'Jackie Higgins's lyrical, literate style will charm you while her book stuns your imagination with strange, other-worldly truths' Richard Dawkins Sentient assembles a menagerie of zoological creatures - from land, air, sea and all four corners of the globe - to understand what it means to be human. Through their eyes, ears, skins, tongues and noses, the furred, finned and feathered reveal how we sense and make sense of the world, as well as the untold scientific revolution stirring in the field of human perception. The harlequin mantis shrimp can throw a punch that can fracture aquarium walls but, more importantly, it has the ability to see a vast range of colours. The ears of the great grey owl have such unparalleled range and sensitivity that they can hear twenty decibels lower than the human ear. The star-nosed mole barely fills a human hand, seldom ventures above ground and poses little threat unless you are an earthworm, but its miraculous nose allows it to catch those worms at astonishing speed - as little as one hundred and twenty milliseconds. Here, too, we meet the four-eyed spookfish and its dark vision; the vampire bat and its remarkable powers of touch; the bloodhound and its hundreds of millions of scent receptors, as well as the bar-tailed godwit, the common octopus, giant peacocks, cheetahs and golden orb-weaving spiders. Each of these extraordinary creatures illustrates the sensory powers that lie dormant within us. In this captivating book, Jackie Higgins explores this evolutionary heritage and, in doing so, enables us to subconsciously engage with the world in ways we never knew possible.

'Spellbinding . . . More than any other book, [Sentient] has made me think differently about the world this year.' - Financial Times Best Books of the Year The peacock mantis shrimp can throw a punch that can fracture aquarium walls. The great grey owl can hear many decibels lower than the human ear. The star-nosed mole's miraculous nose allows it to catch worms in as little as 120 milliseconds. In Sentient, Jackie Higgins assembles a menagerie of zoological creatures - from land, air, sea and all four corners of the globe - to understand what it means to be human. In it, we also meet the four-eyed spookfish and its dark vision, the vampire bat and its remarkable powers of touch, as well as the common octopus, the Goliath catfish and the duck-billed platypus. Each zoological marvel illustrates the surprising sensory powers that lie within us and enables us to engage with the world in ways we never knew possible. 'Lyrical and lucid . . . Higgins makes popular science accessible.' - Observer

One of the first celebrity photographers, David Bailey socialized with many of the cultural icons of the 60s - he lived with Mick Jagger, married the legendary French film actress Catherine Deneuve and had relationships with the models Jean Shrimpton and Penelope Tree. Along with Brian Duffy and Terence Donovan, he was one of the 'Terrible Trio' - self-taught East End boys who rebelled against the precious style of fashion portraiture as practiced by society photographers like Cecil Beaton and Norman Parkinson. His own fame was confirmed when director Michelangelo Antonioni used him as inspiration for the character of fast-living photographer Thomas Hemmings in cult film "Blow-Up" (1966).
Outside the world of fashion photography, Bailey has pursued numerous personal and commercial projects; documenting the streetscapes of London, photographing the people and places of Havana, Cuba, and producing an intimate series of portraits of model Catherine Bailey, his current wife. He has also created record-sleeve art, feature films, documentaries and around 500 commercials. The vigour and variety of his work has made him the subject of numerous exhibitions, including a major traveling show that opened at the Barbican, London, in 1999 entitled "The Birth of Cool."
This handsome monograph provides an overview of Bailey's career, including works from key monographs such as his debut "Box of Pin-Ups" (1964) and the controversial series "The Lady is a Tramp" (1995). The book, on a photographer whose reputation only continues to grow, will appeal to all photography enthusiasts and students, and to anyone with an interest in popular culture of the 1960s onwards.

Why take a self-portrait but obscure your face with a lightbulb (Lee Friedlander, Provincetown, Cape Cod, Massachusetts (1968)? Or deliberately underexpose an image (Vera Lutter, Battersea Power Station, XI: July 13 , 2004)? And why photograph a ceiling (William Eggleston, Red Ceiling , 1973)? In Why It Does Not Have To Be In Focus , Jackie Higgins offers a lively, informed defence of modern photography. Choosing 100 key photographs - with particular emphasis on the last twenty years - she examines what inspired each photographer in the first place, and traces how the piece was executed. In doing so, she brings to light the layers of meaning and artifice behind these singular works, some of which were initially dismissed out of hand for being blurred, overexposed or 'badly' composed. The often controversial works discussed in this book play with our expectations of a photograph, our ingrained tendency to believe that it is telling us the unadorned truth. Jackie Higgins's book proves once and for all that there's much more to the art of photography than just pointing and clicking.