In every crisis situation, children are the greatest victims. Physically weak, they are often the first to succumb to hunger, disease, and dehydration. Innocent to the workings and failings of the world, they are unable to understand why there is danger, why there are people who want to hurt them, or why they must leave, perhaps quite suddenly, and abandon their schools, their friends, and their home. In this companion series to Exodus, Sebastiao Salgado presents 90 portraits of the youngest exiles, migrants, and refugees. His subjects are from different countries, victims to different crises, but they are all on the move, and all under the age of 15. Through his extensive refugee project, what struck Salgado about these boys and girls was not only the implicit innocence in their suffering but also their radiant reserves of energy and enthusiasm, even in the most miserable of circumstances. From roadside refuges in Angola and Burundi to city slums in Brazil and sprawling camps in Lebanon and Iraq, the children remained children: they were quick to laugh as much as to cry, they played soccer, splashed in dirty water, got up to mischief with friends, and were typically ecstatic at the prospect of being photographed. For Salgado, the exuberance presented a curious paradox. How can a smiling child represent circumstances of deprivation and despair? What he noticed, though, was that when he asked the children to line up, and took their portraits one by one, the group giddiness would fade. Face to face with his camera, each child would become much more serious. They would look at him not as part of a noisy crowd, but as an individual. Their poses would become earnest. They looked into the lens with a sudden intensity, as if abruptly taking stock of themselves and their situation. And in the expression of their eyes, or the nervous fidget of small hands, or the way frayed clothes hung off painfully thin frames, Salgado found he had a refugee portfolio that deserved a forum of its own. The photographs do not try to make a statement about their subjects' feelings, or to spell out the particulars of their health, educational, and housing deficits. Rather, the collection allows 90 children to look out at the viewer with all the candor of youth and all the uncertainty of their future. Beautiful, proud, pensive, and sad, they stand before the camera for a moment in their lives, but ask questions that haunt for years to come. Will they remain in exile? Will they always know an enemy? Will they grow up to forgive or seek revenge? Will they grow up at all?

This work contains around 150 detailed photographs of the county of Kent, taken from the Frith archive. It features extended captions to pictures, a full introduction, and a voucher for a free mounted print

"I like depicting sexy, strong women - the spirit of a dominatrix. Through my work I explore the part of my personality that enjoys teasing and provocation. In doing this, I've seen the change and growth of myself as a person, a woman, a lover, a critical open-minded thinker and, most important, as an artist." - Alejandra Guerrero. In the second decade of the twenty-first century we are witnessing an unprecedented exploration of female sexual power, while on the other hand reactionary cultural forces contrive to keep women as defenceless as possible. In this context, the work of photographer Alejandra Guerrero can be understood as a clarion call. Hers is a rarefied visual art that marks a turning point for female sexuality in erotica, her eloquent tableaux revealing the intricate ways in which women exert their erotic power. Here we see a future in which women dictate raw, yet refined desires. Each moment comes from the erotic fever dreams of the participants and the desires of the woman behind the camera. Sometimes, when Guerrero turns the lens upon herself, those moments are one and the same. Contents: We delight in wickedness by Violet Blue; Plates; Biographies; Credits.

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.

Daughters of Darkness is a collection of fine art portraits of women in corpse paint. A nod to black metal and doom album cover art, Daughters of Darkness was photographed over 10+ years, with more than 400 models from all over the world, almost all of which did their own corpse paint and are fans of black metal. Daughters of Darkness features many celebrities, actresses, musicians, and models (some under the cover of corpse painted anonymity) all of whom donned only corpse paint for this book. Photographed by internationally renowned music and fine art photographer Jeremy Saffer, this project combines both his music photography and fine art photography worlds into a single project, which was conceived to capture the memory of flipping though albums in a music store and buying albums based entirely on the albums cover art (which often featured a nude portrait, someone in corpse paint, or both) prior to knowing the music or the band. Like the music that inspired it, Daughters of Darkness shows the duality of finding beauty in dark imagery, and finding darkness within beauty.

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.

Master of portraiture Monte Zucker presents page after page of essential photographic lessons to enable photographers to achieve and exceed their financial and artistic goals. Providing instructions on how to conduct a well-crafted client consultation, readers will learn which angles of the face to photograph, how to pose the body, where to place the camera, and the proper positioning of lighting equipment in order to cultivate an emotional connection with clients to produce an ideal image. Chapters with expert advice on digital imaging cleanup and finishing techniques, clothing and makeup selection, and location and studio backdrop options to reinforce portrait concepts are also included.

George Hurrell (1904-1992) was the creator of the Hollywood glamour portrait, the maverick artist who captured movie stars of the most exalted era in Hollywood history with bold contrast and seductive poses. This lavishly illustrated book spans Hurrell's entire career, from his beginnings as a society photographer to his finale as the celebrity photographer who was himself a celebrity, and a living legend. From 1929 to 1944 Hurrell was the Rembrandt of Hollywood," creating portraits of Marlene Dietrich, Norma Shearer, Bette Davis, Carole Lombard, and Joan Crawford that were a blend of the ethereal and the erotic. His photos of Jane Russell sulking in a haystack made the unknown girl a star,without a film credit to her name. He immortalized leading males stars of the day from the Barrymores to Clark Gable and Gary Cooper. Latter photo shoots magnified the glamour of the likes of Warren Beatty and Sharon Stone. Through newly acquired photos and in-depth research, photographer and historian Mark A. Vieira, author of Hurrell's Hollywood Portraits , offers not only a wealth of new images but a compelling sequel to the story presented in his earlier book on Hurrell. Hurrell was himself a star,rich, famous, successful. Then, at the height of his career, he suffered a vertiginous fall from grace. George Hurrell's Hollywood recounts, for the first time anywhere, Hurrell's rise from the ashes,how movie-still collectors and art dealers pulled the elderly artist into a nefarious world of theft and fraud how his undiminished powers gave him a second career and how his mercurial nature nearly destroyed it. The photographs that motivate this tale are luminous, powerful, and timeless. This book showcases more than four hundred, most of which have not been published since they were created. George Hurrell's Hollywood is the ultimate work on this trailblazing artist, a fabulous montage of fact and anecdote, light and shadow.

The definitive monograph of Glen E. Friedman, a pioneer of skate, punk, and hip-hop photography, including much never-before-published work. Glen E. Friedman is best known for his work capturing and promoting rebellion in his portraits of artists such as Fugazi, Black Flag, Ice-T, Dead Kennedys, Minor Threat, The Misfits, Bad Brains, Beastie Boys, Run-D.M.C., and Public Enemy, as well as classic skateboarding originators such as Tony Alva, Jay Adams, Alan "Ollie" Gelfand, Duane Peters, and Stacy Peralta, and a very young Tony Hawk. Designed in association with celebrated street and graphic artist Shepard Fairey, this monograph captures the most important and influential underground heroes of skateboarding, punk, and hip-hop cultures. My Rules is an unprecedented window into the three most significant countercultures of the last quarter of the twentieth century, and Friedman's photographs define those important movements that he helped shape. A remarkable chronicle and a primer about the origins of radical street cultures, My Rules is also a statement of artistic inspiration for those influenced by these countercultures.

This wonderful photographic record of the last year at the site of the New Covent Garden Flower Market, occupied since the 1960s before it moved to its new, more modern premises, captures the essence and heart of what makes a market: its amazing product - the exuberant blooms and foliage - along with the different characters that bring it life as they work there or visit it, as sellers and buyers and porters meet, trade, hustle and bustle, and share a joke. Simon Lycett has bought flowers for his floristry business from this Market for over 30 years, and it has become an essential, and much loved, part of his daily life. The market traders have become like family. Each day there, throughout the year, is different, as the ever-changing seasonal flowers and foliage of spring, summer, then autumn and finally Christmas arrives in the Market hall.

"Seeking the innermost self in her photographs, Kuhn achieves a mood of intimacy by photographing up close models she knows well. Her photographs are a product of lasting relationships built on mutual affection. In a sense, the images are based on the memory of shared experiences." -- Julie Nelson
The people in Mona Kuhn's photographs are nude but not naked. Completely relaxed before the camera, they give the impression that nothing could clothe them better than their own skin. With a unique style, Kuhn's intimate photographs of both young and old are sensual compositions of skin and wrinkles, light and shadow, gestures and gazes. She creates taughtly composed images and balance sharply rendered portraits against blurred backgrounds to lure the eye and provoke the imagination.

"It's about the underlying impulse that goes into perceiving a photographic moment and the techniques that support both this perception and the process of capturing these instances in a manner that is not just technically adept, but creatively original." -D. Donovan, Midwest Book Review This book is a visual feast, an offering both for those who love fine art and those who recognise the thought behind its creation. It is in addition, a book for photographers seeking to learn how to make their own photographs more artistic. The goal of this book is to offer readers a guide for those seeking to take fine, interpretive photographs and a joyful thought-provoking journey that the photographs in this book will inspire.

Havana triggers a wealth of images and projections in our mind's eye. Beyond the cliches, the phot ographer Eva - Maria Fahrner - Tutsek focuses her gaze on everyday life in Havana. Her photographs show life in the streets and the mood of the people. As we look and read, the light and dark sides of the capital of Cuba are gradually revealed. The most recent economic recession has brought the changes which had just begun in Cuba to a standstill. The associated privations are reflected in the behaviour and the faces of the people living in Havana. Fahrner - Tutsek's photographs show the inhabitants of the city a s they go about their business (which is often non - existent), sit on the street, perhaps play or simply wait. In a poetic approach the Cuban writer Leonardo Padura describes life in present - day Havana. The volume is enhanced by an insightful essay by the n oted photographer and photographic theorist Michael Freeman.

A startlingly powerful collaboration reimagines female beauty What is beauty without pain? Compromise is what our culture offers women: cinching, pinching, cutting, shaving, scraping, starving, and, of course, lifting and separating, all in service of one sharply circumscribed model purported to be pleasing-but not to most, if any, women. This extraordinary book reimagines beauty at its most provocative and fetishized locus: the female breast. Artist, writer, and scholar Joanna Frueh scrutinizes ideals of beauty and sensuality, often motivated by her experiences with breast cancer. Frances Murray, her friend and collaborator for more than thirty years, documents Frueh's journey of unapologetic beauty in a series of intimate, dazzlingly original photographs before and after her bilateral mastectomy and chemotherapy. Reflecting with insight, directness, and humor-and with contributions from a breast surgeon, an oncologist, and artists and scholars who have had breast cancer-Frueh arrives at a new, liberating view of beauty and of the sensual pleasure found in transformative self-acceptance. Central to this reckoning is her documentation and critique of the notion of hyperbeauty (the flash of flesh appeal, hyperthin, hyperfeminine, hyperbosomy, hypersexy, and hyperyoung sold at the global 24/7 beauty bazaar) and her playful, inventive presentation of tools for remaking minds and hearts disfigured by self-denying ideals. In its bracing critique, passionate argument, and compelling narrative-all illustrative of its own unapologetic beauty-this collaboration is a performance of startling power, stirring to consider and a pleasure to behold.

Profile is a highly personal selection of Jan's work from the early '90's to 2018. Jan's defining images cross all kinds of fashion barriers. His respect for the models he works with is evident. His models are raw, sometimes slighty unconventional beauties, quite often with very little hair and make-up. Jan's images are pure, powerful and evocative, getting to the very soul of the subject. Whether its an androgynous looking girl with a cowboy hat, a model smoking a cigarette on a beach, a movie star or a picture of his wife or children, the pictures are captivating in their simplicity with a very clear style that belongs only to him. His approach to his craft remains unchanged over decades, his style clear, avant-gard and transcendent of trends. Featured are among others Cate Blanchett, Helena Christensen, Eva Herzigova, PJ Harvey, Drew Barrymore, Kirsten Owen, Kylie Minogue, Tatjana Patitz, Jessica Chastain, Christy Turlington, Tilda Swinton, Vanessa Paradis, Gisele Bundchen, Natalia Vodianova, Courtney Love, Doutzen Kroes, Laetitia Casta, Charlotte Gainsbourg, Jennifer Connelly, Milla Jovovich, Bella Haddid and Helen Mirren.

Humanitas is the result of a five-year photographic adventure. During this time, Fredric Roberts traveled extensively throughout Asia, from India to Cambodia, Bhutan to Thailand, Myanmar to China, some areas that were recently in the news after being ravaged by the tsunami. While this collection of images preceded the disaster and was only coincidentally released in its wake, it became a timely tribute to these people. Cicero coined the term humanitas (literally, GCGBPhuman natureGC[yen]) to describe the development of human virtue in all its forms, denoting fortitude, judgment, prudence, eloquence, and even love of honor - which contrasts with our contemporary connotation of humanity (understanding, benevolence, compassion, mercy). The Latin term is certainly a fitting title as we are struck not with pity for his subjectsGCO poverty, but with respect and awe for their individual fortitude and eloquence: each photograph tells us a compelling story. From a touching portrait of a mother and child to isolated monks at prayer, RobertsGCOs fifty-five photographs introduce us to a wide array of fascinating individuals. With an introduction by Arthur Ollman, Director of the Museum of Photographic Arts, and an afterword by Dennis High, Executive Director/Curator, Center for Photographic Art, Humanitas captures the spirit and the beauty of each subject and will be a sheer delight to any lover of photography or travel.

There have been many Marilyn Monroe photo books--but nothing like this.

Curator and photographic preservationist David Wills has amassed one of the world's largest independent archives of original Marilyn Monroe photographs. Now, in Marilyn Monroe: Metamorphosis, he has gathered spectacular, museum-quality work from Marilyn's key photographers--Richard Avedon, George Barris, Cecil Beaton, Bernard of Hollywood, Andre de Dienes, Elliott Erwitt, Milton Greene, Philippe Halsman, Tom Kelley, Douglas Kirkland, Willy Rizzo, Sam Shaw, and many others--to create this dazzling portfolio of images from every period of Marilyn Monroe's adult life, from her wedding day in 1942 till just weeks before her death two decades later. Marilyn Monroe: Metamorphosis pays homage to her continually evolving style and extraordinary beauty.

Among the highlights:

Previously unseen Kodachrome, dye transfer, and Carbro prints of Norma Jeane from her modeling career.

Classic portraits and pinups in luscious full color, digitally restored from the original transparencies.

Never-before-seen photos from the sets of The Seven Year Itch, Some Like It Hot, The Misfits, and Something's Got to Give.

Rare candids of Marilyn with Marlon Brando, Clark Gable, Humphrey Bogart, Lauren Bacall, Ronald and Nancy Reagan, Queen Elizabeth II, Joe DiMaggio, Arthur Miller, and others.

Previously unpublished photos by Richard Avedon, George Barris, Cecil Beaton, David Conover, Elliott Erwitt, John Florea, Tom Kelley, Richard C. Miller, Frank Powolny, Willy Rizzo, Zinn Arthur, and many others.

Pairing more than two hundred first-generation photos with reflections on Marilyn from her friends, work associates, and admirers--and including her last interview, in which she reflects on her life and fame--Marilyn Monroe: Metamorphosis is an unforgettable showcase of the actress's transformation from an unknown factory worker to one of the most recognized faces in history.

Georgia O'Keeffe remains an icon, continuing to inspire generations to break barriers and embrace the natural world in both art and life. Featuring sixty-four lush, full-color photographs, this stunning new work captures O'Keeffe as she neared her ninetieth birthday, showcasing her homes and companions at Ghost Ranch and Abiquiú and the landscapes that inspired her. While O'Keeffe and her environs have been the subject of many photographers' work, only Varon was specifically chosen by O'Keeffe to photograph her work in color. This book is the first collection of photographs to portray O'Keeffe and her surroundings in color. Varon includes an insightful reflection on his experiences with O'Keeffe in which he brings the photographs to life in an intimate way. Cody Hartley, the director of the Georgia O'Keeffe Museum, and Barbara Buhler Lynes, the foremost O'Keeffe scholar, provide further context to Varon's photographs.

"Cadavers, camera, action!" ("The New York Times Book Review"). From the advent of photography in the 19th and into the 20th century, medical students, often in secrecy, took photographs of themselves with the cadavers that they dissected: their first patients. Featuring 138 of these historic photographs and illuminating essays by two experts on the subject, "Dissection" reveals a startling piece of American history. Sherwin Nuland, MD, said this is "a truly unique and important book [that] documents a period in medical education in a way that is matched by no other existing contribution." And Mary Roach said Dissection "is the most extraordinary book I have ever seen--the perfect coffee table book for all the households where I'd most like to be invited for coffee."

From the dynamite husband-and-wife duo behind CreativeSoul Photography comes GLORY, a photography book that shatters the conventional standards of beauty for Black children. With stunning images of natural hair and gorgeous, inventive visual storytelling, GLORY puts Black beauty front and center with more than 100 breathtaking photographs and a collection of powerful essays about the children. At its heart, it is a recognition and celebration of the versatility and innate beauty of Black hair, and Black beauty. The glorious coffee-table book pays homage to the story of our royal past, celebrates the glory of the here and now, and even dares to forecast the future. It brings to life past, present, and future visions of Black culture and showcases the power and beauty of recognizing and celebrating oneself. Beauty as an expression of who you are is power. When we define our own standards of beauty, we take back that power. GLORY encourages children around the world to feel that power and harness it.

In July 2016, Mary McCartney travelled to Paris for a special photo shoot. Over two days, McCartney would stay with her subject Phyllis Wang at her St Germain apartment and photograph her in the nude. A mixture of black and white and colour, the delicate photographs collected here showcase the intimacy and trust required from both subject and photographer. Over the course of their time together, we see the model increasingly relax in front of the camera as she assumes various poses, and an unspoken bond between the two gradually develops. Moments of humour arise, through Wang's adoption of props, including her collection of hats, and in details that emerge from their candid accounts of the two days - notably an initial misunderstanding about an x-rated shoot - which engagingly annotes the photographs throughout the book. Phyllis Wang is a New York-born stand-up comedian, living and working in Paris. She is known for her eccentric clothing style and love of fashion. The nude photography in the book forms a striking yet complementary contrast to her lively on-stage persona. The book features an essay by Charlotte Jansen, writer and editor-at-large at Elephant Magazine. She is the author of Girl on Girl: Art and Photography in the Age of the Female Gaze. Jansen frames McCartney's photographs through a historical study of the nude in photography and from the perspective of the female gaze.