A little more than 30,000 men of the Wehrmacht and SS qualified to wear the famed Fallschirmschutzenabzeichen, or Paratrooper Badge, between 1936 and 1944. The badges they wore, and the images of the men who wore them, are avidly sought by collectors and historians around the world today. The authors have assembled over 300 indoor and outdoor posed portrait photographs of the Fallschirmjager for this volume, most never before published, providing a fascinating representation of the photographers art in World War II and a superb study of their uniforms, badges and insignia. In poses ranging from fierce to thoughtful and even poignant, the German paratroops of World War II are seen here in perfect focus, as they wanted to be seen, preserved in deliberate portraiture for posterity.

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.

Sara McIntyre, the daughter of the artist Peter McIntyre, was nine years old when her family first came to Kakahi, in the King Country, in 1960. The family has been linked to Kakahi ever since. On the family car trips of her childhood, McIntyre got used to her fathers frequent stops for subject matter for painting. Fifty years on, when she moved to Kakahi to work as a district nurse, she began to do the same on her rounds, as a photographer. This book brings together her remarkable photographic exploration her observations of Kakahi and the sparsely populated surrounding King Country towns of Manunui, Ohura, Ongarue, Piriaka, Owhango and Taumarunui.

Sensual and softly surreal, the nude photography of Ralph Gibson frames the female form both organically and graphically, referencing art history while also innovating in the arena of erotic imagery, at once summoning visceral sensation and calling out for tactile attention. Thumb through this exquisite tribute to the contours and curves of womanhood and experience the intimacy of the photographic lens. Reviving TASCHEN's sold-out Collector's Edition, this tribute gathers the best of Gibson's exquisite nudes alongside some of his most recent works in an accessible, revised format, complete with a fresh in-depth interview by Eric Fischl. Strikingly graphic, meticulously composed, and loaded with subtle provocations, the master photographer's mysterious, dreamlike images pay homage to greats such as Man Ray and Edward Weston, while continually pursuing new frontiers. "A photographer once said that beauty in women is endless. Perhaps it was I who said it. [...] I love photographing women and could say that the form of the female body is absolute and perfect." -Ralph Gibson

Christine Ljubanovic's portrait photographs of famous artists, curators, critics and writers lie between classic portraits and experience reports. Developed as a complete contact sheet, they are living reports of the artists' encounters and also include the environment of the subject of the portrait. The publication shows for the first time an overview of conversation portraits by Christine Ljubanovic which have been created over the past forty years. During this time she met, amongst others, Thomas Hirschhorn, Gisele Freund, Yoko Ono, Peter Weibel, Arnulf Rainer, Hans-Ulrich Obrist, Alfred Pacquement and Raoul Schrott, who has also contributed a poem to the volume. With the selection of 60 portraits she has thus produced a comprehensive picture of today's artistic and cultural scene. In each case the artist and the subject of the portrait chose the meeting place together, so that it provides the framework for the photographic conversation.

From 2015, this Chinese photographer has been dedicated to shooting the best portraits possible of international masters of photography. Through his lens he has captured the faces of many of the world's contemporary photographers: Sebastiao Salgado, William Klein, Robert Frank, Bruno Barbey, Bernard Faucon. At present, there are more than 60 portraits included in Zhong Weixing's 'Contemporary Photography Masters', and the programme is still ongoing. Jean-Luc Monterosso, former director of the world-renowned Maison Europe enne de la Photographie, describes these works by Zhong Weixing as a 'pantheon of photography masters'. The well-known photographer Bruno Barbey has praised them as representing a 'Bible of photographic history'.

Charles Fréger has photographed a series of portraits of Breton women of every generation from every region, wearing costumes and headdresses of endless variety: from high starched towers to elaborately pinned, tucked and embroidered confections of handmade lace, as delicate as they are distinctive. Marie Darrieussecq, winner of the Prix Medicis and twice nominated for the Prix Goncourt, has contributed a foreword. Some fifty headdresses are introduced and described in a separate reference section, accompanied by specially commissioned illustrations. Charles Fréger’s exceptional photographs demonstrate a wealth of pride, ingenuity and personal expression that make this book uniquely compelling.

Emily Wilding Davison's image has been frozen in time since 1913. On the 4 June of that year, Emily was struck by the king's horse, Anmer, during the Epsom Derby. She died four days later. She, unlike her fellow Militant Suffragettes, did not live to write her memoirs in a more enlightened and tolerant era. In the aftermath of the Epsom protest, her family and her northern associates were caught between two very powerful factions: the Government's spin doctors and the very efficient publicity machine of Mrs Pankhurst's W.S.P.U. In response, Emily's family and associates closed ranks around her mother, Margaret Davison, and her young cousins. For almost a century, their silence has guarded Emily's story. Now, at the centenary of Emily's death, her family have come together to share Emily's side of the story for the first time. Drawing on the Davison family archives, and filled with more than 100 rare photographs, this volume explores the true cost of women's suffrage, revolutionizing in the process our understanding of one of the defining events of the twentieth century.

Phillip Toledano believes that we are at the vanguard of a period of human-induced evolution. A turning point in history where we are beginning to define not only our own concept of beauty, but of physicality itself. * Beauty has always been a currency, and now that we finally have the technological means to mint our own, what choices do we make? * Is beauty informed by contemporary culture? By history? Or is it defined by the surgeon's hand? * When we re-make ourselves, are we revealing our true character, or are we stripping away our very identity?

The seventies in America were a time of social and cultural ferment, and Ira Resnick was there with his camera to capture it all. Now he is opening his archives to reveal hundreds of rare celebrity photos-many never seen since their original publication in magazines like Rolling Stone, People, and Us. Musicians like the Rolling Stones, Stevie Nicks, and James Taylor. Actors and directors like Sissy Spacek, Warren Beatty, and Martin Scorsese. Comedians like Steve Martin, Gilda Radner, and Bill Murray. Athletes like Muhammad Ali, Billie Jean King, and Kareem Abdul-Jabbar. Politicians like Jimmy Carter, Jerry Brown, and Bella Abzug. Resnick's dynamic shots are accompanied by personal anecdotes about his legendary subjects.

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 one-of-a-kind book, which will motivate generations of girls and women for years to come, The Female Lead is a collection of portraits - in their own words - of over 50 inspirational women who changed the world around them. With stunning photography and heartfelt, personal interviews, this will inspire a whole generation of young women. 'A truly inspirational book' -- ***** Reader review 'Beautifully written and illustrated' -- ***** Reader review 'A beautiful, inspiring book' -- ***** Reader review 'Loved it! Truly inspiring!' -- ***** Reader review 'Inspiring and motivating with beautiful images' -- ***** Reader review ************************************************************************************************ Over fifty inspirational women, from many walks of life. All have changed the world in a variety of fields. Among them are politicians and artists, journalists and teachers, engineers and campaigners, fire fighters and film stars. Together they form an arresting gallery of portraits, each one illustrated with original photography by Brigitte Lacombe. Some have led their professions; some have broken new ground for women; some have inspired changes through relentless endeavour. All were chosen for their ambitions and achievements and all tell their stories in their own words. Includes portraits from Meryl Streep, Tina Brown, Lena Dunham, Jo Malone, Laura Bates, Yeonmi Park, Lucy Bronze, Julie Bentley and Michaela DePrince, amongst many others. For girls, it can be hard to identify role models in our society. This book will help and inspire women everywhere to realize their hopes and ambitions.

This collection of 240 photographs depicts 224 of the twentieth century's top studio craft artists and designers working in fiber, clay, glass, metal, and wood. The photographs are by Paul J. Smith, Director Emeritus of the Museum of Arts and Design. Drawing on Smith's career of over fifty years as an arts administrator and curator, this book records his extensive interest in meeting art ists in their studios, as well as at con fer ences and national and international events. By reflecting his firsthand experience of the changing currents in twentieth-century craft, these images form a uniquely personal record that captures an important aspect of the history of the studio craft movement. Taken over a thirty-year period, these pho to graphs portray both the diversity and common threads of the craft movement, illustrating a community that shares knowl edge, friendships, and a passion for the handmade object.

Tattoo art has become a worldwide phenomenon. Increasing numbers of people are seeking high-quality tattoos --extensive designs that elevate tattoo work to an art form. In this book, Hungarian author Akos Banfalvi introduces readers to the most talented tattoo artists of our times. These men--and one woman--have become idols in the global tattoo community. In exclusive interviews with these 25 artists, Banfalvi uncovers the circumstances that drew them to tattooing and the ideas that inspire them. Through their stories, a larger picture emerges of the current trends and styles in tattooing and the growth of the industry. Paired with more than 1,500 new and rarely seen images of their work, this book presents a comprehensive view of the best and most creative tattoo art being done in countries including Russia, Poland, Lithuania, Italy, England, France, Germany, the United States, Venezuela and Estonia."

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

As exploited and colonized people, California farmworkers have attracted such massive, overwhelming photographic scrutiny that today their story cannot be told, studied, or understood without engaging the photographic dimension. Although the work of Dorothea Lange and other photographers from the 1930s often comes to mind, virtually every photographer of consequence at some time, for some reason, photographed in the fields of the Golden State. This includes such unlikely twentieth-century artists as fashion photographer Richard Avedon and commercial photographer Max Yavno, along with the nineteenth-century masters Carleton E. Watkins and Eadweard Muybridge. Their work, however, does not unfold along neat, predictable lines. While it has both obscured the place of field hands in modern agriculture and made a case against the farm labor system as an instrument of poverty and oppression, the best of these photographs goes far beyond advertising and exposé, cutting through layers of ignorance and indifference and raising difficult moral questions that force us to reflect on the extent to which, as a society, we require the subservience of an entire class of people. This volume presents 282 of these important photographs.

"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 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.

"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 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.

"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 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.

"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 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.

"The richness of David Drebin’s distinctive oeuvre defines him as a master in his area." — CelebMix In Before They Were Famous, multidisciplinary artist David Drebin gathers his best shots of world-famous celebrities, before they hit the big time — whether Charlize Theron before her Oscar win or Steve Jobs before the first iPod. Limited to 1,200 copies, the book is a delightful and fascinating collection of pre-digital era Polaroids, contact sheets, and many of Drebin’s most famous images before they were sold out — Central Park, Girl in the Red Dress, or I love you with Girl.  We see famous faces every day: campaign shoots, pro­motional pictures, and paparazzi photos plaster the pages of print and digital media. But how did these well­ known personalities present in front of the camera before they made it big, becoming the highly ­recognised celebrities of today? In Before They Were Famous, David Drebin has rummaged through his archive to curate some of his best pictures of today’s most familiar faces. Whether Charlize Theron before her Oscar win, John Legend before he stormed the charts, or Steve Jobs just before the introduction of the legendary first iPod, David Drebin photo­graphed them all on their path to fame. With this captivating line up, the New York City­ based mul­tidisciplinary artist not only offers an intimate and original look at now world­ famous celebrities, but also shares his own career beginnings presenting images before they were sold out. These limited edition photographs were all created before Drebin, too, became famous, providing a unique and rare document of his own creative journey. Alongside the portraits, the book also shows original works, from femmes fatales to landscapes, which would come to define his practice and are today sold as limited edition photographs in the finest galleries worldwide. Text in English and German.

On one side, Dita Von Teese shares the beauty of the burlesque world, with bubblegum dreams and show tunes to strip to. Flip over for fantasies in fetish with dramatic costumes and the allure of submission. Burlesque and the Art of the Teese "I advocate glamour. Every day. Every minute." I'm a good dancer and a nice girl, but I'm a great showgirl. I sell, in a word, magic. Burlesque is a world of illusion and dreams and of course, the striptease. Whether I am bathing in my martini glass, riding my sparkling carousel horse, or emerging from my giant gold powder compact, I live out my most glamorous fantasies by bringing nostalgic imagery to life. Let me show you my world of gorgeous pin-ups, tantalizing stripteases, and femmes fatales. I'll give you a glimpse into my life, but a lady never reveals all. Fetish and the Art of the Teese You may have come for the fetish. Or you may just be sneaking a peek at this mysterious and peculiar other side. No matter what you've come for, there is something for you to indulge in. My world of fetish may not be the one that you would expect. As a burlesque performer, I entice my audience, bringing their minds closer and closer to sex and then -- as good temptress must -- snatching it away. As a fetish star, I apply the same techniques...An opera-length kid leather glove, a strict wasp waist, an impossibly high patent leather heel, a severely painted red lip...Come with me into my world of decadent fetishism.

The age of the metrosexual is over. Dead and buried. In places as diverse as Seattle, Los Angeles, Austin, Richmond, Miami, and Charleston, modern American men are ushering in a new golden age of hirsute pursuits. Denouncing the baby-smooth standard that society has set, men from around the world are reembracing their face in its most natural state. A select group of these well-whiskered men and their faithful Whiskerinas have taken this dedication a step further through the formation of their very own competitive community. Backed by the jackpot of good genetics and a well-oiled care routine, this group of grooming enthusiasts competes all over the world in hopes of recognition in the art of pogonotrophy. Step inside this whimsical, wild, and often-misunderstood world of competitive bearding through the lens of David Sacks. Comb through his collection of over 200 portraits and see for yourself how beautifully weird the beard can be.