All across the Americas, from the 16th century onwards, enslaved Africans escaped their captors and struck out on their own. These runaways, having found their freedom, established their own communities or joined with indigenous peoples to forge new identities. Cimarron, borrowing a Spanish-American term for these fugitive former slaves, is a new series of photographic portraits of their descendants. From Brazil, Colombia, the Caribbean islands and Central America, as far as the southern United States, elaborate masquerades are staged that celebrate and keep alive the history and memory of African slaves and their creole or mixed-race descendants. Stock characters are portrayed in costume, or in grotesque or satirical representations. A huge variety of African tribal dress, wild ritual regalia and shimmering Mardi Gras outfits feature in breathtaking succession. Vividly coloured silks and cottons combine with woven fibres, leaves, feathers, and bodypaint; props include emblems of slavery and slavemasters - ropes, sticks, guns and machetes. These photographs record real people whose collective sense of memory, folk history and imagination dramatically challenges our expectations. Charles Freger's work has established a large and growing following among connoisseurs of contemporary photography, defining a new genre of documentary portraiture that extends and deepens our sense of the human past and the present.

This is a selection of photographs taken from 1929 to 1942.

Nuevo New York is a collection of portraits and interviews with influential Latin Americans who came to New York City to pursue their ambitions. The portraits are born out of a collaboration between two authors who made the journey from Latin America to New York themselves--photographer Hans Neumann (born in Peru), and fashion publicist Gabriel Rivera-Barraza (born in Mexico). Each figure included in Nuevo New York is an important player in the fields of fashion and the arts, having lived in New York City for at least five years and having gained recognition for their work. Neumann and Rivera-Barraza trace how their subjects came to be who they are today, and what role the city of New York has played in their trajectories. Interviewees include Andres Serrano, Candy Pratts Price, Carolina Herrera, Enrique Norten, Estrellita Brodsky, Francisco Costa, Jose Parla, Lazaro Hernandez, Maria Cornejo and Nina Garcia.

Authority, leadership, stability, benevolence, even grace: there are certain qualities that an official portrait should identify in a leader. Yet when the 191 member states of the United Nations were asked to submit the official portrait of their Head of State, the resulting gallery revealed much more. Despite the relatively straightforward exigencies of official portraiture and the legacy of a long tradition of the genre in paintings, sculpture, and public monuments, the diversity of these images surprises. They range in scope from semi-private snapshots to staged tableaux in generic offices, from full-length portraits in front of stately buildings to close-ups before national emblems. Some portraits invoke the bureaucratic machinery and the strategizing that went into their production, while others seem more indebted to personal whimsy; even the banality of the everyday snapshot occasionally creeps into these staged displays of official power. In Official Portraits, editorial influence is kept to a minimum. The selection of a single image to be reproduced in this volume was left to the states themselves. Organized alphabetically according to leader's name, this is not a handbook to put faces to nations; rather, the arbitrariness of their arrangement emphasizes the contrivance of these images of power. Official Portraits allows these images to speak for themselves.

"So many people take those simple snapshots of life, but there's something about Eggleston that no one can match." -Sofia Coppola The eminent American photographer William Eggleston (b. 1939) was a pioneer in exploring the artistic potential of color photography. Eggleston made a name for himself with his eccentric, unexpected compositions of everyday life that were nonetheless rife with implied narrative, elevating the commonplace to art. This sumptuously illustrated book features Eggleston's masterful portraits, including the artist's first color photograph-a study of a young clerk pushing shopping carts at a supermarket-from his Los Alamos series. There are many other familiar and beloved images as well as some previously unseen photographs from his long and productive career. Many of Eggleston's poetic photographs portray life in his home state of Tennessee, and the people he encountered there. Eggleston frequented the 1970s Memphis club scene, where he met, befriended, and photographed musicians such as fellow Southerners Alex Chilton and Ike Turner. He also photographed celebrities including Dennis Hopper, Walter Hopps, and Eudora Welty, and became a fixture of Andy Warhol's Factory scene, dating the Warhol protege Viva. Over the past half century, he has created a powerful and enduring body of work featuring friends and family, musicians, artists, and strangers. In addition to the lavish reproductions of Eggleston's portraits, this volume includes an essay and chronology, plus an interview with Eggleston and his close family members that gives new insights into his images and artistic process.

Family Resemblance is a multiyear photo project that documents and celebrates people who are genetically related and bear a strong resemblance to each other. As an adopted person, photographer Eric Mueller always wondered how it would feel to look like someone else. At age forty-five, when he saw a photo of his birth mother for the first time, it triggered the idea to photograph family members with shared physical characteristics. Over the course of three years Mueller photographed around 700 people - from newborns to nonagenarians - and asked them what it's like to resemble each other. The result is Family Resemblance, a book exploring the special bond that certain family members share. Interlaced with the photos are quotes from project participants, revealing how resembling one another has affected their lives and relationships.

For years, when traveling, I found myself getting in conversations with people when I took their pictures, and started to consult with them-showing them the digital shot, then retaking it until we had one they were happy with. It gave us a reason to interact, and a way to do so, even when we shared no language in common. These portraits are the result of those extended sessions, those moments of accidental intimacy on the road. Readers of my three travel books (Drinking Mare's Milk on the Roof of the World, And the Monkey Learned Nothing, and The Kindness of Strangers) may recognize some of the people, because a number of them feature in those stories. But each stands on its own-each a testament to the human ability to connect across the fault lines that keep us precariously divided. And each is a tribute to the accidental intimacy of the road.

Rihanna, John Turturro, Angela Merkel, Martin Kippenberger, Mario Draghi, and Miss Piggy share two things: they are world famous, and they have all stood in front of the camera of Anatol Kotte. His unique portrait photographs have featured in publications such as Time, Die Zeit, Stern, or L’Uomo Vogue. But what makes Kotte’s photographs special? At first glance they are cool and distant, and at second glance emotional and dramatic. They permit those being portrayed to discover very different aspects of themselves. Kotte approaches them candidly, seeks a special gaze, an unexpected demeanor or environment—preferably in black and white, always moving. The portraits are also interspersed with surprising views of cities and landscapes. The world and individuals become icons, and we can take a very new look at them.

One of a handful of artists to emerge from Andy Warhol's celebrity-focused Interview magazine, Matthew Rolston is a well-established icon of Hollywood photography. Alongside such luminaries as Herb Ritts and Greg Gorman, Rolston was a member of an influential group of photographers (among them, Bruce Weber, Annie Leibovitz, and Steven Meisel) who came from the 1980s magazine scene. Rolston helped define the era's take on celebrity image-making, gender bending, and much more. Edited by Los Angeles-based gallerist and curator David Fahey, this book, Rolston's fourth monograph, presents a stunning array of portraits that beautifully capture the decade and its myriad talents. From Michael Jackson and Madonna, to Prince, George Michael, and Cyndi Lauper, the images reflect a seamless blend of style, skill, and scintillation. This volume features over 100 mesmerising photographs selected from Rolston's extensive body of work, centering on his unforgettable portraits of the era's most famous personalities. With essays by authors Pat Hackett, Andy Warhol's longtime collaborator and diarist; Colin Westerbeck, noted photographic curator and expert on American photographer Irving Penn; and Charles Churchward, longtime creative director of Vogue and Vanity Fair and author of The Golden Hour, a definitive biography of Herb Ritts, Hollywood Royale: Out of the School of Los Angeles, paints a fascinating picture of an indelible image-maker and the film stars, models, and artists he immortalised during this period. Rolston's photographs recall the glamour of "Old Hollywood" with postmodern irony, helping to point the way towards the cult of fame we live with today.

Portable studio documents contemporary British youth culture, and was created in collaboration with the young people Appleson met and photographed on the streets of Birmingham in 2014. Inspired by the way identities are now curated online, the project works with a wide range of individuals to create an 'archive' of found and commissioned material, exploring identity and experience as expansive, multimedia portraits. Portable Studio inverts the traditional idea of the studio portrait/street photograph - the 'snapshot' is now just the starting point. In 2014 Trevor Appleson was commissioned by MAC Birmingham and the Library of Birmingham to create a new body of work exploring the city's youth culture. Equipped with a film camera and a plain black cloth to use as a backdrop for his photographs, Appleson went out into the streets of Birmingham to its music venues and its shopping districts, in daytime and at night and photographed its youth, from ravers to girl guides, most in their teens and early twenties. Portable Studio will feature approximately 200 portraits alongside a fascinating archive donated by the sitters; a unique mix of physical and digital material ranging from crumpled diaries to selfies posted on social media, the contents of 'memory boxes', to vintage family photographs and Google search histories. The book is divided into three sections: Portraits: grouped by location and 'tribe', ravers, punks, rockers, school kids etc. Archives: 70 personal archives from selected subjects invited to collaborate further. Index: an annotated index completes the project with notes and descriptions. Supported by Arts Council England, Portable Studio is a critical document of contemporary British youth culture, made in collaboration with a selection of the 700 young people Appleson photographed for his commission.

There is no more gruesome and tragic record in the history of the 20th century than the photographs taken at the liberation of the concentration camps in Germany after World War II. These images are seared into our collective memory as brutal evidence of the atrocity of war and the evil of which humanity is capable. But the horrific content of these images has somewhat obscured their status as historical documents. This text reveals the unique significance of the concentration camp photographs - how they have become the basis of our memory of the Holocaust and how they have affected our presentations and perceptions of contemporary history's subsequent atrocities. Prior to the Holocaust, news reporters primarily told their stories in words, using photographs almost as an afterthought. When the camps were liberated, however, journalists and reporters turned to photography to bear witness to the unspeakable and indescribable scenes of the dead and dying. Through this process, the text argues, photographs earned a new legitimacy as tools of reporting. The author shows how, since the end of the war, the use of "atrocity photos" has fallen into patterns - or waves of memory - determined by the different roles that the photos occupy in the public imagination. Most recently, for example, the images from Bosnia hark back to the Holocaust imagery, an echo that can actually dilute our response to what happened both then and now.

In a follow-up to the popular The New Paris, Lindsey Tramuta explores the impact that the women of Paris have had on the rapidly evolving culture of their city   The New Parisienne focuses on one of the city’s most prominent features, its women. Lifting the veil on the mythologized Parisian woman—white, lithe, ever fashionable—Lindsey Tramuta demystifies this oversimplified archetype and recasts the women of Paris as they truly are, in all their complexity. Featuring 50 activists, creators, educators, visionaries, and disruptors—like Leïla Slimani, Lauren Bastide, and Mayor Anne Hidalgo—the book reveals Paris as a blossoming cultural center of feminine power. Both the featured women and Tramuta herself offer up favorite destinations and women-owned businesses, including beloved shops, artistic venues, bistros, and more. The New Parisienne showcases “Parisianness� in all its multiplicity, highlighting those who are bucking tradition, making names for themselves, and transforming the city.

Street Culture is a stunning collection of photographs representing women and men of colour who exhibit a unique style. Seleen Saleh's photographs reveal individuality, fearlessness, and creativity in the most vibrant beings who collectively represent street style. This style is as varied as the people; it is a personal expression that changes day to day. It is an expression of a person's culture, mood, influences, and aesthetics. Street style originated in the street where top designers look for inspiration for their next collections. The book preserves the integrity of street style and features some of the muses that have been forgotten or were never acknowledged. In the book Seleen combines photographs from her work at Essence Magazine with new images of jaw-dropping, creative and colourful moments. As a lover of fashion, art, and people, Seleen brings out the authentic nature of these known and unknown muses. Each person depicted here can be considered a brilliant artist in his or her own right. These portraits were taken in New York City - the perfect global destination - diverse and open and where people are not afraid to tell you who they are. There is an underfed audience for this book; the world is waking up and wants to see more diversity and more eclectic styles.

The birth of photography coincided with the expansion of European imperialism in the Middle East, and some of the medium's earliest images are Orientalist pictures taken by Europeans in such places as Cairo and Jerusalem--photographs that have long shaped and distorted the Western visual imagination of the region. But the Middle East had many of its own photographers, collectors, and patrons. In this book, Stephen Sheehi presents a groundbreaking new account of early photography in the Arab world. The Arab Imago concentrates primarily on studio portraits by Arab and Armenian photographers in the late Ottoman Empire. Examining previously known studios such as Abdullah Freres, Pascal Sebah, Garabed Krikorian, and Khalil Raad, the book also provides the first account of other pioneers such as Georges and Louis Saboungi, the Kova Brothers, Muhammad Sadiq Bey, and Ibrahim Rif'at Pasha--as well as the first detailed look at early photographs of the annual pilgrimage to Mecca. In addition, the book explores indigenous photography manuals and albums, newspapers, scientific journals, and fiction. Featuring extensive previously unpublished images, The Arab Imago shows how native photography played an essential role in the creation of modern Arab societies in Egypt, Palestine, Syria, and Lebanon before the First World War. At the same time, the book overturns Eurocentric and Orientalist understandings of indigenous photography and challenges previous histories of the medium.

When Justin O'Neill and his wife separated after thirteen years of marriage, he was unsure how he would ever recover. From the vantage point of professional photographer and photo editor, and with camera in hand, he decided to channel his feelings into imagery, and turned his lens to the most important subject in his life - his daughter Stella. With just one click of the shutter release, he had sparked the creative collaboration between a father and daughter trying to navigate their new normal. On Stellar Rays is the personal exploration and interaction of Justin and Stella as they forged a path to a newly dynamic relationship. Through fifty stunning black-and-white photographs, this narrative is a visual representation of the many stages a parent and a child encounter when faced with divorce and their journey through it together - from mourning and loss to prospect and new beginnings. The profound emotional impact of these extraordinary photographs makes On Stellar Rays indispensable for those examining the effects of a family in crisis, including potential positive outcomes of a painful situation.

In this ambitious global project, two hundred women share inspiring stories of success and courage, love and pain, redemption, and generosity. This updated, abridged edition includes powerful new interviews and stirring quotes alongside selections from the original book, all answering the same five questions. Presented in an accessible, chunky paperback brimming with stunning photographs and empowering stories, this new edition is an illuminating read for the modern woman and a lovely gift for mothers, sisters, daughters, and friends. * Equality is explored through diverse interviews with women from around the world * Brave insightful interviews with women -- famous as well as unknown, rich and poor, black and white, leaders, victims, survivors and heroes * Women featured include Ruth Bader Ginsburg, Angela Davis, Alice Waters, Amber Heard, and Isabel Allende Fans of In the Company of Women, The Atlas of Beauty, and Bad Girls Throughout History will love this book. This book is perfect for: * Fine art photography buffs * Portraits book fans * Community organizers

Only Us is a comprehensive, photographic portrait of humanity; a tapestry of mankind. As a species we are incredibly diverse, yet remarkably similar in so many ways. Our ability to adapt is unrivalled; from the four corners of the planet there are few places we have not succeeded in inhabiting. Only Us is a unique look at what essentially makes us human. Intended to expand the appreciation of its audience, drawing upon parallels we all have, transporting the viewer from their living room to far flung lands full of colour, inspiration and natural beauty.

Become acquainted with 16 of the world's most talented and highly influential female tattoo artists through interviews and more than 600 photographs of their best work. Discover insights into their inspiration, artistic motifs, tattooing methods, and opinions on the state of tattoo culture today and the importance of social media and attending conventions worldwide. In a rare break from their hard work, these women reflect on their journeys toward achieving their dreams of becoming artists, and draw you into their universe of beauty and acceptance. Hailing from Australia, the Czech Republic, Germany, Minnesota, New York, Russia, Scotland, Slovakia, and beyond, these dedicated professionals aren't bothered by the fact that men still outnumber women in today's international tattoo industry. In fact, they embrace the imbalance and focus their energies instead on perfecting their techniques and connecting with their loyal customers.

Between 1908 and 1917, the American photographer and sociologist Lewis Hine (1874-1940) took some of the most memorable pictures of child workers ever made. Traveling around the United States while working for the National Child Labor Committee, he photographed children in textile mills, coal mines, and factories from Vermont and Massachusetts to Georgia, Tennessee, and Missouri. Using his camera as a tool of social activism, Hine had a major influence on the development of documentary photography. But many of his pictures transcend their original purpose. Concentrating on these photographs, Alexander Nemerov reveals the special eeriness of Hine's beautiful and disturbing work as never before. Richly illustrated, the book also includes arresting contemporary photographs by Jason Francisco of the places Hine documented. Soulmaker is a striking new meditation on Hine's photographs. It explores how Hine's children lived in time, even how they might continue to live for all time. Thinking about what the mill would be like after he was gone, after the children were gone, Hine intuited what lives and dies in the second a photograph is made. His photographs seek the beauty, fragility, and terror of moments on earth.

An honest and personal book about creating better portraits and becoming your best self. The most successful portraits take us well beyond the surface of how someone looks and show us the inner essence of who someone is. They reveal character, soul, and depth. They uncover hidden hopes and profound truths, revealing that authentic and deeply human light that shines within. And while technical expertise is undoubtedly important, it's not the light, camera, or pose that creates a great portrait. It's you, and it's the connection you create with the subject that makes all the difference. In Authentic Portraits, photographer Chris Orwig teaches you that the secret to creating meaningful portraits is simple: curiosity, empathy, kindness, and soul...plus a bit of technique. While Chris spends significant time on the fundamentals of "getting the shot"--working with natural light, nailing focus, dialing in the correct exposure, effectively posing and directing the subject, intentionally composing the frame--he also passionately discusses the need for personal development, creative collaboration, and connection with the subject. Because who you are directly and deeply affects what you create, and it is only through cultivating your own inner light that you will be able to bring it out in your subjects. Filled with instruction, insight, and inspiration, Authentic Portraits is an honest and personal book about creating better frames. It's also about becoming your best self. Take the journey, and you'll learn to find your vision and voice, bring intention to your photography and your life, embrace mystery, and understand the importance of gratitude and empathy. Along the way, you will teach the camera to see in a way that replicates how you feel, and you'll find you have all you need to create work of lasting significance. TABLE OF CONTENTS Part 1: The Foundation of Authentic Portraiture 01: Authentic Portraits 02: Beneath the Surface 03: The Paradox of Portraiture 04: Harmony and Discord 05: Thread 06: The Search Part 2: The Art of Authentic Portraiture 07: Light and Soul 08: Invisible Light 09: Defining and Cultivating Soul 10: Silence 11: Wabi Sabi Part 3: Mastering Technique, Gear, and Light 12: Finding the Perfect Portrait Lens 13: Exposure Settings 14: Seven Principles of Natural Light 15: Working with Natural Light Part 4: The Sitter and the Subject 16: Finding Subjects 17: Finding and Approaching People You Want to Photograph 18: Pre-Shoot Prep 19: Preparing Yourself 20: Photograph People, Not Labels Part 5: Posing, Directing, and Connecting 21: Defining Your Directorial Style 22: Practical Posing Tips 23: Connecting with the Subject 24: Unlikely Inspiration for Connecting 25: The Four-Step Approach Part 6: Camera Work 26: Composition 27: This to That Part 7: Stepping Up Your Game 28: The Other Side of the Lens 29: Courage 30: Inner Art 31: Gratitude 32: FAQ 33: The Journey Ahead Thanks Image Details Index

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.

Their faces look out across a chasm of time. Stern and often stiff, they wear the high collars and hoop skirts, buckskins and ceremonial feathers of another era. The names of some are familiar--Teddy Roosevelt, Mark Twain, Sitting Bull, Annie Oakley. The names of others may be less well known, but they played a significant role in re-creating the American West. These are all people of the West, and their portraits give us a unique glimpse into a lost time and place.

"Faces of the Frontier" showcases more than 120 photographic portraits of leaders, statesmen, soldiers, laborers, activists, criminals, and others, all posed before the cameras that made their way to nearly every mining shanty-town and frontier outpost on the prairie. Drawing primarily on the collection of the National Portrait Gallery, this book depicts many of the people who helped transform the West between the end of the Mexican War and passage of the Indian Citizenship Act.

Accompanying the portraits are an introduction and two essays that provide historical context and help frame their interpretation. Frank Goodyear explores how photography influenced Americans' understanding of the West by giving the region a face and by shaping public responses to western issues. Richard White questions the notion that these photographs accurately represent individuals and argues that the portraits' subjects participated in a process that idealized them as types.

This handsome volume is not only a record of the people we associate with the West during a remarkably formative eighty years but also a key to understanding what Americans then saw in the West, and how they saw themselves.

We love them. Rock stars, movie stars, icons of the art world. And we love pictures of them. Most portraits we see today document our abstract ideas of what's best and what's worst - in them and in ourselves. That's why they work. Portraiture as a means of artistic expression and human understanding remains important and vital. It is certainly a great aspect of Soren Ronholt's work: the invisible dialogue between the people he portrays and himself is undeniable. The majority of his portrayed characters may be famous, but that's not the point. He uses every ounce of his empathy to create images of real people. Despite the clever, accentuating mood and strong, often monochromatic style - what he seeks is the truth behind the face.