Introduction by Gabriele Conrath-Scholl. Text by Susanne Lange, Jim Dine.

Examining a style of photography that has become increasingly popular with families, this in-depth analysis explores the most important aspects of mother and child portraiture. Summarizing advice from seasoned professionals, this helpful reference demonstrates how to create the right environment for the shoot as well as carefully select the best props, backgrounds, and lighting for mother and child while allowing them to interact naturally. Starting with mothers and newborns, this survey works its way up through toddlers to elementary and middle schoolers and concludes with teenagers. A vastly diverse collection of images that express each photographer's concept of what mother and child represent is also included. Filled with inspiring examples and no-nonsense techniques, this extensive overview also covers photographing moms with groups of children and extended sessions that offer potentially greater sales volume.

In Fireflies, Keith Carter presents a magical gallery of photographs of children and the world they inhabit. The collection includes both new work and iconic images such as "Fireflies," "The Waltz," "Chicken Feathers," "Megan's New Shoes," and "Angel" selected from all of Carter's rare and out-of-print books. When making these images, Carter often asked the children, "do you have something you would like to be photographed with?" This creative collaboration between photographer and subject has produced images that conjure up stories, dreams, and imaginary worlds. Complementing the photographs is an essay in which Carter poetically traces the wellsprings of his interest in photographing children to his own childhood experiences in Beaumont, Texas. As he recalls days spent exploring in the woods and creeks, it becomes clear that his art flows from a deep reservoir of sights and sounds imprinted in early childhood.

A lyrical meditation on the joys, wonders, and anxieties of childhood, Fireflies brings us back to the small truths that are often pushed aside or forgotten when we become adults.

With Editorial Revision By Sara E. H. Lockwood.

The end of the rainbow represents not only my own experience but also stories told by others in a desperate moment or during a glorious display of empathic abilities taught by the masters of hunger and dependencies. It is also a reflection of my view on spiritual and / or emotional human polarity and some of the subsequent behaviors that transcended age, gender and social status... It is simple urban poetry, colloquial talk fused with images. Images that by themselves tell one story or two...about dependencies so dark that when confessed even to ourselves, the words, thoughts and images drawn our mind with regrets taken us to labyrinths of teachings... and later, when reaching the end of the maze, we embrace experiences with the understanding that thanks to them, "one is who one is." Images and words that echo each other like mirrors from the past that could often reflect our future if we did not learn from them, the intended lessons.

Exploring the art and creativity that exists in portraiture allows us to create a greater awareness of ourselves and our surroundings. From Glamour to Children, Couples, Families, Pets, Executives and more, Klaus Bohn's work lets us really see the emotions, feelings and art contained within these images.

Klaus Bohn explores unique compositional elements as well as the use of space, shapes and forms in many of his photographs. His skills have been honed over a lifetime of learning and thousands of dollars spent attending private courses given by the world's top professional photographers including: Joe Zeltsman, Monte Zucker, Dean Collins, Rocky Gunn, Yousuf Karsh, Arnold Newman and many more.

Discussing techniques from both the great artists and photographers of our time, this work reveals how to give form and balance to your photographs by combining elements harmoniously in order to see a subject in the strongest way. This book is sure to become a valued resource in your personal library, to be consulted and relied upon for many years to come.

Reviews:

"Just for a little while, let Klaus be your mentor. His struggling for creativity is revealing, is so evident. Reach out to grab it. Resolve to integrate this highly saleable touch of class into your daily output."
Jack Curtis, author, "Wedding Portraits and Photography World"

"It is portraitists like Klaus Bohn who have helped retain the artistic essence of the profession by producing a great body of portrait work and he has developed the talent to put into words the deeper meaning of his portraits. The Art Within Portrait Photography will be cherished by the general reader and for those in the profession of portraiture, it is an added educational tool to gain knowledge and inspiration."
Ken Whitmire, President, Photography Hall of Fame and Museum

"Klaus has been quite successful... and both he and his Photography must be given better than average marks. What follows are epitomized abstractions of some of Klaus' comments on how he operates, and I feel they could be of practical value to you."
D.H. Moore, author, "The Practice of Modern Photography"

About the Author:

Klaus Bohn is a Professional Photographer with a Masters of Photographic Arts and has been honoured with a Fellowship from the SPPA. He has been teaching the art of photography since 1984 to amateurs and professionals alike. Klaus has authored many magazine articles and had his photos published in Range Finder Magazine, the Professional Photographers of Canada (PPOC) Magazine and others. His first book, 50 Principles of Composition in Photography, was published in 2006.

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.

In 1956, a twenty-one-year-old Elvis Presley was at the beginning of his remarkable and unparalleled career and photographer Alfred Wertheimer was asked by Presley's new label, RCA Victor, to photograph the rising star. With unimpeded access to the young performer, Wertheimer was able to capture the unguarded and everyday moments in Elvis' life during that crucial year, a year that took him from Tupelo, Mississippi to the silver screen, and to the verge of international stardom and his crowning as "The King of Rock 'n' Roll." As Alfred Wertheimer photographed Elvis during 1956, and again in 1958, he created classic images that are spontaneous, unrehearsed and completely without artifice.
Wertheimer's photographs of Elvis are extraordinary and he appears almost ethereal, whether reading a newspaper while waiting for a cab, or washing his hands during one of his many train trips. After 1958 and Elvis' induction into the army, the world seemingly forgot about Wertheimer's magical photographs- for nineteen years- until Aug 16, 1977, the day Elvis died and Time Magazine called. "The phone hasn't really stopped ringing in the last thirty years," observes Wertheimer.
Many of the photographs in this visual treasury are previously unpublished and some have become almost as famous as the man himself.
Limited edition features: 1,500 copies, comes in a clamshell box with a signed photograph and contact sheet, clothbound portfolio case containing four limited edition photographic prints (11 x 14), and an exclusive edition of "Elvis Ships Out" (a 48 page, cloth bound, 8 x 10, keepsake archive of Elvis' stint in the US Army).

"Etranger" is a book of 53 black/white and color photographs including urban street scenes, rural landscapes, portraits, abandoned railroad tracks, subways and train stations, and old cars. The images were taken during journeys across America, Spain, and Israel. Mike Spitzs photos capture solitude in its many forms. Ranging in style from documentary and photo-journalistic to rural and more abstract images, his photography is heavily influenced by the visual landscape of the places where he has lived, including Ohio, New York, New Orleans, Chicago, and Paris. Spitzs background in film and cinematography enhances his work as a photographer, giving his photos a strong narrative and composition, deep emotion, and a cinematic visual style. The photography of Mike Spitz has been compared to the likes of Henri Cartier Bresson, Walker Evans, and George Tice. "These photographs represent a single voice and vision. The choice of images, composition, character of the objects and subjects show a sensitive, conscious presence that animates the images with their point of view and framing. The objects and people are compellingly alive, even when only parts of bodies are shown. That's what grabs my attention." (Bruce Joel Rubin, screenwriter for movies Ghost, Jacob's Ladder)

Andy Zaller's Dancers Series of photographic images of professional dancers and dance students provided the conceptual and artistic framework for this publication. He considers dancing to be the culmination of the integration of all aspects of the arts, including the visual arts. The basic principles of design and the elements of art such as rhythm, contrast, emphasis, color and space are captured by the various movements and physical appearance of dancers, whether they are simply doing warm-up exercises in the studio or engaging in actual performances on the stage.

One of the earliest portrait photographs -- a daguerreotype -- represents the Danish artist Bertel Thorvaldsen. In spite of the fact that the photograph is signed and dated there has been doubts about the dating and the location of the taking of the picture. Starting from the photography itself as well as the historical facts the author sets the photography in its proper context. Written sources material and other pictures are presented to throw light on the photographer, the French businessman A C T Neubourg's work in Scandinavia. Furthermore, the reader gains an insight into the exposure as it is being reflected in the picture where an older conception of art meets the new age of photography. The book also contains an appendix by Jens Frederiksen (The Royal Academy of Fine Arts School of Architecture, Copenhagen) on A C T Neubourg's camera, lens and daguerreotypes.

In Bloodflowers W. Ian Bourland examines the photography of Rotimi Fani-Kayode (1955–1989), whose art is a touchstone for cultural debates surrounding questions of gender and queerness, race and diaspora, aesthetics and politics, and the enduring legacy of slavery and colonialism. Born in Nigeria, Fani-Kayode moved between artistic and cultural worlds in Washington, DC, New York, and London, where he produced the bulk of his provocative and often surrealist and homoerotic photographs of black men. Bourland situates Fani-Kayode's work in a time of global transition and traces how it exemplified and responded to profound social, cultural, and political change. In addition to his formal analyses of Fani-Kayode's portraiture, Bourland outlines the important influence that surrealism, neo-Romanticism, Yoruban religion, the AIDS crisis, experimental film, loft culture, and house and punk music had on Fani-Kayode's work. In so doing, Bourland offers new perspectives on a pivotal artist whose brief career continues to resonate with deep aesthetic and social meaning.

A collection of approximately 100 detailed period photographs from the Francis Frith archive with extended captions and full introduction, this volume should be suitable for tourists, local historians and general readers. It includes a voucher for a free mounted print of any photograph shown in the book.

Jack and Jackie sailing at Hyannis Port. President Kennedy smiling and confident with the radiant first lady by his side in Dallas shortly before the assassination. The Zapruder film. Jackie Kennedy mourning at the funeral while her small son salutes the coffin. These images have become larger than life; more than simply photographs of a president, or of celebrities, or of a tragic event, they have an extraordinary power to captivate--today as in their own time. In Shooting Kennedy, David Lubin speculates on the allure of these and other iconic images of the Kennedys, using them to illuminate the entire American cultural landscape. He draws from a spectacularly varied intellectual and visual terrain--neoclassical painting, Victorian poetry, modern art, Hollywood films, TV sitcoms--to show how the public came to identify personally with the Kennedys and how, in so doing, they came to understand their place in the world. This heady mix of art history, cultural history, and popular culture offers an evocative, consistently entertaining look at twentieth-century America. Marilyn Monroe, Sylvia Plath, Donna Reed, Playboy magazine, Jack Ruby, the Rosenbergs, and many more personalities, little-known events, and behind-the-scenes stories of the era enliven Lubin's account as he unlocks the meaning of these photographs of the Kennedys. Elegantly conceived, witty, and intellectually daring, Shooting Kennedy becomes a stylish meditation on the changing meanings of visual phenomena and the ways they affect our thinking about the past, the present, and the process of history.

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.

The figure of a woman reclining, in repose, displayed, abandoned, fallen, asleep, or dreaming, returns in the work of women filmmakers and photographers in the twentieth and twenty-first centuries. Filmmakers Agnes Varda and Catherine Breillat, and American photographer working in Paris, Nan Goldin, return to the paintings of Titian, Velazquez, Goya, Courbet, and others, re-imagining, and re-purposing, their images of female beauty, display, (auto)eroticism, and intimacy. This book, a sensuous evocation of these feminist works, claims a female-identified pleasure in looking. The artists explored align images of repose and sensuality with other images of horizontality and proneness, of strong emotional content, images of erotic involvement, of vulnerability, of bodily contortion, of listlessness, grief, and depression. The reclining nude is for all three artists a starting point for a reflection on the relation of film, projections, and still photography, to painting, and a sustained re-imagining of the meanings conjured through serial returns to a particular pose. This book claims that the image of the reclining nude is compelling, for female-identified artists - and for all allied in feeling and picturing femininity - in the sensitive, ethically adventurous, politically complex feminist issues it engages. The reclining nude is an image of passivity, of submission, of hedonism. It allows thought about passivity as pleasure, about depression and grief figured posturally, about indolence as a form of resistance and anarchy. Through this image, female-identified artists have claimed freedom to offer new focus on these extremes of emotion. They are re-imagining horizontality.

THE PERFECT CHRISTMAS GIFT FOR FANS OF ROYAL FASHION This beautiful book takes a photographic journey through Queen Elizabeth II's ten decades of colour-blocked style. The photographs, which span the colours of the rainbow and a century of style, are gloriously accessorised with captions and commentary by journalist and broadcaster Sali Hughes. From the dusky pinks the Queen wore in girlhood all the way through to #NeonAt90, by way of that hat she wore on the announcement of Brexit, and not forgetting her trusty Launer handbag ever at her side, this must-have collection celebrates the iconic fashion statements of our beloved, longest-reigning and most vibrant monarch.

International in scope and full of beautiful and impactful imagery that highlights the immediacy of the genre, View/Point is a book of human experience stories as told through the medium of phone photography. Featuring approximately 75 contributors from every corner of the globe, interviewed by the author about their lives and their photographic art, this book offers a definitive take on both the power of the still image to tell a story and the joy of personal expression that phone photography offers.

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?

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.