Charged with energy, informed by history and culture, and filled with fresh concepts, McQueen’s shows have become legends not only of fashion but also of art. Anne Deniau was the only photographer allowed backstage by McQueen for 13 years, beginning in September 1997 and ending with the final show in March 2010. She captured McQueen working with his close circle of collaborators—including designer Sarah Burton, milliner Philip Treacy, jewelry designer Shaun Leane, and model Kate Moss—to create his meticulously produced spectacles. Her book offers an inspiring homage, through the art of photography, to the work of a great artist. Praise for Love Looks Not With the Eyes: Thirteen Years With Lee Alexander McQueen: The pictures are evocative of the torture, the toughness and, most of all, the tenderness of Mr. McQueen.” —New York Times “Deniau’s close connection to McQueen and her appreciation for his formidable talent is like many of the pieces he created: breathtaking.” —San Francisco Chronicle “Thekinetic color and black-and-white photographs document the fantastical,shocking spectacle of a McQueen show in action: hairdos trussed up with birdsof prey; hubcaps strapped to foreheads; faces enhanced by extraterrestrialcheek prostheses. The images are sensual, spooky, and whimsical, playing up thedrama of McQueen’s vision; like one of the designer’s fabulous garments, thephotographs transform fashion into high art. The book is both an homage and amemorial; this celebration of McQueen’s vast, unique talent is also a eulogyfor his tragic loss.” — “Haute couture has a reputation for spectacle, but Anne Deniau’s photographs remind us that it’s also the last bastion of craftsmanship in fashion—or it was, as practiced by designer Alexander McQueen (1969–2010).” —Wall Street Journal “Lush, previously unpublished backstage photographs from many of the late designer’s provocative fashion shows.”—The Los Angeles Times “The kinetic color and black-and-white photographs document the fantastical, shocking spectacle of a McQueen show in action: hairdos trussed up with birds of prey; hubcaps strapped to foreheads; faces enhanced by extraterrestrial cheek prostheses. The images are sensual, spooky, and whimsical, playing up the drama of McQueen’s vision; like one of the designer’s fabulous garments, the photographs transform fashion into high art. The book is both an homage and a memorial; this celebration of McQueen’s vast, unique talent is also a eulogy for his tragic loss.” —Publishers Weekly “Love Looks Not with the Eyes document[s] the intense work and equally intense emotions that played out behind the scenes of McQueen’s poetic, passionate, and provocative shows. . . . The intimacy is evident in the pictures.” —Vogue “The haunting images offer a rarefied glimpse into the designer’s inner world.” —Harper’s Bazaar “Deniau, in the process of documenting 26 McQueen presentations, captured images which, too, transcend photography—matching the decadent and grand world created by the hands of McQueen.” —Time.com “Haute couture has a reputation for spectacle, but Anne Deniau’s photographs remind us that it’s also the last bastion of craftsmanship in fashion—or it was, as practiced by designer Alexander McQueen (1969–2010).” —Wall Street Journal

    And of her Friends, male and female, and her acquaintances as well. But Merritt's favourite motif is herself: she poses almost every minute of the day for her camera, taking photographs of herself in bed, in the shower, having sex with her friend, masturbating with and without accessories, from every imaginable angle and with the camera usually at arm's length. Merritt, born 1977, works with a digital camera, the Polaroid of the 90s, breaking down the most intimate details into universally accessible bits of information. Eric Kroll came across Natacha Merritt by chance in the internet, where she had put several of her photographs. This was something that left the tradition of classical pin-up and fetish photography, in which Kroll himself works, far behind. Face to face with Merritt's photographs one can reflect on intimacy and publicity in the digital age, on narcissism even, or on radical self-exploration with the help of the camera. But this all sounds better as Natacha Merritt herself puts it: in her view, she has found a new mode of masturbating her way into the next millennium.

    Porn stars, supermodels, transsexuals, hillbillies, friends, pets, and celebrities do for photographer Terry Richardson what they do for no other because in his world, taboos are null and void, and fashion finds sex a perfect fit.

    Walker is one of the most exciting photographers of our time, and his flamboyant style—often tongue-in-cheek but always exquisitely executed—places him in the line of brilliant eccentrics from Cecil Beaton to David LaChapelle. Showcasing 170 photographs through Walker’s most recent work, the book features many A-listers in fashion and Hollywood, including Tilda Swinton, Helena Bonham Carter, and Alber Elbaz. The book includes a foreword by Kate Bush, an introduction by writer Robin Muir, and an afterword by Tim Walker.Praise for Tim Walker: Story Teller:“You’ll delight in the fashion photographer’s visual daydreams.” —DuJour magazine

    Cream, published by Phaidon in 1998, was a sensational cultural event. Fresh Cream consolidates the biennial status of Cream as a frame of reference and an essential source of new art for art professionals and newcomers alike. Pursuing the theme of its predecessor, with 10 new world-class contemporary curators each choosing ten emerging artists, the book presents in its entirety the works of 100 artists and an up-to-the-minute global overview of the contemporary art world, not only for now but also for the future. These artists have risen to intense international acclaim since the 1990s or, in the opinion of the curators who have selected them, are about to emerge internationally in the near future. Fresh Cream contains the enormous breadth of ideas and forms that exist in contemporary art. The artists' spreads are arranged in an A-Z order, featuring numerous examples of each artist's work alongside a concise text from the selecting curator and vital biographical information about the artist. A conversation between the 10 curators and the commissioning editor gives a penetrative insight into their selections and of the key issues in contemporary art. The cultural context in which the artists work - from philosophy to fiction - is presented through recent texts from 10 contemporary writers, one selected by each curator. Itself embodying the creative originality and innovation of its content, Fresh Cream is packaged in an incredible, inflated, clear plastic pillow.

    Internationally famous Czech photographer Jan Saudek is no exception, and equally as uncompromising in pursuit of his own unique vision. For over four decades Saudek has created a parallel photographic universe, a two-dimensional home full of longing, peopled with the most extraordinary characters and colored by desire. The timeless strength of his hand-tinted photographs lies in their poetic compositions and their forceful?at times ribald?pictorial language, with its overtones of medieval genre pictures and Baroque mythology. Rejecting the traditional beauty in his famous nude photographs, Saudek shows the distinctively different: old women, fat women, children; real people in tableaux vivants that remind us of everything from surreal early movies to fin-de-siecle carnival nights. They exist outside time, a uniquely colored and almost mythical theater of dreams. Covering his debut in the 1950s through his lesser-known work to recent images, this dazzling collection offers us the true "velvet revolution," fertile and unsettling images from the dreams we might still have. The author: Daniela Mr?zkov?, critic and editor of the Czech magazines Revue fotografie and Fotografie-Magaz?n, is the author of sixteen books on photography published in the Czech Republic and abroad, and the curator of around fifty photography exhibitions. She has been a member of international juries, and has authored film and television documentaries on photography and photographers. She hasfollowed Jan Saudek's work since his early years and is the author of Saudek's first Czech monograph, The Theatre of Life.

    His influential work spans many practices over a 23-year period, from music packaging to installation work to printmaking. Here, he reveals his personal notebooks, photographs, sketches, and abandoned routes to iconic Radiohead artworks. Arranged chronologically, each chapter is dedicated to a major work—whether an album cover, promotional piece, or a personal project—and is presented as a step-by-step working case study. Featuring commentary by Thom Yorke and never-before-seen archival material, this is the first deep dive into Donwood’s creative practice and the artistic freedom afforded to him by working for a major music act. It is a must-have for fans of the band and anyone interested in graphic design and popular culture.

    Yet in 1979, the Amon Carter Museum of Fort Worth, Texas, daringly commissioned him to do just that.The resulting 1985 exhibition and book, In the American West, was a milestone in American photography and Avedon's most important body of work. His unflinching portraits of oilfield and slaughterhouse workers, miners, waitresses, drifters, mental patients, teenagers, and others captured the unknown and often-ignored people who work at hard, uncelebrated jobs. Making no apologies for shattering stereotypes of the West and Westerners, Avedon said, "I'm looking for a new definition of a photographic portrait. I'm looking for people who are surprising—heartbreaking—or beautiful in a terrifying way. Beauty that might scare you to death until you acknowledge it as part of yourself."Photographer Laura Wilson worked with Avedon during the six years he was making In the American West. In Avedon at Work, she presents a unique photographic record of his creation of this masterwork—the first time a major photographer has been documented in great depth over an extended period of time. She combines images she made during the photographic sessions with entries from her journal to show Avedon's working methods, his choice of subjects, his creative process, and even his experiments and failures. Also included are a number of Avedon's finished portraits, as well as his own comments and letters from some of the subjects.Avedon at Work adds a new dimension to our understanding of one of the twentieth century's most significant series of portraits. For everyone interested in the creative process it confirms that, in Laura Wilson's words, "much as all these photographs may appear to be moments that just occurred, they are finally, in varying degrees, works of the imagination."

     An homage to Africa's people and wildlife   Sebastião Salgado is one the most respected photojournalists working today, his reputation forged by decades of dedication and powerful black-and-white images of dispossessed and distressed people taken in places where most wouldn’t dare to go. Although he has photographed throughout South America and around the globe, his work most heavily concentrates on Africa, where he has shot more than 40 reportage works over a period of 30 years. From the Dinka tribes in Sudan and the Himba in Namibia to gorillas and volcanoes in the lakes region to displaced peoples throughout the continent, Salgado shows us all facets of African life today. Whether he’s documenting refugees or vast landscapes, Salgado knows exactly how to grab the essence of a moment so that when one sees his images one is involuntarily drawn into them. His images artfully teach us the disastrous effects of war, poverty, disease, and hostile climatic conditions.  This book brings together Salgado’s photos of Africa in three parts. The first concentrates on the southern part of the continent (Mozambique, Malawi, Angola, Zimbabwe, South Africa, Namibia), the second on the Great Lakes region (Congo, Rwanda, Burundi, Uganda, Tanzania, Kenya), and the third on the Sub-Saharan region (Burkina Faso, Mali, Sudan, Somalia, Chad, Mauritania, Senegal, Ethiopia). Texts are provided by renowned Mozambique novelist Mia Couto, who describes how today’s Africa reflects the effects of colonization as well as the consequences of economic, social, and environmental crises.This stunning book is not only a sweeping document of Africa but an homage to the continent’s history, people, and natural phenomena.   *Salgado’s Africa was awarded the M2-El Mundo People’s Choice Award for best exhibition at PhotoEspaña 2007!*

    It captures bygone New York at its most raucous, dangerous, and outrageous. Grisly murders, tragic accidents, gawking crowds, along with intimate human-interest and high-society images, are all captured by Weegee's flash. Interpretive essays, an annotated chronology, bibliography, filmography, and a list of exhibitions complete this comprehensive volume.

    You see everything from the complete lighting setup (and all the gear used), to the shoot (including all the camera settings and a contact sheet of the progression of the shoot), to the all-important part that most books don't dare include-the post-processing and retouching in Photoshop. This book also breaks new ground in the visual way it teaches you the lighting setup. There aren't any sketches or 3D models-you see the lighting layout in a full-page photo, taken from above during the live shoot, so you can see exactly where everything's positioned (the subject, the photographer, the lighting, the background-you name it-you see it all). Plus, you'll see side, over-the-shoulder, and more behind-the-scenes views, so you can absolutely nail the lighting every time.LEARN THE LIGHTING SETUPS THE PROS USE Each year, Scott trains thousands of professional photographers during his Light It. Shoot It. Retouch It. LIVE! seminar tour and now, for the first time ever, he's taken that incredibly popular style of learning and put in into book form. Now everyone can have a real-world reference for getting the same looks today's clients are clamoring for.You'll learn: The step-by-step layouts for creating the most-requested and sought-after lighting looks How to get more out of one light than you ever thought you could (this is worth it alone!) How to control and shape your light without breaking the bank The camera settings, gear, and power settings for every shot The retouching techniques the pros really use to make their subjects look their very best How to retouch hair, eyes, lips, skin, and lots of other little retouching tricks that make a really big difference How to create high-contrast portrait effects without buying expensive plug-ins A host of insider tricks, invaluable shortcuts, and kick-butt special effects to give you a real advantage over the competition Plus, Scott includes a special bonus chapter that shows how to create these same studio looks using off-camera hot shoe fl ashes and the modifi ers made for them. There's never been a book like it.

    I want there to be a combination of the past juxtaposed with the modern. I use nature to symbolize the search, saving a tree, watering the earth. In this fabricated world, strange clouds of smog float by; there are holes in the sky. These mythic images mirror our world, where nature is domesticated, controlled, and destroyed. Through my work I explore technology and a poetry of existence. These can be very heavy, overly didactic issues to convey in art, so I choose to portray them through a more theatrically absurd approach.--Robert ParkeHarrison

    Here Friedlander focuses on the role of his own physical presence in his images. He writes: "At first, my presence in my photos was fascinating and disturbing. But as time passed and I was more a part of other ideas in my photos, I was able to add a giggle to those feelings." Here readers can witness this progression as Friedlander appears in the form of his shadow, or reflected in windows and mirrors, and only occasionally fully visible through his own camera. In some photos he visibly struggles with the notion of self-portraiture, desultorily shooting himself in household mirrors and other reflective surfaces. Soon, though, he begins to toy with the pictures, almost teasingly inserting his shadow into them to amusing and provocative effect--elongated and trailing a group of women seen only from the knees down; cast and bent over a chair as if seated in it; mirroring the silhouette of someone walking down the street ahead of him; or falling on the desert ground, a large bush standing in for hair. These uncanny self-portraits evoke a surprisingly full landscape of the artist's life and mind. This reprint edition of Lee Friedlander: Self Portrait contains nearly 50 duotone images and an afterword by John Szarkowski, former Director of the Department of Photography at The Museum of Modern Art.

    The goal is to inspire photographers of all levels who wish to improve their work, as well as readers interested in deepening their understanding of the art of photography. Each volume is introduced by a student of the featured photographer. In this book, Mary Ellen Mark (1940-2015)--well known for the emotional power of her pictures, be they of people or animals--offers her insight on observing the world and capturing dramatic moments that reveal more than the reality at hand. Through words and pictures, she shares her own creative process and discusses a wide range of issues, from gaining the trust of the subject and taking pictures that are controlled but unforced, to organizing the frame so that every part contributes toward telling the story.

    And today, that means lifestyle photography, also referred to as "fine art wedding photography." Fine art wedding photography isn't just a catchy phrase; it's a modern approach in which design is paramount. Fine art wedding images are more graphic and stylized than traditional wedding photojournalism, as if they were pulled from the pages of a glossy wedding or lifestyle magazine. Acclaimed wedding photographer Jose Villa was a pioneer in fine art wedding photography before it became a trendy buzzword. Here, he shares his secrets for bringing a stylized sense of composition, lighting, posing, and most important, design, to your images, while still keeping them organic and narrative. You’ll learn Jose’s trademark technique of capturing the more natural moment after a pose, and tips for getting images right in-camera to avoid the need for heavy postproduction. Final chapters show you how to integrate design through the delivered product, whether an album or slideshow, and continue nurturing clients after the wedding by expanding to baby and family portraiture. Packed with real-life examples, solid techniques, and stunning images from one of the wedding industry's brightest stars, this book will both educate and inspire photographers seeking to update their work and satisfy a new generation of brides.