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Publisher's Description

The aesthetic and cultural wealth and the long tradition and classical status of opera as a high-art function here as an inspirational metaphor for a volume of photographs published annually and which deals with the most sensitive and direct kind of portrait: nude photography: the human body as both stage and theatre play. The publisher Matthias Straub presents a rich spectrum of large and small portrayals, with both young nude photographers and classic works by living and dead masters of this field.

Artists:
Barron Claiborne, Bart Hess, Bear Kirkpatrick, Christian Coigny, Christian Kettiger, Christian Witkin, Cynthia Berger, David Bellemere, David Lindsey Wade, David Spaeth, Elene Usdin, Eric Marrian, Imogen Cunningham, Jo Schwab, Joachim Baldauf, Jonathan Narducci, Kim Joon, Kirchknopf + Grambow, Jürgen Klauke, Madame Peripetie, Marc van Dalen, Michael Barolet, Mona Kuhn, Olivier Valsecchi, Quentin de Briey, René Fietzek, Ruben Brulat, Valeria Mitelman and many more.

Publisher: Kerber

Size: 240 × 310 mm

200 pages, 134 colour and 94 b/w illustrations

Publisher's price: $49.95

Publisher's Description

New is an initiative of the people behind GUP Magazine. New is a book, a catalogue, a style-guide featuring the best 100 emerging Dutch photographers per year. New is a platform bringing Dutch based photography talents to the attention of galleries, museums, commercial and photography agencies, media companies and institutions that work with imagery.

But New is more! With its 420 pages it is the style Bible for art directors, curators, collectors, photography lovers, and fellow photographers. With a print run of 2.500 copies, New makes sure the best emerging photographers around will get the attention and platform they deserve.

Publisher: GUP Magazine

Size: 166 × 225 mm

420 pages

Edition of 2500 copies

Publisher's price: £26.50

Note: There are 4 different covers for the New Dutch Photography Talent book. The content is the same in each of the books. Unfortunately, it is not a possibility to select a specific cover.

Publisher's Description

Contemporary Swedish Photography is an outstanding and much anticipated book. Generous in format and richly illustrated, it provides an overview of Swedens photography scene, from the legendary Christer Strömholm to todays wide range of eminent photographers. The book covers the work of over 50 photographers in alphabetical order, each presented with an introductory text and sumptuous images highlighting their most important characteristics. An insightful opening essay sheds light on the local historical context and outlines the technological and conceptual development of the medium, while American critic and curator Charlotte Cotton adds an international perspective. The focus of the book is art photography but cross-disciplinary photographers working in fields such as documentary photography, advertising, and fashion are also included, making this an essential reference book and a rich well of information for all who are interested in contemporary Swedish photography.

Photographers featured in the book: Andreas Ackerup, Lotta Antonsson, Bisse Bengtsson, Erik Berglin, Miriam Bäckström, Aida Chehrehgosha, Dawid, Cecilia Edefalk, Anders Edström, JH Engström, Johan Fowelin, Maria Friberg, Hans Gedda, Carl Johan De Geer, Peter Gehrke, Catarina Gotby, Denise Grünstein, Paul Hansen, Annika von Hausswolff, Maria Hedlund, Jean Hermanson, Julia Hetta, Walter Hirsch, Linda Hofvander, Martina Hoogland Ivanow, Pieter ten Hoopen, Mikael Jansson, Jens S Jensen, Gerry Johansson, Annica Karlsson Rixon, Eva Klasson, Clay Ketter, Hyun-Jin Kwak, Jenny Källman, Åke E:son Lindman, Fredrik Lieberath, Tuija Lindström, Maria Miesenberger, Tova Mozard, Robert Nettarp, Anneè Olofsson, Mikael Olsson, Petrus Olsson, Julia Peirone, Anders Petersen, Ann-Sofi Sidén, Gunnar Smoliansky, Karl-Johan Stigmark, Christer Strömholm, Lars Tunbjörk, Pernilla Zetterman, Camilla Åkrans

Publisher: Art and Theory Publishing

197 pages, 75 colour, 45 b/w illustrations.

Publisher's price: £44.50

Publisher's Description

The 1970s were more than leisure suits, streaking and disco; as this volume shows the ‘70s witnessed profound changes in politics, society and economy. 100 remarkable colour photographs, sourced from over 20,000 DOCUMERICA images taken between 1972 and 1978 and now in the U.S. National Archives, highlight the achievements of the decade, capturing its growing environmental awareness and appreciation of cultural diversity.

Drawing inspiration from the depression-era Farm Security Administration (FSA) photography project, DOCUMERICA photographers created a portrait of mid 70s America featuring small Midwestern towns, barrios in the Southwest, and coal mining communities in Appalachia. Their assignments were as varied as African American life in Chicago, urban renewal in Kansas City, commuters in Washington, DC, and migrant farm workers in Colorado. Included are iconic images such as "Hitchhiker with His Dog, 'Tripper' on U.S. 66" by Charles O'Rear and "Approaching Logan Airport" by Michael Philip Manheim.

Publisher: GILES in association with the Foundation for the National Archives, Washington, D.C.

Size: 280 × 240 mm

144 pages, 120 colour illustrations

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Publisher's Description

Reflections in Black, the first comprehensive history of black photographers, is a groundbreaking pictorial collection of African American life. Featuring the work of undisputed masters such as James VanDerZee, Gordon Parks, and Carrie Mae Weems among dozens of others, this book is a refutation of the gross caricature of black life that many mainstream photographers have manifested by continually emphasizing poverty over family, despair over hope. Nearly 600 images offer rich, moving glimpses of everyday black life, from slavery to the Great Migration to contemporary suburban life, including rare antebellum daguerrotypes, photojournalism of the civil rights era, and multimedia portraits of middle-class families. A work so significant that it has the power to reconfigure our conception of American history itself, Reflections in Black demands to be included in every American family's library as an essential part of our heritage. A Los Angeles Times and Washington Post Book World Best Book of 2000, and a Good Morning, America best gift book of 2000.

Publisher: Norton

Size: 22.5 x 30.5"

368 pages

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Publisher's Description

Each edition of UPON PAPER is dedicated to a different theme, a leitmotif that presents the most varied perspectives and positions on that subject.

The second issue has taken color as its main theme. The majority of the authors and artists who explore this topic are equally uncompromising in what they do. This quality has become apparent to me during my personal encounters with them, but it is also plainly present in their works. For example, Peter Saville’s cover for New Order’s biggest hit, Blue Monday, was designed in the form of a floppy disk. Neither the name of the song nor the artist were to be found on the cover. The design became a part of a “cool code” that Peter, long since a pop icon himself, instilled into his work for the sake of posterity. Possessing the necessary “coolness” himself, Saville showed almost no interest in the rules of cover design (for example, including the name of the band and the title in the upper third of the layout) and provided New Order’s album Power, Corruption and Lies with a color-coded alphabet: He has taken this work as the basis for a new piece created exclusively for UPON PAPER.

ritish photographer Nick Knight particularly enjoys working with manipulation and defamiliarization. With his labor-intensive techniques, he searches for new paths for photography, both in the darkroom and on computer. He once dedicated more than three years to studying all 6.5 million of the preserved specimens of flowers and plants exhibited in London’s Natural History Museum — in order to finally take 50(!) pictures. His work British Birds is likewise the product of several years spent on the dramatic ‘composing’ of carefully edited individual shots.

My friend Walter Pfeiffer had to earn fame and cult status abroad before finally receiving appropriate recognition — thirty years later — in his native Switzerland. His thoroughly personal images are full of strange, comical moments: He has been capturing them since the early seventies in an aesthetic that sometimes resembles the snapshots of a photographic diary. The selection of backgrounds and props in his works provides them with a very distinctive and consistently applied signature style.

In the early sixties, Hermann Nitsch’s publicly performed “actions” in Vienna and his Schüttbilder (“poured paintings”) repeatedly led to conflicts with the authorities and to weeks-long jail terms: These eventually led the artist to move to Germany in 1968. Twenty years later, the same city recognized him with its City of Vienna Award for Fine Arts. Nearly twenty years after that, this recognition of his work was reputedly not enough to prevent the Friends of the National Gallery in Berlin from heatedly debating whether or not they should appear as official organizers of a Nitsch retrospective at the Martin-Gropius-Bau.

It was also the swinging sixties that bore the photographer David Bailey. His vigorous lighting techniques and directness have defined him as not only an icon himself, but one of Britain’s most powerful black and white chronicler of each epoch he captures. His latest works, an unexpected stretch of roses in colour, stand to point to a photographic skill unparalleled in defining the very now, but its beauty simultaneously transcending to the infinite. In the recent watercolors presented in this issue, Kim Gordon (Sonic Youth) interprets the relationship between audience and performer in an abstract idiom, with colors possessing a powerful aura. In an interview with art editor Boris Pofalla, the all-around talent talks about paper, performativity, and New York in the 1980s.

Gavin Watson’s portraiture of the infamous skinhead scene of early 1980s Britain is given a new lease of life with the release of unseen colour photographs of teenage Watson and school friends holidaying. Watson’s intimate narration provides an emotional insight into one of the most controversial subcultures to have ever existed. Music writer Wyndham Wallace examines Talk Talk’s pivotal album Colour of Spring, and the enduring relationship with sleeve artist by James Marsh. Artists published in Color also includes Erwan Frotin, Michele Abeles, David Benjamin Sherry and Steve Shapiro.

You can imagine that the uncompromising format of UPON PAPER magazine initially led a number of vendors to shake their heads in skeptical disbelief (“too big,” “too bulky”). On the other hand, how many times have readers had to shake their heads at the continual cultivation of mediocrity? With our great ambition, we have achieved something extraordinary—not just in our choice of format—and have thus ultimately found a worthy home among readers and vendors. For the editorial vision of a publication such as this, the deciding criterion is ultimately the same as that of photography: What is worth looking at? Take a look for yourself.

Holger Homann, Editor in Chief

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Publisher's Description

Each edition of UPON PAPER is dedicated to a different theme, a leitmotif that presents the most varied perspectives and positions on that subject. In the first edition the theme is Los Angeles; a city in which it is not only dreams that are larger than life.

Californian artist Doug Aitken talks about his seductive multimedia work; Beach Boys expert Jon Stebbins writes about the creation of arguably the most long awaited album in pop music history – SMiLE; and we discover the new, intelligent Hollywood in Sofia and Roman Coppola’s Directors Bureau. Author Travis Jeppesen presents a portrait of the life-partner of novelist Christopher Isherwood: the painter and draftsman Don Bachardy — A Singular Man. We witness the birth of the skater scene in the empty pools of early-1970s Los Angeles, captured in the thrilling photographs of Hugh Holland.

The heterogeneous architecture of a city, which already understands the twentieth century as an antique age, will also be illuminated: the German artist Veronika Kellndorfer speaks with the Californian architect Mark Lee about their work and will also be represented by a piece that takes the famous Lovell Beach House as its theme. The prize-winning architect Michael Maltzan investigates his fascination with Los Angeles, his adopted home, in an essay from his book No More Play.

Juan José Gurrola and John Valadez represent L.A.’s Mexican art scene, which has recently attracted attention due to the group exhibition Pacific Standard Time. The exhibition will tour to its only European port of call, Berlin’s Martin-Gropius-Bau, in March 2012.

The dark side of the City of Angels is also investigated, for instance, in a feature about the downfall of the Hollywood star Montgomery Clift. Once as famous as Marlon Brando, he experienced one of the slowest suicides in show business as a result of a tragic accident and the drug addiction that followed.

Other features are devoted to Wim Wenders’ relationship with Hollywood, Peter Cain’s paintings of gas stations, David Hockney’s swimming pool images of the sixties and seventies, as well as Bob Mizer’s early photographs of Arnold Schwarzenegger as a young Adonis. Marion Blackburn takes us on a voyage West with Jack Kerouac, and Karl Lippegaus traces the exodus of the musical genius Charles Mingus from L.A. to New York.

Holger Homann, Editor in Chief

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Publisher's Description

Through the extraordinary images and insights of the world's master photographers, Photowisdom explores the richness of contemporary photographic practice. Photowisdom features commentaries from original interviews with world-leading photographers alongside exquisite reproductions of key images chosen by the artists themselves.The result is an unprecedented collection of 200 images showcasing each master photographer's work and their unique voice. Photowisdom will support a project with award-winning charity PhotoVoice (www.photovoice.com) to help children in rural Afghanistan express their concerns, and grasp opportunities through photograph.

Publisher: Chronicle

Size: 12 x 12"

216 pages, 200 full-colour photographs throughout

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Publisher's Description

• An extraordinary photographic history of the first decade of the twenty-first century charting the political, cultural, sporting and newsworthy moments that shaped the last 10 years
• The sequel to Phaidon’s New York Times best-selling Century: One Hundred Years of Human Progress, Suffering, Regression and Hope
• Arranged in chronological order, 500 painstakingly selected photographs highlight events that affected us all as well as quieter moments shared by just a few
• Historical texts accompany every scene depicted, while five thematic essays explore politics, art, sport, science and the environment over the period
• This sensitive visual anthology will appeal both to photography enthusiasts and to anyone with an interest in world history and current affairs

Publisher: Phaidon

Size:250 x 250 mm

504 pages, 468 colour illustrations, 32 black and white illustrations

Publisher's Description

Out [o] Fashion Photography: Embracing Beauty investigates the transformative experience of the photograph. In this book Deborah Willis explores historical perceptions of beauty and desire through artistic and ethnographic imagery and the role individual photographers play in constructing ways of seeing. Through the themes of idealized beauty, the unfashionable body, the gendered image, and photography as memory, Willis challenges and makes problematic the "reading" of photographic images in the twenty-first century.

Working from the significant photographic holdings of the University of Washington's Henry Art Gallery, and the University of Washington Libraries, Special Collections, the author examines shifting gender attitudes that emerged in work by women photographers such as Gertrude Käsebier and Diane Arbus. Willis discusses ethnographic ideologies underpinning the work of Edward Sheriff Curtis and Fred E. Miller who worked with Native American subjects, as well as the framing and reframing of images of black people in the work of Samuel Montague Fassett and Carrie Mae Weems. Additionally, the effects of fashion and desire on the imaging of beauty are examined in the work of such artists as Don Wallen, Janieta Eyre, and Jan Saudek. The book includes full-page illustrations of works by more than fifty internationally recognized photographers including Lisette Model, Imogen Cunningham, Lewis Wickes Hine, Bruce Davidson, Cecil Beaton, Nan Goldin, André Kertész, Lee Friedlander, Lorna Simpson, Cindy Sherman, and Andy Warhol.

Publisher: University of Washington Press

Size:9 x 12"

144 pages, 110 colour illustrations

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Publisher's Description

Named a best book of 2012—Modern Art Notes

“[O]ne of the most interesting, liveliest art history books I’ve read this year.”—Tyler Green, Modern Art Notes podcast 

Photographic manipulation is a familiar phenomenon in the digital era. What will come as a revelation to readers of this captivating, wide-ranging book is that nearly every type of manipulation we associate with Adobe’s now-ubiquitous Photoshop software was also part of photography’s predigital repertoire, from slimming waistlines and smoothing away wrinkles to adding people to (or removing them from) pictures, not to mention fabricating events that never took place. Indeed, the desire and determination to modify the camera image are as old as photography itself—only the methods have changed.

By tracing the history of manipulated photography from the earliest days of the medium to the release of Photoshop 1.0 in 1990, Mia Fineman offers a corrective to the dominant narrative of photography’s development, in which champions of photographic “purity,” such as Paul Strand, Edward Weston, and Henri Cartier-Bresson, get all the glory, while devotees of manipulation, including Henry Peach Robinson, Edward Steichen, and John Heartfield, are treated as conspicuous anomalies. Among the techniques discussed on these pages—abundantly illustrated with works from an international array of public and private collections—are multiple exposure, combination printing, photomontage, composite portraiture, over-painting, hand coloring, and retouching. The resulting images are as diverse in style and motivation as they are in technique. Taking her argument beyond fine art into the realms of politics, journalism, fashion, entertainment, and advertising, Fineman demonstrates that the old adage “the camera does not lie” is one of photography’s great fictions.

Publisher: Yale University Press

Size:  9 1/2 x 10 1/2"

288 pages, 276 color & black & white illustations

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Publisher's Description

How did free art photography express itself under the authoritarian conditions prevailing in the former East Germany (GDR)? And how did it change over the decades?

This exhibition catalogue features a total of 33 selected photographers who show how, despite numerous obstacles, free art photography did exist and critically reflected social conditions.

The selected positions convey the most important threads of development: montage and experimentation, documentary perspective and social reportage and the work of young newcomers in the 1980s.

Publisher: Kerber Verlag

Size: 270 x 230 mm

352 pages, 94 colour, 64 b&w illustrations

English and German text.

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Publisher's Description

War/Photography surveys both iconic and newly discovered photographs of war and conflict, from daguerreotypes documenting the Crimean and American Civil Wars to digital images made by soldiers in 21st-century Iraq. Accompanying a landmark exhibition opening at the Museum of Fine Arts, Houston, it is generously illustrated with over 525 powerful images and includes texts by some of today's most important scholars of war photography. This ambitious book offers a comprehensive investigation of the relationship between photography and armed conflict.

The featured works represent a range of perspectives—from journalists to soldiers to ordinary citizens—and span six continents, yet together they communicate the consummate experience of war: its brutality, humanity, and even humor. The book's essays investigate the immediate impact, dissemination, and historical influence of war photography.

Publisher: Yale University Press

Size: 10 x 13"

612 pages, 179 colour & 364 b/w illustations

Publisher's Description

Wartime Kiss is a personal meditation on the haunting power of American photographs and films from World War II and the later 1940s. Starting with a stunning reinterpretation of one of the most famous photos of all time, Alfred Eisenstaedt's image of a sailor kissing a nurse in Times Square on V-J Day, Alexander Nemerov goes on to examine an array of mostly forgotten images and movie episodes--from a photo of Jimmy Stewart and Olivia de Havilland lying on a picnic blanket in the Santa Barbara hills to scenes from such films as Twelve O'Clock High and Hold Back the Dawn. Erotically charged and bearing traces of trauma even when they seem far removed from the war, these photos and scenes seem to hold out the promise of a palpable and emotional connection to those years.

Through a series of fascinating stories, Nemerov reveals the surprising background of these bits of film and discovers unexpected connections between the war and Hollywood, from an obsession with aviation to Anne Frank's love of the movies. Beautifully written and illustrated, Wartime Kiss vividly evokes a world in which Margaret Bourke-White could follow a heroic assignment photographing a B-17 bombing mission over Tunis with a job in Hollywood documenting the filming of a war movie. Ultimately this is a book about history as a sensuous experience, a work as mysterious, indescribable, and affecting as a novel by W. G. Sebald.

Publisher: Princeton University Press

Size: 6 1/8 x 9 1/4"

184 pages, 46 halftones

Publisher's Description

This thought-provoking collection of superb photographic landscapes explores the connection between land and national identity.

Is Europe a union in name only? How does the land we live on contribute to our culture? How does it divide or unite a collection of cultures? These important questions are at the root of this pictorial examination of Europe’s heterogeneous landscape. This book brings together images from 27 European Union nations and from prominent artists such as Olafur Eliasson (Denmark), Andreas Gursky (Germany), Carl De Keyzer (Belgium), Massimo Vitali (Italy), and Celine Clanet (France). The book shows how landscape photography in particular offers critical insights into the characteristics of a place, inviting viewers, through a subjective lens, to form their own feelings toward that place. Organized into three broad geographic zones, it offers exquisite depictions of Europe’s wonderfully varied geography — shorelines and fjords, mountains and plains, farmland and urban centers — as it seeks to understand the source of the continent’s diversity and unity.

Publisher: Prestel

Size: 290 x 240 mm

280 pages, 120 colour illustrations

Publisher's Description

This book provides a unique opportunity to see an inspiring range of portraits from contemporary photographers selected from over 5,000 submissions. The works included are not only about the subjects – people who appear intriguing, defiant or relaxed – but also reveal the outstanding skills of the photographers, whose intelligence and diligence enables them to capture a moment in time, and to convey something of the spirit of those photographed. Fully illustrated in colour throughout, the book features all the selected entries from this year’s competition, as well as comments and insights from the judges. The 2012 judging panel comprises Sandy Nairne, Director, and Terence Pepper, Curator of Photographs at the National Portrait Gallery, London plus Lauren Heinz, Director, Foto8; Sean O’Hagan, writer on Photography for the Observer and the Guardian; Emma Hardy, photographer, and Glyn Morgan, Partner, Taylor Wessing LLP. The catalogue includes a short essay by writer Sean O’Hagan, and interviews with the prizewinners by Richard McClure give further insight into the photographers behind the portraits.

Publisher: NPG

Size: 280 x 220 mm

72 pages, 60 illustrations

Publisher's Description

This book highlights the richness and diversity of the photography of inter-war France, based on the Bouqueret collection which was recently added to the Centre Pompidou collection, the most comprehensive photography collection in the world of this period. Paris gathered at the time the biggest names in Photography: Brassai, Kertesz, Man Ray and Nagy.

Publisher: Centre Georges Pompidou

Size:250 x 280 mm

320 pages, 330 illustrations

Publishers's Price: £44.50

French

Publisher's Description

Today's photography is part of our own cultural moment, but it also arises from artistic traditions of the past. Seduced by Art looks at the effects of art and its history on the creation of photographs, tracing continuities in aims, visual style, and technical experimentation.

This sumptuous book shows how photographers such as Julia Margaret Cameron sought to elevate the status of their work by referencing Old Masters. Similarly, contemporary practitioners look to their photographic predecessors, as well as art history, for inspiration. Among the many photographers featured are Ori Gersht, Luc Delahaye, Thomas Struth, Tom Hunter, and Helen Chadwick, and paintings from Caravaggio, Zurbarán, Delacroix, Ingres, Constable, and others.

Each chapter takes a genre—portraiture, the nude, still life, and landscape—and discusses the challenges that each poses for photographers. Interviews with Tina Barney, Rineke Dijkstra, Richard Billingham, Richard Learoyd, Sarah Jones, and Maisie Maud Broadhead focus in-depth on contemporary working practices.

Hope Kingsley is curator for education and collections at the Wilson Centre for Photography, London. Christopher Riopelle is curator of post-1800 paintings at the National Gallery, London.

Publisher: Yale University Press

Size: 9 x 11"

208 pages, 150 colour illustrations.

Publisher's Description

This pioneering study offers detailed analysis of the impact of photographys birth on the classical art form of painting. Photography divided opinion in its early years; some saw it as an invaluable tool in the enhancement of artistic reproductions, while many believed it to be too mechanical to be associated with the grand concept of Art. Covering portraiture, landscapes, nudes, tableaux vivants, and still lifes, this richly-illustrated volume showcases some of the earliest photographic works alongside paintings that challenged, resisted, or were influenced by the emergence of photography in the first half of the nineteenth century. Author Dominique de Font-Réaulx examines the birth of photography in this period, its first forays into the public domain, and the organizations set up to preserve and defend it against a raft of criticism. The influence of figures such as Daguerre (creator of the daguerreotype, and originally a painter himself), Nièpce, and Hippolyte Bayard is charted, as the idea of accurately replicating images seen by the human eye gradually became a very real possibility. Imperfections, for so long erased by painters seeking to capture an idealized version of the body, were laid bare by an invention that captured even the minutest details. Featuring an engaging text accompanied by a rich selection of illustrations, Painting and Photography explores not only photographys fight for recognition, but its impact on painters of the day, challenging them to devise new ways of capturing the human form.

Publisher: Flammarion

320 pages

Publisher's Description

An extravagant photographic history of photographers and their cameras.

Photographers celebrates the truly innovative men and women behind the camera; trailblazers in their field, who captured and immortalised our world.

This definitive edition shows rarely seen photographs of some of twentieth-century photography’s greatest names. From Henri Cartier-Bresson and Weegee, to David Bailey and Richard Avedon by way of the men and women of Life and Picture Post magazines as well as anonymous pressmen, they are all shown at work with their camera. Photographers shows photographers with their celebrity subjects, who range from the best-known Hollywood stars to players of sport, musicians and politicians. It also shows some of those same celebrities turning the camera back on to the photographer.

Photographers shows off the classic cameras used by the press, photojournalists and fashion photographers. The Leica, the Nikon, the Pentax, the Rolleiflex and Speed Graphic are among the cameras shown in use. A section on wartime photographs shows aerial cameras in action.

Amongst the photographers shown are: Antony Armstrong-Jones, Richard Avedon, David Bailey, Cecil Beaton, Margaret Bourke-White, Robert Capa, Henri Cartier-Bresson, Terence Donovan, Philippe Halsman, Bert Hardy, Annie Leibovitz, Tony Ray-Jones and Weegee. Stars include Sean Connery, Sammy Davis Jr, David Hemmings, Audrey Hepburn, Jayne Mansfield, Marilyn Monroe, Peter Sellers, Terence Stamp, James Stewart, Robert Vaughn and John Wayne; and subjects such as the Beatles, Christine Keeler, Bobby and John F Kennedy, and shots on film sets.

An introductory essay by one of the world’s leading photographic specialists, Michael Pritchard, sets the photographers and their cameras within a wider context of the rapid growth in demand for photographs of celebrities from the 1890s and the development of celebrity culture associated with the rise of the movies from the 1920s.

Produced in association with Getty Images, one of the world’s leading collections of photography, Photographers reproduces each of the images to the highest standards supported by detailed captions.

Publisher: Real Art Press

Size: 300 x 250 mm

288 pages, 260 colour and b/w photographs