Marilyn Monroe: A Life in Pictures is the only book to bring together all of the most iconic images of the legendary bombshell. Glamorous shots by celebrity photographers mix with casual snapshots and childhood portraits to span Marilyn's luminous but too-short life. Hundreds of evocative images, both lush and poignant, are interwoven with quotations by and about Marilyn to create an elegant collective portrait like no other. Aesthetically arresting throughout, this volume illuminates the life of a legend, both onscreen and off.

    Decibel magazine is regarded as the best extreme music magazine around.Precious Metal gathers pieces from Decibel's most popular feature, the monthly “Hall of Fame” which documents the making of landmark metal albums via candid, hilarious, and fascinating interviews with every participating band member.Decibel's editor-in-chief Albert Mudrian, has selected and expanded the best of these features, creating a definitive collection of stories behind the greatest extreme metal albums of all time.

    Revealing the band's wilder, freer incarnation as seen in the Zoo TV tour, this biography offers stunning photos and never-before-published interviews, anecdotes, and stories.

    In the early days of photography, many believed and hoped that the camera would prove more efficient than the human eye in capturing the unseen. Spiritualists and animists of the nineteenth century seized on the new technology as a method of substantiating the existence of supernatural beings and happenings. This fascinating book assembles more than 250 photographic images from the Victorian era to the 1960s, each purporting to document an occult phenomenon: levitations, apparitions, transfigurations, ectoplasms, spectres, ghosts, and auras. Drawn from the archives of European and American occult societies and private and public collections, the photographs in many cases have never before been published.The Perfect Medium studies these rare and remarkable photographs through cultural, historical, and artistic lenses. More than mere curiosities, the images on film are important records of the cultural forces and technical methods that brought about their production. They document in unexpected ways a period when developing photographic technology merged with a popular obsession with the occult to create a new genre of haunting experimental photographs.

    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.

    His images, published in Life magazine, brought the war home, scorching the consciousness of the public and inspiring much of the anti-war sentiment that convulsed American society in the 1960s. To see these photo essays today, gathered in one volume and augmented by unpublished images from the Burrows archive, is to experience (or to relive), with extraordinary immediacy, both the war itself and the effect and range of Larry Burrows’s gifts—his courage: to shoot “The Air War,” he strapped himself and his camera to the open doorway of a plane . . . his reporter’s instinct: accompanying the mission of the helicopter Yankee Papa 13, he captured the transformation of a young marine crew chief experiencing the death of fellow marines . . . and his compassion: in “Operation Prairie” and “A Degree of Disillusion” he published profoundly affecting images of exhausted, bloodied troops and maimed Vietnamese children, both wounded, physically and psychologically, by the ever-escalating war.The photographs Larry Burrows took in Vietnam, magnificently reproduced in this volume, are brutal, poignant, and utterly truthful, a stunning example of photojournalism that recorded history and achieved the level of great art. Indeed, in retrospect, says David Halberstam in his moving introduction, “Larry Burrows was as much historian as photographer and artist. Because of his work, generations born long after he died will be able to witness and understand and feel the terrible events he recorded. This book is his last testament.”With 150 illustrations, 100 in full color

    Comeback 2.0 is Lance Armstrong’s first-person photo-journal of his 2009 comeback season with the goal to take the LIVESTRONG message around the world..Heavily illustrated with color photos and text , Comeback 2.0 includes an introduction by Lance that frames his decision to return to competitive cycling followed by journal-like entries written through the course of his comeback season beginning with the Tour Down Under, followed by the Tour of California, his spectacular crash in the first stage of the Vuelta a Castilla y Leon race in Spain that resulted in a broken collar bone, the Giro d’Italia, and finally the Tour de France. The journal entries will accompany spectacular four-color photos, that offer breathtaking views of the race stages as well as intimate, behind-the-scenes shots. Renowned sports photographer and photojournalist Elizabeth Kreutz has been granted unparalled access to Lance’s day-to-day world in this, his most triumphant season. .

    In a complete revision of his 1998 hardcover, Jones tells for the first time the whole story of his investigation of the case, including what he was told by McVeigh and what he learned about others involved in the conspiracy. His account differs significantly from the tale McVeigh is telling as he faces execution for his crimes. In interviews with Buffalo News journalists, reported in their recently released book American Terrorist(ReganBooks, April 2000), McVeigh claims total responsibility for the bombing, saying "It was my choice and my control to hit that building when it was full." In Others Unknown Jones sets the record straight, saying what he could not say when he first wrote this book, before McVeigh effectively waived attorney-client privilege: that based on what he learned as McVeigh's counsel, Jones knows that the bombing was a conspiracy, and that McVeigh was not its mastermind. "I'm not trying to say he was innocent. He has exaggerated his guilt to protect others. He played a role, but he was a foot soldier, a mule, not the general," says Jones. "I know it did not happen the way he tells it in his book." Jones reports in detail what McVeigh told him as the case progressed; explains why McVeigh did not plead guilty; and shows McVeigh's real role in the conspiracy and how he obstructed his own defense. This is the definitive historical record of a heinous act of murderous rage; an account indispensable to understanding what happened. And, says PublicAffairs CEO and publisher Peter Osnos: "We think it's important that Tim McVeigh not be given the final word."

    This 304 page book contains dozens of color and black and white photos taken between 1971-1976 when Jacob Holdt travelled more than 100,000 miles across America living as a vagabond and capturing on film the people with whom he came into contact, including more than 350 families in 48 states, most of whom were poverty stricken black Americans.

    The jargon-free text provides practical techniques and innovative exercises for breaking with traditional concepts of design to enable the photographer to develop a keen awareness of subject matter and a personal direction.Topics include: Barriers to seeing Learning to observe: rethinking the familiar Learning to imagine: abstracting and selecting Learning to express: Subject matter and the photographer Elements and principles of visual design and more.This edition of Photography and the Art of Seeing is updated to include technical guidelines adapted for both digital and film photographers and includes photographs from Freeman Patterson's personal collection. Extended captions include valuable technical information and personal commentary reflective of the superb craftsmanship and stunning photography from one of the most highly acclaimed and celebrated photographers worldwide.

    It is an extraordinary look into the mind of an artist whose boundless creative output touches a myriad of media, from photography to painting to poetry to acting. Recent Forgeries includes a CD with music and spoken-word poetry. Introduction by Dennis Hopper.Softcover, 7 3/4 x 7 3/4 inches, 110 pages, 83 reproductionsISBN: 1-889195-32-4 7th Edition$25

    National ads/media.From the Trade Paperback edition.

    invasion, unaffiliated with any newspaper and hoping to pick up assignments along the way, Ashley Gilbertson was one of the first photojournalists to cover the disintegration of America’s military triumph as looting and score settling convulsed Iraqi cities. Just twenty-five years old at the time, Gilbertson soon landed a contract with the New York Times, and his extraordinary images of life in occupied Iraq and of American troops in action began appearing in the paper regularly. Throughout his work, Gilbertson took great risks to document the risks taken by others, whether dodging sniper fire with American infantry, photographing an Iraqi bomb squad as they diffused IEDs, or following marines into the cauldron of urban combat. Whiskey Tango Foxtrot gathers the best of Gilbertson’s photographs, chronicling America’s early battles in Iraq, the initial occupation of Baghdad, the insurgency that erupted shortly afterward, the dramatic battle to overtake Falluja, and ultimately, the country’s first national elections. No Western photojournalist has done as much sustained work in occupied Iraq as Gilbertson, and this wide-ranging treatment of the war from the viewpoint of a photographer is the first of its kind. Accompanying each section of the book is a personal account of Gilbertson’s experiences covering the conflict. Throughout, he conveys the exhilaration and terror of photographing war, as well as the challenges of photojournalism in our age of embedded reporting. But ultimately, and just as importantly, Whiskey Tango Foxtrot tells the story of Gilbertson’s own journey from hard-drinking bravado to the grave realism of a scarred survivor. Here he struggles with guilt over the death of a marine escort, tells candidly of his own experience with post-traumatic stress, and grapples with the reality that Iraq—despite the sacrifice in Iraqi and American lives—has descended into a civil war with no end in sight.A searing account of the American experience in Iraq, Whiskey Tango Foxtrot is sure to become one of the classic war photography books of our time.

    More than that, its release in 1992 heralded the critical rehabilitation of a group which had, since its demise a decade earlier, become little more than a memory of trashy costumes and cheesy tunes to many people. Here, Elisabeth Vincentelli charts the circumstances surrounding the birth of Abba Gold, looks at the impact it had on the music world, and tells the stories behind some of the greatest pop songs ever recorded.

    200 b/w illustrations. Two 16-page 4-color inserts.