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Before she was a world-renowned singer/songwriter and bestowed with the title "The Godmother of Punk," Patti Smith was a struggling poet posing for the lens of photographer Judy Linn.

In intimate portraits of an artist as a young woman, Linn captures Smith at her most vulnerable, as a raw performer on the verge of becoming an iconic artist. Linn's photographs offer a fascinating document of Smith's maturation into one of the most influential women of her generation while also spotlighting her close relationships with other artists including Robert Mapplethorpe and Sam Shepard.

The book captures a moment lost in time, when a poet experimenting with music crossed paths with a young artist experimenting with photography. A must-have for anyone interested in the evolution of an artist, this collection showcases the collaboration bewteen Smith and Linn and rewrites what it means to be a woman and an artist.

50 dutone images and 45 four-color images

For Paul Strand, the great pioneer of modernism, the summers of 1926 and 1930–1932 were a return to experimentation and periods of great artistic growth. He worked in makeshift darkrooms - one in a hotel basement and another above the Taos movie theater. The Southwest period brought not only artistic renewal, but also personal turmoil. His political and social ideas were shifting, and his relationship with the two most important people in his life - his wife Rebecca and his mentor Alfred Stieglitz - were disintegrating. This book reconstructs, in an intimate, visual way, the emotional and creative swirl around Paul Strand, through beautiful reproductions of his images from the period and a comprehensive collection of notes, illustrations, and ephemera.

While a handful of Strand’s Southwest photographs have been previously published, this period of his outstanding career remains largely unexplored. Paul Strand Southwest presents many images for the first time, including dramatic landscapes, decayed ghost towns, the noble architecture of adobe churches, and his final, austere portraits of Rebecca.

41 duotone images

Paul Strand was more than a great artist: he discovered that photography had the potential to be the most dynamic medium of the twentieth century. Purity, elegance, and passion are the hallmarks of Strand's imagery. This inaugural volume of Aperture's Masters of Photography series presents forty-one of Strand's greatest photographs, drawn from a career that spanned six decades.

Included are his earliest experimental efforts, created from 1915 to 1917,which Alfred Stieglitz declared had begun to redefine the medium. Subsequent photographs reveal the artist's impeccable vision in locales as diverse as New England and the Outer Hebrides, France, and Ghana. During Strand's last years, he concentrated on still lifes and the poignant beauty of his own garden at Orgeval, France.

In an introductory essay, Mark Haworth-Booth, Curator of Photography at the Victoria and Albert Museum, London, provides an overview of the artist's life and his enduring contribution to photography.

Paul Strand: Sixty Years of Photographs, a long-unavailable Aperture classic, is one of the most comprehensive surveys of the power and force of a major photographic figure of our time. Before his death in 1976 at age eighty-five, Strand combed his photographic prints and his many books with an eye to the completion of this volume. Seen here is the summation of a lifework, from the first abstract photographs to the series of plant photographs taken in the last years of his life. Also included is a rarely examined series of films - brilliant, unprecedented documentaries that foreshadowed Italian neo-realism and the new cinema of the post-war years.

The re-release of this volume, which features the famous biographical profile by Calvin Tomkins and excerpts from Strand's correspondence, interviews, and other documents, makes one of photography's major artists newly accessible.

"This book is a personal interpretation of the penguins I met, rather than a natural history of all penguins," Frans Lanting writes. "I wanted to create an impression of who these penguins are and what they go through. I hope my work will be seen as an homage to the individual within them all."

Journey into the World of Peter Beard. An artist’s life magnified

Pioneering contemporary artist Peter Beard turned his life in New York and on the African continent into a Gesamtkunstwerk; a collage of photography, ecology, and diary writing. The original limited edition may have instantly sold out, but the book is now back to present the artist’s unique world, a realm of art, science, and beauty.

Artist, diarist, collector, and writer Peter Beard (1938-2020) fashioned his life into a work of art; the illustrated diaries he kept from a young age evolved into a serious career as an artist and earned him a central position in the international art world. He collaborated with Francis Bacon and Salvador Dalí, he made diaries with Andy Warhol, worked on books with scientists like Dr. Norman Borlaug, Dr. Richard Laws, and Alistair Graham, and toured with Truman Capote, Terry Southern, and the Rolling Stones — all of whom are brought to life, literally and figuratively, in his work. He delved into the world of fashion for its beautiful women, taking Vogue stars like Veruschka to Africa and bringing new ones back to the U.S. with him.

After spending time in Kenya and striking up a friendship with the author Isak Dinesen (Karen Blixen) in the early 1960s, Beard bought 50 acres next to her farm with the stipulation that he would film and write about the land and its flora and fauna. He witnessed the dawn of Kenya’s population explosion, which challenged finite resources and stressed animal populations — including the starving elephants of Tsavo dying by the tens of thousands in a wasteland of eaten trees. So he documented what he saw — with diaries, photographs, and collages. He went against the wind in publishing unique and sometimes shocking books of these works, including The End of the Game. The corpses were laid bare; the facts carefully recorded, sometimes in type and often by hand. Beard used his photographs as a canvas onto which he superimposed multi-layered contact sheets, ephemera, found objects, newspaper clippings that are elaborately embellished with meticulous handwriting, old-master inspired drawings, and often swaths of animal blood used as paint.

In 2006, TASCHEN first published the book that has come to define his oeuvre, signed by the artist and published in two volumes. It sold out instantly and became a highly sought-after collector’s item. In the decade since, the monograph has been revived in two smaller versions; but sometimes, bigger is better. Now, the book you haven’t been able to get your hands on is available in one large-format volume.

The artist:

Peter Beard (1938–2020) began taking photographs and keeping diaries from early childhood. By the time he graduated from Yale University, he had developed a keen interest in Africa. Throughout the 1960s and ’70s he worked in Tsavo Park, the Aberdares, and Lake Rudolf in Kenya’s northern frontier. A constant creator, Beard the chronicler photographed, wrote, drew, collaged, and assembled a history of his life experiences and our own.

The editors:

Nejma Beard is Peter Beard’s agent and Executive Director of the Peter Beard Studio. Her spirit and experience are synchronous with Beard’s—having been born and raised in Kenya. This deep familiarity and a devotion to a place and a people forms their unique collaborative relationship. Primary to her work is a deep concern for the future of the world and a commitment to ecologic efforts. She curates exhibitions, art-directs photoshoots, and edits and assists with all Beard publications.

David Fahey is co-owner of the Fahey/Klein Gallery, Los Angeles. During his 31-year career in the field, he has collaborated on over 45 fine art photography books. He is the co-vice president of the Herb Ritts Foundation and serves on the Photography Advisory Council for the J. Paul Getty Museum.

The authors:

Owen Edwards has written about photography for more than 30 years for numerous publications including American Photographer, New York Times Magazine, and Smithsonian.

Steven M. L. Aronson, a former book publisher, is a writer and editor. He edited and published Peter Beard’s book Longing for Darkness and wrote the T.V. special The End of the Game. He is the author of HYPE and the co-author of Savage Grace.

The contributor:

Ruth Ansel is an award-winning art director known for her innovative design at many of America's top fashion and cultural magazines since the 1960s. Ansel Design Studio (est. 1992) has produced international fashion campaigns and books with photographers including Peter Beard, Richard Avedon, and Annie Leibovitz.

Photographer, collector, diarist, and writer of books Peter Beard has fashioned his life into a work of art; the illustrated diaries he kept from a young age evolved into a serious career as an artist and earned him a central position in the international art world. He was painted by Francis Bacon, painted on by Salvador Dalí, and made diaries with Andy Warhol; he toured with Truman Capote and the Rolling Stones, created books with Jacqueline Onassis and Mick Jagger - all of whom are brought to life, literally and figuratively, in his work. As a fashion photographer, he took Vogue stars like Veruschka to Africa and brought new ones - most notably Iman - back to the U.S. with him.

His love affair with natural history and wildlife, which informs most of his work, began when he was a teenager. He had read the books of Isak Dinesen (Karen Blixen) and after spending time in Kenya and befriending the author, bought a piece of land near hers. It was the early 1960s and the big game hunters led safaris, with all the colonial elements Beard had read about in Out of Africa characterizing the open life and landscape, but the times were changing. Beard witnessed the dawn of Kenya's population explosion, which challenged finite resources and stressed animal populations - including the starving elephants of Tsavo, dying by the tens of thousands in a wasteland of eaten trees. So he documented what he saw - with diaries, photographs, and collages. He went against the wind in publishing unique and sometimes shocking books of these works. The corpses were laid bare; the facts were carefully written down, sometimes in type, often by hand, occasionally with blood.

Peter Beard's most important collages are included, along with hundreds of smaller-scale works and diaries, magnified to show every detail - from Beard's meticulous handwriting and old-masters-inspired drawings to stones and bones and bits of animals pasted to the page.

Special features:

* Two volumes in a cloth slipcase
* Volume 1: 200 pages of diaries and 294 pages of collages + five fold-outs; introduction by photo critic Owen Edwards. Nearly all the diaries and collages from the original book are included, plus two new collages finished in 2007.
* Volume 2: Image index with captions for all images from Volume 1; personal photos and early work of the artist; interview with the artist by Steven M. L. Aronson; a facsimile reprint of Beard's 1993 handwritten essay from the sold-out debut issue of Blind Spot magazine; extensive bibliography, filmography, and list of exhibitions.

“The deeper the white man went into Africa, the faster the life flowed out of it, off the plains and out of the bush...vanishing in acres of trophies and hides and carcasses.” — Peter Beard

A landmark publication on Africa, The End of the Game combines Peter Beard’s salient text and remarkable photographs to document the overpopulation and starvation of tens of thousands of elephants, rhinos, and hippos in Kenya’s Tsavo lowlands and Uganda parklands in the 1960s and ’70s.

Researched and compiled over two decades, Beard’s work is a powerful and poignant testimony to the damage done by human intervention in Africa. His own images and texts are supplemented by historical photographs of, and writings from, the enterprisers, explorers, missionaries, and big-game hunters whose quest for adventure and “progress” were to change the face of a continent: Theodore Roosevelt, Frederick Courteney Selous, Karen Blixen (Isak Dinesen), Philip Percival, J.A. Hunter, Ernest Hemingway, and J.H. Patterson.

Marking the 50th anniversary of its first publication, TASCHEN now republishes The End of the Game in a limited edition of 5,000 copies, with an updated foreword by internationally renowned travel and fiction writer Paul Theroux. Touching on such themes as distance from nature, density and stress, and loss of common sense, this seminal portrait is as resonant today, amid growing environmental crises, as it was a half-century ago.

The Lindbergh Lens. The photographer who altered the landscape of fashion photography

Peter Lindbergh’s seminal compendium, now published in a special anniversary edition. Through collaborations with the most venerated names in fashion, Lindbergh created new narratives with his humanist approach. This book features more than 300 images, many previously unpublished, and an adapted interview with Lindbergh.

It was on a Malibu beach in 1988 that Peter Lindbergh shot the White Shirts series, images now known the world over. Simple yet seminal, the photographs introduced us to Linda Evangelista, Christy Turlington, Rachel Williams, Karen Alexander, Tatjana Patitz, and Estelle Lefébure. This marked the beginning of an era that redefined beauty, and Lindbergh would go on to alter the landscape of fashion photography for the decades that followed.

This edition gathers more than 300 images from forty years of Lindbergh’s career. It traces the German photographer’s cinematic inflections and humanist approach, which produced images at once seductive and introspective.

In 1980 Rei Kawakubo asked Lindbergh to shoot a Commes des Garçons campaign, one of his earlier forays into commercial photography. Kawakubo gave him carte blanche. The following years brought forth collaborations with the most venerated names in fashion and resulted in a relationship of mutual reverence; Lindbergh’s respect for some of the greatest designers of our time is palpable in his portraits. Among those photographed are Azzedine Alaïa, Giorgio Armani, Alber Elbaz, John Galliano, Jean Paul Gaultier, Karl Lagerfeld, Thierry Mugler, Yves Saint Laurent, Jil Sander, and Yohji Yamamoto.

Widely considered a pioneer in his field, Lindbergh shirked the industry standards of beauty and instead celebrated the essence and individuality of his subjects. He was pivotal to the rise of models such as Kate Moss, Naomi Campbell, Linda Evangelista, Cindy Crawford, Mariacarla Boscono, Lara Stone, Claudia Schiffer, Amber Valletta, Nadja Auermann, and Kristen McMenamy.

Lindbergh’s reach also extended across Hollywood and beyond: Cate Blanchett, Charlotte Rampling, Richard Gere, Isabelle Huppert, Nicole Kidman, Madonna, Brad Pitt, Catherine Deneuve, and Jeanne Moreau all appear in his works. From the picture chosen by Anna Wintour as the cover of her first Vogue issue to the legendary shot of Tina Turner on the Eiffel Tower, it is never the clothes, celebrity, or glamour that takes center stage in a Lindbergh photograph. Each picture conveys the humanity of its subject with a serene melancholy that is uniquely and unmistakably Lindbergh.

From the outset of his career, Lindbergh was well-known in the contemporary art world, where his photographs were exhibited in galleries long before they appeared in magazines. This edition features an updated introduction adapted from an interview in 2016, allowing a glimpse behind Lindbergh’s lens, where the photographer recounts his early collaborations, the tenuous relationship between commercial and fine art, and the power of storytelling.

The photographer and author:

Peter Lindbergh (1944–2019) was a master of his craft who made his mark in the halls of photography history, with such credits as shooting the first American Vogue cover under Editor-in-Chief Anna Wintour, bringing together for the first time a group of young women who would become the ’90s supermodels, and numerous exhibitions at renowned institutions including Victoria & Albert Museum in London and Centre Pompidou in Paris, as well as in solo exhibitions at Hamburger Bahnhof, the Berlin Museum for Contemporary Art, Bunkamura Museum of Art in Tokyo, the Pushkin Museum of Fine Arts in Moscow, and Kunstpalast in Düsseldorf.

About the series:

TASCHEN is 40! Since we started our work as cultural archaeologists in 1980, TASCHEN has become synonymous with accessible publishing, helping bookworms around the world curate their own library of art, anthropology, and aphrodisia at an unbeatable price. Today we celebrate 40 years of incredible books by staying true to our company credo. The 40 series presents new editions of some of the stars of our program — now more compact, friendly in price, and still realized with the same commitment to impeccable production.

The Lindbergh Touch. Intimate images of some of the world’s most fascinating actresses, by a master of his craft

“What is merely beautiful has always bored me. I’m interested in what is powerful and real.” — Peter Lindbergh

With such credits as shooting the first American Vogue cover under Editor-in-Chief Anna Wintour, bringing together for the first time a group of young women who would become the ’90s supermodels, and numerous solo exhibitions at world-renowned institutions including the Pushkin Museum in Moscow, the Ullens Center for Contemporary Art in Beijing, and the Gagosian in London, Peter Lindbergh is a master of his craft who has made his mark in the halls of photography history.

The industry quickly became enamored with his almost anti-fashion photography, capturing the zeitgeist and the spirit of his subjects rather than pursuing today’s search for perfection, which he considers inhuman.

Handpicked from 37,000 unreleased photos from his groundbreaking 2017 Pirelli calendar shoot, Lindbergh offers an intimate insight into a pool of extraordinary talent: Nicole Kidman, Julianne Moore, Alicia Vikander, Charlotte Rampling, Dame Helen Mirren, Jessica Chastain, Kate Winslet, Léa Seydoux, Lupita Nyong’o, Penélope Cruz, Robin Wright, Rooney Mara, Uma Thurman, and Zhang Ziyi.

His message is simple. These intimate images represent a different kind of beauty, far away from society’s obsession with youth and perfection; one which is concerned with individuality, the courage to be yourself, and your very own sensibility.

The photographer:

Peter Lindbergh (1944–2019) was a master of his craft who made his mark in the halls of photography history, with such credits as shooting the first American Vogue cover under Editor-in-Chief Anna Wintour, bringing together for the first time a group of young women who would become the ’90s supermodels, and numerous exhibitions at renowned institutions including Victoria & Albert Museum in London and Centre Pompidou in Paris, as well as in solo exhibitions at Hamburger Bahnhof, the Berlin Museum for Contemporary Art, Bunkamura Museum of Art in Tokyo, the Pushkin Museum of Fine Arts in Moscow, and Kunstpalast in Düsseldorf.

A “serial novel” of fashion shootings set against the landing of beings from outer space. Originally assembled for a large-scale exhibition in Beijing, the extraterrestrial theme is enhanced by elements of 1950s Hollywood glamour, German Expressionist cinema, and futuristic sci-fi movies.

This collection presents Peter Lindbergh’s photographs and films of the past thirty years, to be exhibited in a major Berlin show in September. One of the leading fashion and portrait photographers of our days, women have been his favorite subject throughout his career.

Peter Lindbergh (geb. 1944) gilt heute unbestritten als einer der großen lebenden Mode- und Portraitphotographen unserer Zeit. Wahrscheinlich ist er der bekannteste deutsche Berufsphotograph überhaupt. Daher ist es nicht verwunderlich, dass die privaten Berliner Ausstellungsinitiatoren mit dem seltsamen Namen »C/O«, als sie einen Photographen einladen wollten, um in ihren Räumen den 10. Geburtstag der Institution zu feiern, Peter Lindbergh wählten. So gibt es also im alten Postfuhramt in Berlin im September Peter Lindbergh in allen Räumen. Für diese große Ausstellung in der Hauptstadt zieht der in Paris lebende Künstler nicht nur alle Register seines großen photographischen Könnens, sondern auch seine schönsten Bilder der Gattungen Portrait, Mode, Werbung und Akt aus den vergangenen dreißig Jahren hervor. Muss es besonders betont werden? Ein Gipfeltreffen der internationalen Superstars aus Film, Mode und Musik steht den Berlinern ins Haus. 

A retrospective on the work of Spanish photographer Miguel Trillo (Jimena de la Frontera, Cádiz, 1953). His work can be described as a photo-documentary, (though his first works are clearly experimental). His encounters with his subjects are almost always accidental, capturing their daily and habitual contexts. Since the beginning of the 80s, Miguel Trillo has depicted anonymous protagonists from what was known as the "Movement" in Madrid and has documented the evolution of urban "tribes", (Mods, Punks, Goths (Death-rockers), Rappers, Head Bangers...) over the last 3 decades all over the world. His photographs depict adolescents and young adults searching for and asserting their identities through clothing, attitude, and behaviour, reflecting the contradictions of a society that has played with experimentation and profound transformation.

With over 350 illustrations in colour and duotone

This marvellously rich photographic journey through the last sixty years of Italian history will be a joy for anyone who loves photography or Italy – a stunning anthology of some of the most important Italian and international photographers.

The first section records Italy's evolution since 1943 in photographs accompanied by the thoughts of witnesses. The first is by Robert Capa of the arrival of the American army in Sicily in 1943 and in the last, Gabriele Basilico shows the Calabrian coast where the bridge over the Straits of Messina could soon be built. These images encompass all genres: from the work of photojournalists to amateurs, from the first pioneers to contemporary practitioners from the worlds of fashion, architecture, nature photography and artistic experiment.

In Part Two six essays reflect upon moments and movements that have defined the evolution of Italian visual culture, both from the point of view of the creators and the ways in which their images were used.

The third section displays auteur portfolios, each composed of two photo-essays on the same theme, one by an Italian and the other by a non-Italian photographer. These are allied to a text by Ferdinando Scianna, one of Italy’s most prominent photographers.

Giovanna Calvenzi is one of the most prominent figures in European photography today. Currently the Director of Photography for Sportsweek, she has also been the photo-editor at several magazines, notably Amica and Vanity Fair. She has also curated many exhibitions and has sat on several juries, including the World Press Photo award.