file, maximizing contrast, color grading, retouching, and doEAing and burning for heightened drama and effect - How all of these elements culminate to help you define your personal style and create your own narrative

Photographer Ryland Hormel traveled across the United States from Alaska to Florida, asking people “When do you feel free?” Respondents wrote down their answers on 3” x 5” index cards, then had their photographs taken with Hormel’s vintage Leica M6 analog camera. When Do You Feel Free? is a collection of over 100 hand-written responses, alongside photographs that put the answers in context. The pages contain answers of photographs of recent immigrants, former convicts, fishermen, cowboys—that all come together to create a collective conversation about freedom through the fragmented perspectives of individuals across America. When Do You Feel Free? makes the reader realize freedom isn’t a location, but a state of mind, one that can be uncovered at any time.

Say no to silicone: The greatest natural breasts of our times Some call it the American obsession, but men everywhere recognize the hypnotic allure of a large and shapely breast. In The Big Book of Breasts, Dian Hanson explores the origins of mammary madness through three decades of natural big-breasted nudes. Starting with the World War II Bosom-Mania that spawned Russ Meyer, Howard Hughes's The Outlaw and Frederick's of Hollywood, Dian guides you over, around, and in between the dangerous curves of infamous models including Michelle Angelo, Candy Barr, Virginia Bell, Joan Brinkman, Lorraine Burnett, Lisa De Leeuw, Uschi Digard, Candye Kane, Jennie Lee, Sylvia McFarland, Margaret Middleton, Paula Page, June Palmer, Roberta Pedon, Rosina Revelle, Candy Samples, Tempest Storm, Linda West, June Wilkinson, Julie Wills, and dozens more, including Guinness World Record holder Norma Stitz, possessor of the World's Largest Natural Breasts. The 420 pages of this book contain the most beautiful and provocative black and white and color photos ever created of these iconic women, plus nine original interviews, including the first with Tempest Storm and Uschi Digard in over a decade, and the last with Candy Barr before her untimely death in 2005. In a world where silicone is now the norm, these spectacular real women stand as testament that nature knows best. The editor: Dian Hanson is a twenty-five-year veteran of men's magazine publishing. She began her career at Puritan magazine in 1976 and went on to edit a variety of titles, including Partner, Oui, Hooker, Outlaw Biker, and Juggs magazines. In 1987 she took over the ?60s title Leg Show and transformed it into the world's best-selling fetishpublication. Most recently, she authored TASCHEN's Terryworld, Tom of Finland: The Comic Collection and History of Men's Magazines six-volume set.

The life or death mask is in many ways the sculptural analogue of the photographic portrait. Both suggest direct traces from life, involve positive and negative, and evoke a mysterious connection between a living, breathing subject and a captured image. The drive to capture true likenesses in the early 19th century was partly generated by the pseudo- science of phrenology. As a by-product of this, cast collections such as those of the Edinburgh Phrenological Society, have preserved haunting likenesses via life and death masks from individuals living 150 to over 200 years ago.Through her photographs Joanna Kane has taken these subjects out of the categories and hierarchies of their phrenological context. They no longer appear as disembodied scientific specimens, but as photographically embodied portraits of individual men and women - many of whom lived before the invention or popular use of photography. The title, "The Somnambulists", is a reference to mesmerism and phreno-mesmerism, which were current at the time from which many of the casts originate from. The resulting portraits appear to exist in an ambiguous suspended state between life, death and sleep.

Taken over the course of more than a year of exclusive access, this work applies large format still life photography to the context of a unique prison community, E Wing at Kingston Prison in Portsmouth. For eight years this was Britain's only wing dedicated to holding elderly lifers: murderers, rapists, paedophiles and other violent criminals aged from their late 50s to over 80 years old. "Still Life: Killing Time", is not simply a reportage about a particular prison. Elements of metaphor, abstraction and documentary explore the experience of long term incarceration and the passage of time, and touch on how ageing and physical decline affect the prison environment. The claustrophobia of these close up, deliberate and regular compositions reflects both the nature of the place and the experience of working in E Wing.The recurring motifs - bars, squares, boxes, grids - show the segmentation and ordering of time and space that is fundamental to prison life, while the details of the inmates' possessions, notice-boards, walls, tables and bedsides suggest their state of mind and how they adapt to long term incarceration and getting old in an institution.