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With 25,000 copies sold, Anton Corbijn's blockbuster book documenting his 22-year friendship with the Irish rock group U2 is now available in an inexpensive reduced-size version. It presents a wealth of official and private pictures taken between 1982, when they first met in New Orleans, and their April 2004 Lisbon shooting for U2's How to Dismantle an Atomic Bomb album.

Piet Mondrian behind his easel, Igor Stravinsky at his piano, Max Ernst sitting smoking on his throne-like chair: the photographs of Arnold Newman (1918-2006) are classics of portraiture. His subtle arrangements constituted the foundations of “environmental portraiture.” His photographs integrate the respective artist’s characteristic equipment and surroundings, thus indicating his or her field of activity. The enormous fame of Newman’s portraits can be ascribed to their daring compositions and sometimes astounding spatial structures. The photographer’s beginnings, however, were none too promising. During the Great Depression, Newman had to abandon his art studies for financial reasons. Between 1938 and 1942 he concentrated on socio-documentary photography in the ghettos of West Palm Beach, Philadelphia, and Baltimore. One might think that being forced to earn his living in a photography studio would have stifled his artistic potential: Newman portrayed up to 70 clients a day. Yet he still succeeded in developing a very personal touch and establishing himself in the New York art scene of the early 1940s. His subjects included Marcel Duchamp, Marc Chagall, Jackson Pollock, Willem de Kooning, and Alexander Calder among many others. With his unmistakable style, Newman became the star photographer of artists, writers, and musicians. This new edition, which includes recent work and an updated biography, provides a sweeping overview of Newman’s illustrious career.

Our Fair Lady. A photographic love affair

People, even more than things, have to be restored, renewed, revived, reclaimed, and redeemed; never throw out anyone." - Audrey Hepburn

In his distinguished career as a Hollywood photographer, Bob Willoughby took iconic photos of Marilyn Monroe, Elizabeth Taylor and Jane Fonda, but remains unequivocal about his favourite subject: Audrey Kathleen Ruston, later Edda van Heemstra Hepburn-Ruston, best known as Audrey Hepburn. Willoughby was called in to shoot the new starlet one morning shortly after she arrived in Hollywood in 1953. It was a humdrum commission for the portraitist often credited with having perfected the photojournalistic movie still, but when he met the Belgian-born beauty, Willoughby was enraptured. "She took my hand like...well a princess, and dazzled me with that smile that God designed to melt mortal men's hearts," he recalled.

As Hepburn's career soared following her Oscar-winning US debut in Roman Holiday, Willoughby became a trusted friend, framing her working and home life. His historic, perfectionist, tender photographs seek out the many facets of Hepburn's beauty and elegance, as she progresses from her debut to her career-high of My Fair Lady in 1963. Willoughby's studies, showing her on set, preparing for a scene, interacting with actors and directors, and returning to her private life, comprise one of photography's great platonic love affairs and an unrivalled record of one of the 20th century's touchstone beauties.

The photographer:

Bob Willoughby (1927-2009) took his first photo at the age of twelve. By 1954 his exhibitions of photographs of jazz musicians and dancers led to a contract with Globe Photos, followed by work at Harper's Bazaar. After shooting Judy Garland during the filming of A Star is Born he became the first "unit photographer"— hired specifically by movie studios to take on-set promotional "stills". The author of numerous books on photography, he lived his last years in Vence, France.

Audrey Hepburn epitomised elegance and style and her beauty, fragility and grace set her apart in Hollywood, but her story makes her even more special. From poverty and humble beginnings in WW2 to Gigi on Broadway and thence one of the most beloved of all screen actresses, Hepburn's life is illustrated by the likes of Slim Aarons and Richard Avedon, Bert Hardy, Leonard McCombe and Ralph Morse.

Audrey Hepburn was an Academy Award-winning, Emmy Award-winning, Tony Award-winning and Grammy Award-winning film and stage actress, fashion icon and humanitarian. In 1999, she was ranked as the third greatest female star of all time by the American Film Institute. She also served as a UNICEF Goodwill Ambassador and was honoured with the Presidential Medal of Freedom for her work. This book charts the extraordinary life of this Hollywood legend from her early life right through her illustrious career with fabulous rare and classic photographs.

More than a mere fashion idol, Audrey Hepburn evinced a natural intelligence and almost artificial appeal that changed the face of women and the way women face the world for all generations to come. This biography is dedicated to her sense of dressing and the people who surrounded her. It captures the essence of her style and explains the Hepburn phenomenon.

Recently sold at Christie’s, Holly Golightly’s black Givenchy dress (and its enchanting wearer) remain available for admiration in this volume presenting movie shots from Breakfast at Tiffany’s and fashion shots with Audrey Hepburn taken by Howell Conant, a long-time friend of Grace Kelly’s and the official court photographer to the Grimaldis.

From her captivating debut in Roman Holiday in 1953, Audrey Hepburn redefined notions of Hollywood elegance and sophistication.

This lavishly illustrated book celebrates Audrey's popularity as an enduring icon, providing a unique insight into her career, personality and trademark style that still fascinate and captivates today. A detailed biography is accompanied by over 160 photographs, many reproduced for the first time and taken by some of the world's top photographers. Famous quotes on and from Audrey Hepburn complement the impressive iconographic research, which includes numerous family pictures as well as information from private collections, press agencies and newspapers.

From her enchanting appearances on the big screen to her charity work for UNICEF and fascinating family life, this book is a highly individual portrait of a much-loved movie and fashion legend.

From her captivating debut in Roman Holiday in 1953, Audrey Hepburn redefined notions of Hollywood elegance and sophistication.

This lavishly illustrated book celebrates Audrey's popularity as an enduring icon, providing a unique insight into her career, personality and trademark style that still fascinate and captivates today. A detailed biography is accompanied by over 160 photographs, many reproduced for the first time and taken by some of the world's top photographers. Famous quotes on and from Audrey Hepburn complement the impressive iconographic research, which includes numerous family pictures as well as information from private collections, press agencies and newspapers.

From her enchanting appearances on the big screen to her charity work for UNICEF and fascinating family life, this book is a highly individual portrait of a much-loved movie and fashion legend.

With a foreword by Hubert de Givenchy, who dressed Audrey for her films and who became a close friend of the star.

This dazzling array of photographs by seventy-five of the world’s foremost contemporary photographers focuses on self-portraits.

From intimate images of introspection and those that challenge notions of ethnicity and sexuality, to dramatic, stylized photographs of dream-like scenarios, Auto Focus shows how one of the longest-established artistic genres continues to fascinate artists today.

Susan Bright provides a clear guide for readers through this significant and dynamic genre, showing how issues of identity – whether national, sexual, racial, personal or artistic – are key to understanding the work of many of today’s leading photographers.

The survey is clearly organized into five themes that deal with
• diaristic and autobiographical images
• pictures of the body
• the use of masks and masquerade
• the return to studio portraiture and the photographic album
• performance, public and private

An illustrated introduction to the book points to the history of the photographic self-portrait from the 1840s to the late twentieth century, providing an invaluable context for the recent surge in artists’ images of themselves.

Auto Focus features a dazzling array of self-portraits by seventy-five of the world’s foremost contemporary photographers. Photography writer and curator Susan Bright provides a clear guide through this significant and dynamic genre, showing how issues of identity - whether national, sexual, racial, personal, or artistic - are key to understanding the work of many of today’s leading photographers.

This lavishly illustrated, accessible survey is organized into five thematic chapters: diaristic and autobiographical images; pictures of the body; the use of masks and masquerade; the return to studio portraiture and the photographic album; and performance, both public and private. An informative illustrated introduction explains the history of the photographic self-portrait from the 1840s to the late twentieth century, providing an invaluable context for the recent surge in artists’ images of themselves.

From intimate images of introspection and those that consciously challenge notions of ethnicity and sexuality to dramatic, stylized photographs of dreamlike scenarios, Auto Focus shows how one of the longest-established artistic genres continues to fascinate artists today.

No photographer had a more serious and deeply felt response to the political and cultural impact of the 1960s and early 1970s than Richard Avedon, whose iconic portraits of key figures of the era influenced the course of photography in the decades that followed.

In four monumental photographic murals (reproduced in large gatefolds) and many related portraits, he portrayed Andy Warhol’s gender-bending Factory, with Viva and Candy Darling; Abbie Hoffman and the radical agitators of the Chicago Seven; Allen Ginsberg’s family, friends, and fellow artists; and the U.S. Mission Council in Saigon alongside searing portraits of victims of the Vietnam War.

The photographs are accompanied by images of archival material, including Avedon’s diaries, correspondence, and contact prints. Major essays explore Avedon’s penetrating incursions into the history and spirit of these tumultuous years

After four years of collaboration with choreographer Peter Martins and the New York City Ballet, Swiss portrait photographer Henry Leutwyler was granted unprecedented backstage access to the Company during the winter of 2012. The resulting book, Ballet, reflects 30 years of his passion for the art form, realized in 30 days of photographing.

Leutwyler inhabited the shadows of the stage and became "invisible," recording images of the dancers using nothing more than his 35mm Leica. He was able to explore the performers' immediate space, affording a more abstract portrait of their frenzied existence in an art form predicated on perfection. This clothbound masterpiece is a homage to the gritty world behind the curtain. With impresario Lincoln Kirstein, George Balanchine co-created the New York City Ballet in 1948. What followed is arguably one the most revolutionary periods in ballet history as he redefined the art form, introducing abstract works performed with a signature speed, musicality and precision. Under the leadership of Peter Martins, these are the hallmarks of the Company to this day.

About Henry Leutwyler

Henry Leutwyler was born in Switzerland in 1961. He lived and worked in Paris for a decade before finding his way to New York City in 1995, where he established his reputation as a portrait photographer. Steidl published Leutwyler’s first book Neverland Lost: A Portrait of Michael Jackson, in 2010. The images from Neverland Lost and Ballet have been exhibited in solo shows in Los Angeles, New York City, Paris, Moscow, Madrid and Zurich. 

Featuring the leading personalities that helped create the legend of ‘Swinging London’ in the 1960s, this book provides the first in-depth overview of portraits from this period. It shows how photographers explored the possibilities of pop, how it was seen back then, and how it continues to live in people’s memories today.