"Who doesn't know Paul Newman? The man with the beautiful blue eyes, the chiselled face and body, the 50-plus years of memorable acting and directing roles, the awards, the movie-star marriage. Well, it turns out, there is lots more to know." - Parade Magazine "Newman's preternaturally piercing baby blue eyes shine through in every picture, and he was well aware of how his fame rested on the colour of his irises." - Peter Sheridan, Daily Express "Hollywood Hunk Paul Newman as you've never seen him before." - Yahoo! News "Paired with raw and unvarnished commentary from the photographers themselves, Newman's incomparable authenticity and appealing persona bleed through each page." - Newsweek Once, when asked how he'd like to be remembered, Paul Newman replied: "I'd like to be remembered as a guy who tried. Tried to be part of his times, tried to help people communicate with one another, tried to find some decency in his own life, tried to extend himself as a human being." As an actor who became a film star, Newman repeatedly tapped into his times and in doing so redefined what movie stardom could be. Newman was a new kind of movie star, bringing a particular authenticity, intensity and sensitivity to his performances. Throughout his career, Newman was extensively photographed: these images enriched film audiences' connection to him as a cool and graceful presence both on and off-screen. Milton Greene, Douglas Kirkland, Lawrence Fried, Terry O'Neill, Al Satterwhite and Eva Sereny are amongst the photographers who worked with Newman on and off-set across his career. From early stage work with his wife, Joanne Woodward, to his love of racing cars, to the essential 1980s drama Absence of Malice to the great success of the new western Butch Cassidy and the Sundance Kid and the cult favourites, Pocket Money and The Life and Times of Judge Roy Bean, Newman's movies were an essential part of American culture. With comment and contributions from the photographers, Paul Newman: Blue Eyed Cool, gathers together portraits, stage, racing and on-set photography - including never before seen images - in a celebration of an actor who was always... cool. Paul Newman: Blue Eyed Cool is a must-have for fans who see in Newman's work and in his life a true hero.

This work features approximately 100 detailed historic photographs from The Francis Frith Collection with extended captions and full introduction. Suitable for tourists, local historians and general readers.

Following up on her highly praised bestseller "Men Before 10 a.m.," celebrity photographer Veronique Vial completes her wonderfully intimate and revealing portrait of the sexes with "Women Before 10 a.m.," a captivating collection of your favorite fashion, cinematic, and pop culture beauties, starlets, and models before ten o'clock in the morning.
Caught with Vial's friendly lens in all their unadorned morning glory--and in the act of waking, snuggling, canoodling, bathing, getting dressed, smoking a cigarette, eating breakfast, or feeding the kids--are today's sexiest and most sought after actresses, models, musicians, and writers from the U.S. and Europe. The results are humorous, touching, elegant, sexy, and very, very feminine.

This work features approximately 150 detailed historic photographs from The Francis Frith Collection with extended captions and full introduction. Suitable for tourists, local historians and general readers.

Compelling and prophetic, Dorothy Day is one of the most enduring icons of American Catholicism. In the depths of the Great Depression and guided by the Works of Mercy, Day, a journalist at the time, published a newspaper, the Catholic Worker, and co-founded a movement dedicated to the poorest of the poor, while living with them and sharing their poverty. In 1955, Vivian Cherry, a documentary photographer known for her disturbing and insightful work portraying social issues, was given unprecedented access to the Catholic Worker house of hospitality in New York City, its two farms, and to Day herself. While much has been written about Day, the portrait that emerges from Cherry's intimate lens is unrivaled. From the image of the line of men waiting for soup outside St. Joseph's on Chrystie Street to pictures of Day and others at work and in prayer, Cherry's photographs offer a uniquely personal and poetic glimpse into the life of the movement and its founder. In this beautiful new book, more than sixty photographs-many published here for the first time-are accompanied by excerpts of Day's writings gleaned from her column "On Pilgrimage" and other articles published in the Catholic Worker between 1933 and 1980. The result is a powerful visual and textual memoir capturing the life and times of one of the most significant and influential North American Catholics of the twentieth century. The aptly paired images and words bring new life to Day's political and personal passions and reflect with clarity and simplicity the essential work and philosophies of the Catholic Worker, which continue to thrive today. The Introduction and additional commentary by Day's granddaughter Kate Hennessy provides rich contextual information about the two women and what she sees as their collaboration in this book. In 2000, twenty years after her death, Archbishop of New York John J. O'Connor of New York City opened the cause for Dorothy Day's canonization, and the Vatican conferred on her the title of Servant of God. The Catholic Worker continues to flourish, with more than 200 affiliated houses in the United States and overseas. The miracle of this enduring appeal lies in Day's unique paradigm of vision, conscience, and a life of sacrifice that is one not of martyrdom but of joy, richness, and generosity-vividly portrayed through these photographs and excerpts.

This photographic memoir of Liverpool features 100 detailed historical photographs from The Francis Frith Collection, with extended captions and a full introduction. The photographs show how Liverpool has changed over the 20th century.

Around 100 finely-detailed photographs of Manchester in Victorian and Edwardian times feature in this photographic memoir from the world-famous Frith archive, with extended captions to pictures and a full introduction

100 women bare all in an empowering collection of photographs and interviews about Womanhood. Vagina, vulva, lady garden, pussy, beaver, cunt, fanny... whatever you call it most women have no idea what's 'down there'. Culturally and personally, no body part inspires love and hate, fear and lust, worship and desecration in the same way. From smooth Barbie dolls to internet porn, girls and women grow up with a very narrow view of what they should look like, even though in reality there is an enormous range. Womanhood departs from the 'ideal vagina' and presents the gentle un-airbrushed truth, allowing us to understand and celebrate our diversity. For the first time, 100 brave and beautiful women reveal their bodies and stories on their own terms, talking about how they feel about pleasure, sex, pain, trauma, birth, motherhood, menstruation, menopause, gender, sexuality and simply being a woman.

It has been almost a generation since Sebastiao Salgado first published Exodus but the story it tells, of fraught human movement around the globe, has changed little in 16 years. The push and pull factors may shift, the nexus of conflict relocates from Rwanda to Syria, but the people who leave their homes tell the same tale: deprivation, hardship, and glimmers of hope, plotted along a journey of great psychological, as well as physical, toil. Salgado spent six years with migrant peoples, visiting more than 35 countries to document displacement on the road, in camps, and in overcrowded city slums where new arrivals often end up. His project includes Latin Americans entering the United States, Jews leaving the former Soviet Union, Kosovars fleeing into Albania, the Hutu refugees of Rwanda, as well as the first "boat people" of Arabs and sub-Saharan Africans trying to reach Europe across the Mediterranean ea. His images feature those who know where they are going and those who are simply in flight, relieved to be alive and uninjured enough to run. The faces he meets present dignity and compassion in the most bitter of circumstances, but also the many ravaged marks of violence, hatred, and greed. With his particular eye for detail and motion, Salgado captures the heart-stopping moments of migratory movement, as much as the mass flux. There are laden trucks, crowded boats, and camps stretched out to a clouded horizon, and then there is the small, bandaged leg; the fingerprint on a page; the interview with a border guard; the bundle and baby clutched to a mother's breast. Insisting on the scale of the migrant phenomenon, Salgado also asserts, with characteristic humanism, the personal story within the overwhelming numbers. Against the indistinct faces of televised footage or the crowds caught beneath a newspaper headline, what we find here are portraits of individual identities, even in the abyss of a lost land, home, and, often, loved ones. At the same time, Salgado also declares the commonality of the migrant situation as a shared, global experience. He summons his viewers not simply as spectators of the refugee and exile suffering, but as actors in the social, political, economic, and environmental shifts which contribute to the migratory phenomenon. As the boats bobbing up on the Greek and Italian coastline bring migration home to Europe like no mass movement since the Second World War, Exodus cries out not only for our heightened awareness but also for responsibility and engagement. In face of the scarred bodies, the hundreds of bare feet on hot tarmac, our imperative is not to look on in compassion, but, in Salgado's own words, to temper our behaviors in a "new regimen of coexistence."

Throughout Les McCann s incredible jazz career, he took hundreds of photos at clubs, studios, and festivals around the world and documented the vibrant cultural life of jazz and soul between 1960 and 1980. These photos include a very young Stevie Wonder, Nina Simone, Sammy Davis Jr., John Coltrane, Aretha Franklin, Nancy Wilson, Richard Pryor, Quincy Jones, Tina Turner, Miles Davis, Cannonball Adderly, Louis Armstrong, Count Basie, B.B. King, Errol Garner, Stanley Clarke, Bill Evans, Lionel Hampton, and other black celebrities, such as Bill Cosby, Muhammed Ali, and Stokely Carmichael to name but a few. These photos are characterized by their intimacy, and the cross-section of names listed is merely the tip of the iceberg. The book features candid commentary by McCann himself and is curated by Pat Thomas (Listen, Whitey : The Sights and Sounds of Black Power 1965-1975) and maverick music producer Alan Abrahams (Pure Prairie League, Joan Baez, Stanley Turrentine, Kris Kristofferson, Taj Mahal)."

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.

An innovative and insightful look at our relationship with animals in the age of the Anthropocene from bestselling author Henry Carroll with original images from an innovative array of contemporary photographers See through the eyes of a new generation of photographers responding to the rapidly unfolding issues shaping our lives. In this series of small, revealing, and beautifully presented books, Henry Carroll, the bestselling photography writer of the last decade, considers the ideas behind images to present personal perspectives on climate change, race, sexuality, gender, faith, inequality, beauty, power, and the natural world. In this second book of the series, ANIMALS, Carroll deep-dives into an ecosystem of contemporary images to consider how we relate to animals in the Anthropocene. His accessible analysis of emotive imagery suggests that our appreciation for some animals and disregard, or repulsion, for others is shaped by our own physicality as much as theirs. He shows how the conventions of natural history offer a very politicized understanding of fauna and how the role of animals as spiritual, cultural, and personal symbols can be an equally valid means of classification. Carroll reflects on the psychological power struggles infusing our daily interactions with animals and unpacks the photographers' visual insights relating to our treatment of animals, whether it's the way we pamper them as pets or consume them to excess. In this diverse collection of arresting images and engaging text, Carroll regards the photographers as modern-day philosophers, original thinkers who show us how to fuse technique, concept, and imagination in order to pose intriguing questions about the animal kingdom and human nature. For both the creators and consumers of images, this timely book contains a treasure trove of meaningful visual reflections that will prompt you to rethink your relationship with animals both domestic and wild.

The exuberant, exhilarating photographs of dogs underwater that have become a sensation
From the water's surface, it's a simple exercise: a dog's leap, a splash, and then a wet head surfacing with a ball, triumphant.
But beneath the water is a chaotic ballet of bared teeth and bubbles, paddling paws, fur and ears billowing in the currents. From leaping Lab to diving Dachshund, the water is where a dog's distinct personality shines through; some lounge in the current, paddling slowly, but others arch their bodies to cut through the water with the focus and determination of a shark.
In more than eighty portraits, award-winning pet photographer and animal rights activist Seth Casteel captures new sides of our old friends with vibrant underwater photography that makes it impossible to look away. Each image bubbles with exuberance and life, a striking reminder that even in the most loveable and domesticated dog, there are more primal forces at work. In "Underwater Dogs," Seth Casteel gives playful and energetic testament to the rough-and-tumble joy that our dogs bring into our lives.

Prepare to enter a fantasy world. A world where clothes get folded just so, delicious dinners await, and flatulence is just not that funny. Give the fairer sex what they really wantbeautiful PG photos of hunky men cooking, listening, asking for directions, accompanied by steamy captions: "I love a clean house!" or "As long as I have two legs to walk on, you'll never take out the trash." Now this is porn that will leave women begging for more!

Avant-garde photographer Alex Kayser studies the enigma of human physiognomy; the 184 models in this book ranged widely in age and come from all walks of life, but share one feature: they are bald. All of the photographers are posed, lit, and cropped identically, so that the images are refined to the sparest of head shots. The subjects are artists, actors, lawyers, gourmet chefs, heavyweight boxers, and chiropractors, and several of them are well-known, but in the very refined presentation of Kayser's photographs they become a fascinating exercise in how we read faces and human identity.

The text includes an interview with Kayser, quotes from some of the models describing everything from Zen philosophy to a favorite band of razor, and an afterword by National Book Award winner of Richard Howard.

In this first-ever showcase of his work, Gregory Heisler, one of professional photography's most respected practitioners, shares 50 iconic portraits of celebrities, athletes, and world leaders, along with fascinating, thoughtful, often humorous stories about how the images were made. From his famously controversial portrait of President George H.W. Bush (which led to the revocation of Heisler's White House clearance) to his evocative post-9/11 Time magazine cover of Rudolph Giuliani, to stunning portraits of Julia Roberts, Denzel Washington, Hillary Clinton, Michael Phelps, Muhammad Ali, and many more, Heisler reveals the creative and technical processes that led to each frame. For Heisler's fans and all lovers of photography, Gregory Heisler: 50 Portraits offers not only a gorgeous collection of both black-and-white and color portraits, but an engrossing look at the rarely seen art of a master photographer at work. With a foreword by New York City mayor Michael R. Bloomberg.

This book examines the practice of portraits as a way in to grasping the paradoxes of subjectivity. To Nancy, the portrait is suspended between likeness and strangeness, identity and distance, representation and presentation, exactitude and forcefulness. It can identify an individual, but it can also express the dynamics by means of which its subject advances and withdraws. The book consists of two extended essays written a decade apart but in close conversation, in which Nancy considers the range of aspirations articulated by the portrait. Heavily illustrated, it includes a newly written preface bringing the two essays together and a substantial Introduction by Jeffrey Librett, which places Nancy's work within the range of thinking of aesthetics and the subject, from religion, to aesthetics, to psychoanalysis. Though undergirded by a powerful grasp of the philosophical and psychoanalytic tradition that has rendered our sense of the subject so problematic, Nancy's book is at heart a delightful, unpretentious reading of three dozen portraits, from ancient drinking mugs to recent experimental or parodic pieces in which the artistic representation of a sitter is made from their blood, germ cultures, or DNA. The contemporary world of ubiquitous photos, Nancy argues, in no way makes the portrait a thing of the past. On the contrary, the forms of appearing that mark the portrait continue to challenge how we see the bodies and representations that dominate our world.

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

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.

In ancient times, older women were the keepers of primal mysteries and were revered for their special wisdom. For this very special book, Joyce Tenneson traveled throughout America to photograph and interview women ages 65 to l00. What she found was a revelation—women who were vital, energetic, and deeply beautiful, inside and out. The 80 portraits are of women from all walks of life from the famous, such as Sandra Day O'Connor, Julie Harris, and Angela Lansbury, to the ordinary, such as our mothers and grandmothers. Tenneson's compelling and compassionate portraits, accompanied by short poignant statements from these remarkable women about the experience of aging, will help to reawaken us to the power and wisdom of our elders.

"Vandekeybus brought into focus a whole new genre of modern dance...Combat rolls, breakneck sprints and savagely wrestled duets became the defining vocabulary of a new generation." The Guardian. In 2016, Wim Vandekeybus' company Ultima Vez celebrates its 30th birthday. Never before has his oeuvre been recorded in a book. Until now. This extraordinary book is a visual trip through the most powerful images from his repertoire, a quest for the ideas and themes that inspire him. It aso contains unpublished texts, notes and scripts from his shows and films. A number of compagnons de route, such as David Byrne, Mauro Pawlowski, and Peter Verhelst, offer a personal textual contribution. Choreographer, filmmaker and photographer Wim Vandekeybus and his company Ultima Vez are at the top of the dance industry in Belgium - and around the world. After a cooperation with Jan Fabre, Vandekeybus founded his very own company Ultima Vez in 1986. His first performance, What the Body Does Not Remember (1987), was an international success and was awarded a Bessie Award (New York Dance and Performance Award), a prize awarded for pioneering work.