This practical book explains the basic rules of portraiture, as well as covering more complex ideas of image making. Set out in chronological order as a photographer would approach a shoot, it explains each step of the process, including post-production and printing.

Lunch with the Financial Times has been a permanent fixture in the Financial Times for almost 25 years, featuring presidents, film stars, musical icons and business leaders from around the world. The column is now as well-established institution which has reinvigorated the art of conversation in the convivial, intimate environment of a long boozy lunch. On its 25th anniversary, Lunch with the Financial Times 2 will showcase the most entertaining, incisive and fascinating interviews from the past five years including those with Edward Snowden, Bernie Ecclestone, Hilary Mantel, Sheryl Sandberg, Richard Branson, Rebecca Solnit, Emmerson Mnangagwa, Jordan Peterson, Nigel Farage, Woody Harrelson, Sepp Blatter, (pre-election) Donald Trump and Zoella, illustrated in full colour with James Ferguson's famous portraits.

Olivia Bee is celebrated for her dreamy, evocative portraits and landscapes rich with implied narratives of intimacy, freedom, and adventure. Olivia Bee: Kids in Love showcases two bodies of photographic work, including the series, Enveloped in a Dream, that first brought Bee recognition as a teenager. This first series offers a visual diary of girlhood friendship and the exploration of self, showcasing Bee’s unique ability to convey the bittersweet nostalgia of adolescence on the brink of adulthood and new possibilities. The second set of images, Kids in Love, is drawn from recent work and continues Bee’s photographic chronicle of her circle of friends and new loves, capturing both the pleasures and terrors of the fleeting passage of romanticized youth. While the work continues to evolve, what remains constant is her seductive use of color and photographic artifact, as well as the immediacy and charge of each image. Bee gives voice to the self-awareness and visual fluency of the millennial generation. Experiences are sharply felt, and easily communicated and shared, generating visual records that render these memories as significant as the moments themselves. Tavi Gevinson, founding editor of the online magazine Rookie and Bee’s frequent collaborator and model, writes about the work and about the role of images as social currency in today’s image-driven world.

In this book, photographs of celebrity impersonators are juxtaposed with past and present quotations from celebrities, exposing the true nature of this fixation on fame in a world where gossip blogs, supermarket tabloids and brazen paparazzi reign supreme.

Pregnant Pictures makes a vital contribution to the study of the social meanings of photographs by locating photographic images of pregnancy and bringing them into dialogue with contemporary visual theory, feminist work on the body, and current debates over the politics of reproduction. The volume collects over 100 photographs of pregnant women, the most complete photo archive of its kind in existence, including:
* medical photographs and family photographs since the turn of the century
* art photographs and advertisements for maternity clothing from the 1930s to the present
* photos from lay childbirth manuals from 1950 to present.
Sandra Matthews and Laura Wexler accompany the photos with an insightful analysis that provides the opportunity to rethink, in fresh terms, important issues surrounding the representation of women's bodies.

Even in paradise, adolescence is complicated. The photos in Coming of Age in Wonderland see teenagers simultaneously wedded to the tyranny of cool while rebelling against it. These portraits of Bermuda's teenagers are as stirring and unique as the island itself. Debra Friedman has a BFA from the School of the Museum of Fine Arts, Boston and an MFA from the Chicago Art Institute. Pamela Gordon Banks was the first woman, and youngest person, ever to serve as the Premier of Bermuda. Tom Butterfield is founder and executive director of the Masterworks Museum of Bermuda Art.

Cabinet cards were America's main format for photographic portraiture throughout the last quarter of the nineteenth century. Standardized at 61/2 x 41/4 inches, they were just large enough to reveal extensive detail, leading to the incorporation of elaborate poses, backdrops, and props. Inexpensive and sold by the dozen, they transformed getting one's portrait made from a formal event taken up once or twice in a lifetime into a commonplace practice shared with friends. The cards reinforced middle-class Americans' sense of family. They allowed people to show off their material achievements and comforts, and the best cards projected an informal immediacy that encouraged viewers to feel emotionally connected with those portrayed. The experience even led sitters to act out before the camera. By making photographs an easygoing fact of life, the cards forecast the snapshot and today's ubiquitous photo sharing. Organized by senior curator John Rohrbach, Acting Out is the first ever in-depth examination of the cabinet card phenomena. Full-color plates include over 100 cards at full size, providing a highly entertaining collection of these early versions of the selfie and ultimately demonstrating how cabinet cards made photography modern. Published in association with the Amon Carter Museum of American Art. Exhibition dates: Amon Carter Museum of American Art: August 15-November 1, 2020 Los Angeles County Museum of Art (LACMA): August 8-November 7, 2021

Tim Dirven won a World Press Photo Award with his picture of an Afghan woman, taken shortly after 9/11. Another photo of dancing flight attendants on a KLM airplane became famous after being bought by people around the world. Tim Dirven has been capturing iconic images for over 20 years. He defines his collected works as Karkas (carcass), because it centralises the architecture of man and animal, defining the essence of bodily existence. When everything has been eaten, the carcass is all that is left behind: the last witness. Similarly, this book is a search for the essence of existence. Dirven portrays no-nonsense people hardened by life, who are trying to find balance in an often insecure religious, cultural, political and ecological context.

Defining the Chief Executive via flash powder and selfie sticks Lincoln’s somber portraits. Lyndon Johnson’s swearing in. George W. Bush’s reaction to learning about the 9/11 attacks. Photography plays an indelible role in how we remember and define American presidents. Throughout history, presidents have actively participated in all aspects of photography, not only by sitting for photos but by taking and consuming them. Cara A. Finnegan ventures from a newly-discovered daguerreotype of John Quincy Adams to Barack Obama’s selfies to tell the stories of how presidents have participated in the medium’s transformative moments. As she shows, technological developments not only changed photography, but introduced new visual values that influence how we judge an image. At the same time, presidential photographs—as representations of leaders who symbolized the nation—sparked public debate on these values and their implications.An original journey through political history, Photographic Presidents reveals the intertwined evolution of an American institution and a medium that continues to define it.

The establishment of the Islamic Republic of Iran in 1979 meant women were forced to wear the hijab and photographs of them uncovered were forbidden. As a result, many photographers' studios were burnt to the ground, while remaining archives of invaluable glass-plate negatives were left to moulder in attics. Parisa Damandan spent over ten years accumulating an impressive collection of pioneering photographs from the early twentieth century, in her hometown of Isfahan. Recently emancipated women posing in various state of dress, Polish war refugees on their tortuous journey home after fleeing the Nazis, men in fashionable hats or in traditional turbans and cloaks - these portraits offer a remarkable window on the changing face of Iranian society during a period of transition from a traditional to a modern culture. Alongside these stunning images are essays on the development of portraiture in Isfahan, the social dimensions of portrait photography in Iran, and the power of the gaze.

Before Bunny Yeager was old enough to be one, she fantasized about becoming a Pin-Up girl. She realized her dream and much more. After building a successful modeling career, she moved behind the camera, in the 1950s, to become one of the most renowned glamour photographers in the world. Her work has appeared in magazines, calendars, posters, and several books. This book is a celebration of all the emancipated young women with beautiful faces and figures who posed for her in the 1950s, just as she embarked on her career as a professional photographer. There are nearly 200 photographs, all reproduced as Bunny took them, including full color and beautiful black and white works. This book will delight aficionados of the Pin-Up, historians of photography, and admirers of the human form.

Putting a new spin on old histories as my ten year old daughter stands in for a youthful me-the one I remember and the one I was never quite allowed to be-"Stories, 1986-88" pairs deadpan portraits with short narrative texts to bring the past into the present as we relive and rewrite my childhood stories through a restorative approach to image-making and storytelling.

`It was the best of times it was the worst of times.' Maligned, misunderstood and fetishized the 1980's stands as the decade when post-modern life began in the west, and London was at the epicenter of this shift. An explosion of creativity took place against a backdrop of radical social change. London became a city of tribes. The vast youth culture categories of the preceding decades shattered into shards. It was the decade that sub-culture as a way of life reached it's zenith before giving way to it's inevitable scene surfing conclusion. Ridgers documented this cultural moment obsessively. Punks, post-punks, cyber-punks, gothic punks, mods, hard mods, Trojan skins, racist skins, ska, reggae, dub, early electronica, synth pop, acid house, happy hardcore, Blitz Kids, New Romantics, Hip-Hop, Rap, Electro, Break Beat, Techno, Rave - these were all sub-cultural spaces with scenes attached in London in the 1980's. Unlike now, subcultures in the 1980's were not casual playthings - they were a way of life for their participants. They inspired profound loyalty. They were a beautiful a doomed flowering of the hope for a better world. Derek Ridger's exquisite street portrait photography has captured this creative decade beautifully.

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.

"This book is really two books. It is a biography, and it is also a pictorial retrospective of an actress whose greatest love affair was conceivably with the camera," wrote Norman Mailer in his 1973 biography, Marilyn. Now TASCHEN has paired Mailer's original text with Bert Stern's photographs from the legendary Last Sitting-widely considered the most intimate photographs of Monroe ever taken-to create a fitting tribute to the woman who, at the time of her death in 1962, was the world's most famous, a symbol of glamour and eroticism for an entire generation. But though she was feted and adored by her public, her private life was that of a little girl lost, desperate to find love and security. Mailer's Marilyn is beautiful, tragic, and complex. As Mailer reflects upon her life-from her bleak childhood through to the mysterious circumstances of her death-she emerges as a symbol of the bizarre decade during which she reigned as Hollywood's greatest female star. This book, conceived by Lawrence Schiller, Mailer's collaborator on five works, combines the author's masterful text with Stern's penetrating images of the 36-year-old Marilyn. Photographed for Vogue magazine over three days at the Bel-Air Hotel, Marilyn had never allowed such unfettered access, nor had she looked so breathtakingly beautiful. Six weeks later, mysteriously, she was dead. In this bold synthesis of literary classic and legendary portrait-sitting, Mailer and Stern lift the veils of confusion surrounding Monroe-the woman, the star, the sex symbol-and offer profound insight into an iconic figure whose true personality remains an enigma even today.

This volume explores the early history of the photographic studio and portrait in China and Japan. The institution of the photographic studio has received relatively little attention in the history of photography; contributors here investigate various manifestations of the studio as a place and as a space that was cultural, economic, and creative. Its authors also look closely at the studio portrait not as images alone, but also as collaborative ventures between studio operators and sitters, opportunities to invent new roles, images that merged the new medium with "traditional" visual practices, as well as the portrait's part in devising modern, gendered, nationalistic, and public identities for its subjects. As the first collection of its kind, Portraiture and Early Studio Photography in China and Japan analyzes the photographic likeness-its producers, subjects, viewers, and pictorial forms-and argues for the historical significance of the photographic studio as a specific and new space central to the formation of new identities and communities. Photography's identity as a transnational technology is thus explored through the local uses, adaptations, and assimilations of the imported medium, presenting modern images of their subjects in specific Japanese and Chinese contexts.

Underage is an award-winning photographic documentation aimed at understanding the minds of underage male prostitutes in Thailand in a most candid and visceral way. Photographer Ohm Phanphiroj uncovers the life, choice, and consequences that these young boys are experiencing. Underage prostitution results from several reasons, from being molested by family members and/or relatives, poverty, being a runaway, and drug addiction.Underage has been exhibited worldwide, among others at Newspace Center for Photography (2011), Sommerblut International Art Festival (2011), Noordelicht Photo Festival (2012), The Kinsey Institute (2013), Tally Beck Contemporary (2014), Miami Art Festival (2014), and Documentary Arts Asia (2014).The photographic project received multiple awards, i.e. Lightwork (2012), Newspace Center for Photography (2012), Documentary Arts Asia (2014), Columbia College fellowship (2015), Noor-Nikon (2015), Society for Photographic Education (2015).

Haunting photo images of naked male youth exploring raw desire in which the privacy of the model appears totally uninvaded, despite an ever-present rich sensuality.

Photographer, stylist and fashion editor Ferry van der Nat has worked for numerous fashion magazines and brands. Under the name Mr Polaroid, van der Nat began taking strong sculptural polaroids of male models. What started as a personal project evolved into a great collection of images and a celebration of male beauty. Mr Polaroid's first ever monograph contains over 200 of his best photographs. With contributions by Gert Jonkers (Fantastic Man) and Alan Prada (l'Uomo Vogue).

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

Bologna Portraits is the portrait of one of the most charming and least well-known Italian cities portrayed through the faces of the people who live there today. It started during the artist's many stays in the town. Discovering Bologna little by little, Jacopo Benassi took pictures, like a sort of notebook, of the faces of the most interesting people he met during his time there. After a few months he already had a large portfolio of people which, like in a mosaic, built a bigger portrait of the whole city today. Bologna is probably the best-kept secret of the Italian cities with a great past. Large-scale tourism has never affected it, but in recent years it has been discovered by a growing group of sophisticated travellers passionate about art, culture, cinema and food. The portraits are a mix of young artists, writers, minor and great musicians, leading businessmen, famous bar tenders, tailors, professors at the local university (the oldest in the Western world), personalities and international artists such as Nino Migliori and Luigi Ontani. All of them born or living in Bologna. The whole book is a study of real faces that are able to be meaningful and to tell a story, and recall a tradition like the study of faces by Pier Paolo Pasolini in some of his films, or Andy Warhol's Screen Tests. But at the same time, they recall a masterpiece like Un Paese, the book produced by Paul Strand and Cesare Zavattini. The book includes a text by art critic Antonio Grulli.