Text in English, French & German. "For it is only she who will satisfy me with an issuing forth of bodily fluids. And as her pee begins to spew from her engorged cunt, her laugher breaks the palpable tension. To her this is also fun." -- Jackie McMillan

Throughout its history, the city of Nottingham has been associated with Robin Hood, lace making and bicycles. However, there’s more to Nottingham than lace and legends. In 2015, the city was named ‘Home of English Sport’ and in the same year was named a UNESCO City of Literature, one of only a handful in the world. Today the city is a thriving hub of retail and commerce, with many independent shops and buzzing bars and cafés, and boasts two successful universities. Local photographer Peter McConnochie lives here and knows the city’s streets and squares, its lanes and alleyways. Charged with capturing the essence of Nottingham, he has turned his camera on its inhabitants, the people who make it what it is today. These are the people you’ll find in these pages: shopkeepers, school teachers, businessmen and women, nurses, buskers, restaurant owners, students, and street performers, all of whom take pleasure in being a part of this vibrant city and sharing their stories.

A monograph surveying the past twenty years of work from Uli Weber, one of the most accomplished photographers of his generation. Some photographers build a global reputation specializing in fashion. Others excel in portraiture, in travel, or in the tough commercial world of advertising. Most photographers seek to master just one genre. But, over the past 20 years, a rare few have excelled in all those disciplines. One of them is Uli Weber. Having studied photography in Rome, Uli moved to London in the late '80s. His first cover shot was for iconic style magazine Arena and featured Sting wrapped in a vivid red fake-fur coat. Other prestigious commissions quickly followed from Marie Claire, Elle and Vogue. Intimate portraiture became an Uli Weber forte with everyone from Jeremy Irons to Robbie Williams, Keira Knightley to Kylie Minogue. Uli Weber is one of the most accomplished and accessible photographers of his generation. This book features a very fine collection of works that has an unusually wide span.

To Walk in Beauty takes readers on the journey of the Begay family of Jeddito Wash, Arizona, on the Navajo Reservation. This is an intimate portrait of a family's decision to reclaim its cultural identity. The book highlights in intensely personal terms the sense of cultural dissolution long associated with the tragedy of Navajo history, and it examines the spiritual healing that can take place when cultural identity is reclaimed.

Simple, direct, and penetrating, the celebrated photographer Timothy Greenfield-Sanders portrays his subjects like a painter from another age. Thanks to his 11x14" Fulmer & Schwing, an old wooden box dated 1905, which he uses as if he were using a palette and brush, he produces portraits that are rich in detail without being overly psychological. The poignant poses and expressions he captures in his straightforward images convey a sense of the person. Like Rembrandt and Velazquez depicting the great figures of their time, Greenfield-Sanders focuses his lens on today's icons: artists, architects, writers, scientists, actors, directors, musicians artists, architects. Undoubtedly one of Greenfield-Sanders's greatest merits is his being able to limit the distance that separates the portrait from the observer. This beautifully produced volume brings together an impressive selection of portraits taken between 1977 and the present with over 100 never published before. The juxtaposition of the portraits adds a compelling dimension to the individual portraits. The intensity of Elaine and Willem de Kooning or Norman Mailer and Gore Vidal multiplies as they appear next to each other on the page. William Wegman and Richard Hamilton lean toward each other, toward some kind of cosmic center. Martin Scorsese and Steven Spielberg seem to confirm the notion that a director is in total control. And porn star Briana Banks, look every bit like a porn star.

During the nineteenth century--"a time of great technical and cultural change--"fashion was a cultivating force in the development of American society, influenced by one's social status, geographic location, and economic standing. "MyLikeness Taken is a collection of danguerreotyps portraits of men, women, and children taken between 1840and 1860. Selected from the top collections in the United States, each image is analyzed to clarify datable clothing and fashion components. With subjects from among the best-dressed members of society, these portraits--"reproduced in full color--"reflect the latest fashion developments, trends, and influences. For students of photographic and costume history, this is extraordinary material. Many of these images have never before been published, and Severa's keen analysis adds immeasurably to our understanding of the importance of dress in American society. Photo archivists and collectros, costume curators, social historians, material culturalists, and theater designers will find "My Likeness Taken an invaluable resource.

Photographer and artist Andrea Garbald (1877-1958) dedicated an important part of his oeuvre to the women of his native Val Bregaglia, in the Swiss canton of Grisons. As the first and, for a long time, the only photographer in the valley, he ran his own photo studio in addition to an optician's store in the village of Castasegna. Yet instead of making his artistic work public, Garbald kept his it in his attic. His estate was only discovered in the mid-1980s and displayed in public for the first time in 2014 in a major exhibition. Andrea Garbald's portraits collected in this volume show women of different ages and social classes and go far beyond the stiff official portraits that were common at the time. The sitters' posture, clothes, faces, and their eyes speak volumes: the photographs demonstrate a special intimacy and empathy towards the people portrayed. At the same time, they reveal the development of the medium and its visual language. This new book provides an in-depth look at Garbald's unusual oeuvre and offers an insight into the subtle creativity of this local pioneer. Text in Italian and German.

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.

In 1978 two of Joseph Szabo's high school students invited him to join them at a Rolling Stones concert at JFK Stadium in Philadelphia. Sensing a promising photo opportunity, Szabo agreed, packing three 35mm cameras and plenty of black-and-white film. Some 90,000 Rolling Stones fans converged on the stadium for the concert, where Szabo captured them drinking, kissing, smoking, dancing and hanging out. Their young subjects transported by the music, the drugs, the alcohol and the community, Szabo's Rolling Stones Fans photographs show unguarded moments of absorption and abandon in the sublimity of the rock and roll gig. Szabo recently returned to these contact sheets; an earlier edition of this work, published in 2007, is now highly collectible. Joseph Szabo: Rolling Stones Fans reprints photographs from this series, selected by Szabo, in a luxurious new edition. Joseph Szabo (born 1944) has been called the quintessential photographer of the teenager. He is best known for his photographs of adolescents taken in and around the halls of Malverne High School in Long Island, where he taught photography from 1972 to 1999, which were published in the photobook classic Teenage (Greybull, 2003). Turning his camera on his students to get their attention, Szabo captured the anxiety and bravado of the American teenager in classic documentary style black-and-white photographs that quickly attained cult status in the fashion world. In Szabo's own words, his images capture the years of restless desire and blossoming sexuality. The world of high school, parking lots and street corners, and the uniquely American culture in which all of us have grown up.

What can we hope to learn about a person from a split-second portrait? The expression that confronts the viewer's gaze--startled, friendly, or shy--undoubtedly affects how we feel about the person. But what if we are faced with dozens of photographs of the same person? Or several sets of seemingly identical photographs taken a fraction of a second apart and reflecting almost imperceptible change? New York-based artist Roni Horn has long been fascinated with the concept of personal identity and how it is--or is not--represented by the photographic portrait. This book brings together Horn's most recent work, a site-specific series designed for the Schirn Kunsthalle in Frankfurt. Continuing in the tradition of her earlier work, the series makes use of multiple images of the same subjects in order to explore similarities and differences in portraits, including a set featuring Isabelle Huppert, in which the iconic French actress portrays characters past. Horn is one of the most intriguing American contemporary artists and the subject of major recent retrospectives at the Whitney Museum of Modern Art and the Tate, and this book offers readers a look at her most recent work.

The modalities of appearance mark Roni Horn's series of 36 head shots of a clown. Originally seen in her Clowd and Cloun installation, a series of alternating images on the two motifs of the cloud and the clown, Horn's stunning photographs of the inevitable clown (he always looks the same) disintegrate the very consistency that makes a clown recognizable as a clown. The clown is a constant, a symbolic form whose identity is rooted in a conventionally defined appearance (red bulbous nose, a shock of bright frizzy hair, white pancake skin, an ear-to-ear grin), one that occludes the specifics of the persona--the player--who temporarily assumes that guise. Cabinet of repeats 36 times the dissolution of the clown's appearance and thus, perhaps, the defining features of the clown itself.

In the quest for beauty there has only ever been one authority - Vogue. The magazine's pursuit of perfection has chronicled the changing face of beauty at its seductive best; its photographs and illustrations represent the power of the transformation of self, the creative statement made with a brush of make-up, the seduction implied in a gloss of lipstick. Having created a world where the female form rules supreme, Vogue is the fairy godmother to beauty's fable and Vogue Beauty celebrates the fashion and form that has shaped our viewpoint: clothed or naked; dramatically enhanced or naturally simplistic; the face, the mask, the luxury, the allure of the aesthetic. Capturing the scent of glamour alongside the romance of woman, Vogue Beauty is as classic as a stick of red lipstick.

Closely examining staged images of Japanese femininity, this study centers on the mid-Meiji souvenir photography of Kusakabe Kimbei, approaching from the artist's perspective while referencing his culture's visual and traditional practices. The analysis attempts to construe visual material in its original context using various points of departure, including the sociocultural significance of the staged models, the visual display of the photographic models in relation to the visibility problem of Japanese women in Meiji visual media, and Kimbei's visual encodings of Japanese femininity. By means of contextualized analysis, this survey seeks to illuminate the intricate structure of significations embedded on the visual plane, ultimately demonstrating how Kimbei's female images present a locus of multilayered meanings.

Over the period of a year Gavin Quinn visited the private homes of 100 actors and asked them to try and answer the question: Why do you think you became an actor? Each response was filmed and recorded. He then subsequently photographed each of them. The result is this book. This book tells the story of these one hundred actors: one hundred illuminating answers to a simple question. In ONE the actor talks to the reader from the stillness of their portrait within their own environments. The book is one element of a large-scale performance project created and conceived by Pan Pan, involving 100 actors, 100 rooms and 100 audience members in a specially designed structure designed by the sculptor Andrew Clancy. Subtitled Healing with Theatre, this one on one meeting is enabled by an outflow of energy from actor to audience through this intimate setting, so that we become in a sense healed by the experience. In the live performance and the film version of ONE the audience meets the performer one to one, in much the same way as we discover each actor as we turn the pages of this book. Overall, ONE is an arena of creativity where the audience and artist interact, providing a special way for art and performance to be experienced and looked at. It is an aesthetic encounter made concrete for both actor and audience: multifaceted, personal, bodily and intellectually illuminating. This book will appeal to all interested in the theatre, photography and fine books As the total print-run for the publication will be 600 - 26 copies numbered A - Z and 574 other numbered copies - it is envisaged that the book shall sell out quickly.

Ellen von Unwerth, one of the world's most original and intimate fashion photographers pays homage to the most delectable women walking the earth right now. "Fraulein" features over 1000 provocative photographs of icons such as Claudia Schiffer, Penelope Cruz, Natalie Portman, Kate Moss, Vanessa Paradis, Britney Spears, Eva Mendes, Lindsay Lohan, Dita von Teese, Adriana Lima, Carla Bruni, Eva Green and many many more. The images combine beautifully crafted scenarios, high production values with a joyful spontaneity. Von Unwerth's color and immaculate black and white photographs celebrate sex, femininity, romance and the sheer joy of living the moment. And if that moment features a riding crop, handcuffs, maybe a very flimsy negligee, or some black stockings and a brilliant smile -then so much the better. Sometimes the subjects willingly flaunt and delight in their intimate fantasies. Other times, it seems as if we are voyeurs who have stumbled into these very private and guarded moments. The images were shot over the last 15 years and many of them are unpublished. Sam Shahid, one of New York's top designers, who collaborated with von Unwerth on the book says "Fraulein" is 'like a very entertaining movie that hits you in all kinds of ways'. Like all great movies, it requires repeated viewing.