Photography

On October 1, 1958, the world’s first civilian space agency opened for business as an emergency response to the Soviet Union’s launch of Sputnik a year earlier. Within a decade, the National Aeronautics and Space Administration, universally known as NASA, had evolved from modest research teams experimenting with small converted rockets into one of the greatest technological and managerial enterprises ever known, capable of sending people to the Moon aboard gigantic rockets and of dispatching robot explorers to Venus, Mars, and worlds far beyond. In spite of occasional, tragic setbacks in NASA’s history, the Apollo lunar landing project remains a byword for American ingenuity; the winged space shuttles spearheaded the International Space Station and a dazzling array of astronomical satellites and robotic landers, and Earth observation programs have transformed our understanding of the cosmos and our home world’s fragile place within it.

Throughout NASA’s 60-year history, images have played a central role. Who today is not familiar with the Hubble Space Telescope’s mesmerizing views of the universe or the pin-sharp panoramas of Mars from NASA’s surface rovers? And who could forget the photographs of the first men walking on the Moon?

This compact edition is derived from our XL edition, which was researched in collaboration with NASA, and gathers hundreds of historic photographs and rare concept renderings, scanned and remastered using the latest technology. Texts by science and technology journalist Piers Bizony, former NASA chief historian Roger Launius, and best-selling Apollo historian Andrew Chaikin round out this comprehensive exploration of NASA, from its earliest days to its current development of new space systems for the future.

The NASA Archives is more than just a fascinating pictorial history of the U.S. space program. It is also a profound meditation on why we choose to explore space and how we will carry on this grandest of all adventures in the years to come.

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.

Daniel Kramer’s classic Bob Dylan portfolio captures the artist’s transformative “big bang” year of 1964–65. Over the course of a year and a day, Kramer’s extraordinary access to Bob Dylan on tour, in concert, and backstage, allowed for one of the most mesmerizing photographic portfolios of any recording artist and a stunning document of Dylan breaking through to superstardom.

Highlights include the Lincoln Center’s Philharmonic Hall concert with Joan Baez; the Bringing It All Back Home recording sessions; and the now-famous concert at Forest Hills, when Dylan’s controversial transition to electric guitar exemplified his constant, cryptic state of becoming. As much a document of a seminal period of rock ’n’ roll history as of Dylan himself, the pictures also feature such compelling friends and collaborators as Joan Baez, Johnny Cash, Allen Ginsberg, and Albert Grossman.

Bob Dylan: A Year and a Day presents a curated selection of nearly 200 images, including outtakes from the Bringing It All Back Home and Highway 61 Revisited album cover shoots. Previously published by TASCHEN as a signed Collector’s Edition, this standard edition is the more affordable boon to any serious photography or Dylan fan. With stories throughout the book by Kramer, this is at once an intimate and evocative testament to a seminal photographer, to a particular point in time, and to an exceptional, mysterious artist at the moment his career went global.

First published as a TASCHEN Collector’s Edition, now available as an affordable, compact edition

Dream Rides: The most spectacular bikes on the planet. From the 1894 Hildebrand & Wolfmüller to the 2020 Aston Martin AMB 001, this book lavishly explores 50 of the most desirable motorcycles to have ever sped thrillingly around a circuit or along an open road. From pioneering record-breakers, luxury tourers, and legendary roadracers to GP-winning machines, iconic superbikes, and exotic customs, this book celebrates motorcycle design and engineering at its highest level. Many examples are from acclaimed private collections and very rarely seen. Others are the all-out stars of renowned motorcycle museums—such as the 1938 Brough Superior “Golden Dream” or the 1957 MV Agusta 500 4C, which took John Surtees to World Championship glory. Alongside some early survivors in astonishingly original condition is a stable of fabled racers—the actual machines that were competed on by the likes of Tarquinio Provini, Mike Hailwood, Giacomo Agostini, and Barry Sheene.

The fascinating stories behind these fabulous motorbikes are expertly recounted in detail, alongside stunning imagery specially taken for the book by the world’s leading motorcycle photographers. Also included are rare archival gems, from early posters to remarkable action shots.

A cornucopia of motorcycle treasures and an absolute must-have for all bike enthusiasts!

Harry Benson began photographing Paul McCartney in 1964, when the Beatles took America by storm, toured the world, and made their movie debut with A Hard Day’s Night. The legendary photojournalist was on hand to document it all. When the Fab Four came to an end, it was Benson who had intimate access to Paul and his wife Linda, as Paul forged a new path, creatively and personally.

Featuring more than 100 color and black-and-white images, this collection is a window into the life of one of the world’s best-known recording artists, one who has remained enigmatic despite a lifetime in the limelight.

Through Benson’s lens, Paul traces the evolution of its namesake from performer to icon, father and husband. We see the young musician at the height of his fame with the Beatles, in the recording studio with Linda and their band Wings, with the family, behind the scenes and on stage during the 1975–76 “Wings Over America” tour, partying with the stars, and at the couple’s quiet farm in the UK in the early 1990s.

On the occasion of Sir Paul's 80th birthday, Paul gives an all-access look at a life spent making the world’s most popular music. A must for any music fan.

Man Ray (1890–1976) was a polymath modernist, working in painting, sculpture, film, printmaking, and poetry. But it was his work in photography, with nude studies, fashion work, and portraiture that saw him pioneering a new chapter in the history of camerawork and art.

With a wide-ranging collection of both his famous and lesser-known works, this monograph gives a vivid overview of Man Ray’s multifaceted practice and photographic legacy. It traces Ray from his artistic beginnings in New York through to his central role in the Parisian avant-garde, where he featured in the first Surrealist exhibition with Jean Arp, Max Ernst, André Masson, Joan Miró, and Pablo Picasso and produced such now iconic works as Noire et blanche and Le Violon d’Ingres. Through numerous examples of still life, portraiture, and beyond, we see how Ray constantly experimented with new techniques, pushing photography out of its documentary domain into ethereal, poetic expressions through multiple exposure, solarization, and the particular brand of photograms he wittily termed “rayography.”

The history of nude photography is the history of people’s fascination with the topic. Indeed, the photographic depiction of the human body is the only subject that has enthralled photographers, theoreticians, and consumers over such a long period—more than 150 years. No other motif is as prevalent as this one during all the phases of development comprising the history of photography, no other is present, whatever the technique, and is a subject of discussion within the context of nearly all aesthetic movements. Nor has any other pictorial topic produced such a variety of specialities as the nude: from the ethnological interpretation of the body to the glamour shot, from nudist photography to the pin-up of today. No other photographic field of application has inspired as much desire as it has awakened official wrath.

1000 Nudes offers a cross section of the history of nude photography, ranging from the earliest nude daguerreotypes and ethnographic nude photographs to experimental nude photography. The period of time spanned by this work is from 1839 to roughly 1939, from the medium’s infancy to the end of the classic modernist period. Content-wise, the book pays tribute to the full range of pictorial approaches, from the manually elaborated artistic nudes of the turn of the century, enveloped in layers of theory, to the “obscene” postcard motifs which had not the slightest artistic pretension and were intended to exert a maximum effect on the buyer’s wallet.

All the pictures shown are taken from the late Uwe Scheid’s collection, one of the world’s largest and most important collections of erotic photography.

Ellen von Unwerth’s puckish humor pervades the pages of Heimat, an enchanted tour around Bavaria. The renowned fashion and music photographer revisits her childhood homeland to shoot a posse of gorgeous girls out for fun and adventure amid the region’s undulating fields; age-old traditions; and deep, mysterious forests.

As they happily discard their dirndls and run riot across the countryside, von Unwerth’s heroines demonstrate the attributes and attractions of the region, whether munching on pretzels, striding out across pristine pastures, or seducing lederhosen-clad farmhands (and each other). Blending old-world charm with a rebellious edge and a sly subversion of traditional gender roles, Heimat bursts with fresh, provocative eroticism, tied up with wit, laced with an abiding love for a proud and beautiful region.

The Little Big Book of Breasts features over 150 celebrated big breast models from the 1950s, ’60s, and ’70s, including Michelle Angelo, Virginia Bell, Roxanne Brewer, Joan Brinkman, Lorraine Burnett, Lisa DeLeeuw, Uschi Digard, Sylvia McFarland, Chesty Morgan, Roberta Pedon, Rosina Revelle, Janie Reynolds, Candy Samples, Tempest Storm, Mary Waters, June Wilkinson, and Julie Wills, plus Guinness Book of World Records bra-buster Norma Stitz in a compact and inexpensive format.

Photos come not just from the original 398-page edition, but from subsequent Big Breast Calendars, meaning that 40% of the content is unique to this edition. Add reduced text to make more room for the stunning black-and-white and color photos and how could anyone—big, small, or in-between—ask for a better deal?

He’s been called a genius and a poet, but also a misogynist, a pornographer, a monster—but Nobuyoshi Araki’s work transcends simple moralistic classifications. He has said of his work: “There is no conclusion. It’s completely open. It doesn’t go anywhere.” One of the greatest Japanese photographers of our time, Araki’s oeuvre is marked by an unmistakable mastery of composition, color, and tone.

Meaning “the beauty of tight binding,” Kinbaku-bi, the traditional Japanese art of erotic bondage has long fascinated the photographer, becoming one of his most important subjects. Araki plays with patterns of subjugation and emancipation, death and desire and with the slippage between serene image and shock. Whether literally or figuratively, his models are certainly immobilized, but in the most tantalizing ways—girls lay bound but defiant, suspended from the ceiling, in traditional dress or nude, face-on, sometimes with a flower subtly positioned between their legs.

Araki picks his all-time favorite images of bondage. The result is a testament to his ability to tantalizing balance sexual vulnerability and seduction like no other.

The Wunderkammer, or “cabinet of curiosities,” saw collectors gathering objects from many strands of artistic, scientific, and intellectual endeavor, in an ambitious attempt to encompass all of humankind’s knowledge in a single room.

From the Grand Duke Francesco I de’ Medici and Holy Roman Emperor Rudolf II to Archduke Ferdinand II of Habsburg, these aristocratic virtuosos acquired, selected, and displayed the objects in real-life catalogues that represented the entire world—spanning architecture, interior design, painting, sculpture, gemology, geology, botany, biology and taxonomy, astrology, alchemy, anthropology, ethnography, and history.

Marvel at the unicorn horns (narwhal tusks), gems, rare coral growths, Murano glasswork, paintings and peculiar mechanical automata. Browse through illustrations of exotic and mythical creatures and discover the famed “Coburg ivories,” an astounding collection of crafted artifacts. These collections are nothing short of a journey through time, from the Renaissance and Age of Discovery, the Mannerist and Baroque periods, up to the present day. Many of these cabinets of curiosities no longer exist, others have been meticulously reconstructed, and new ones born.

These marvelous cabinets of curiosities can now be explored by all in this collection. To realize this mammoth undertaking, Massimo Listri traveled to seven European countries over several decades; the result is a set of gorgeous photographs, an authoritative yet accessible introduction, and detailed commentary on each of the 19 chambers highlighting the most remarkable items in each collection. Discover how these timeless treasures both describe and defined civilization, the modern concept of the museum, and our very knowledge of the universe.

Daniel Kramer’s classic Bob Dylan portfolio captures the artist’s transformative “big bang” year of 1964–65. Over the course of a year and a day, Kramer’s extraordinary access to Bob Dylan on tour, in concert, and backstage, allowed for one of the most mesmerizing photographic portfolios of any recording artist and a stunning document of Dylan breaking through to superstardom.

Highlights include the Lincoln Center’s Philharmonic Hall concert with Joan Baez; the Bringing It All Back Home recording sessions; and the now-famous concert at Forest Hills, when Dylan’s controversial transition to electric guitar exemplified his constant, cryptic state of becoming. As much a document of a seminal period of rock ’n’ roll history as of Dylan himself, the pictures also feature such compelling friends and collaborators as Joan Baez, Johnny Cash, Allen Ginsberg, and Albert Grossman.

Bob Dylan: A Year and a Day presents a curated selection of nearly 200 images, including outtakes from the Bringing It All Back Home and Highway 61 Revisited album cover shoots. Previously published by TASCHEN as a signed Collector’s Edition, this standard edition is the more affordable boon to any serious photography or Dylan fan. With stories throughout the book by Kramer, this is at once an intimate and evocative testament to a seminal photographer, to a particular point in time, and to an exceptional, mysterious artist at the moment his career went global.

First published as a TASCHEN Collector’s Edition, now available as an affordable, compact edition

Sebastião Salgado’s masterpiece Genesis is the result of an epic eight-year expedition to rediscover the mountains, deserts, and oceans, the animals and peoples that have so far escaped the imprint of modern society—the land and life of a still pristine planet. The Genesis project, along with the Salgados’ Instituto Terra, is dedicated to showing the beauty of our planet, reversing the damage done to it, and preserving it for the future.

On over 30 trips—by foot, light aircraft, boats, canoes, and even balloons, through extreme temperatures and in sometimes dangerous conditions—Salgado has created a collection of images showing us nature, animals, and indigenous peoples in such intense beauty it takes our breath away. The reach is truly global. Through Salgado’s lens, one discovers the animal species and volcanoes of the Galápagos; the penguins, sea lions, cormorants, and whales of the South Atlantic; Brazilian alligators and jaguars; and African lions, leopards, and elephants. We travel over icebergs in the Antarctic, the volcanoes of Central Africa, the ravines of the Grand Canyon, and the glaciers of Alaska. We encounter the Stone Age Korowai people of West Papua, nomadic Dinka cattle farmers in Sudan, Nenets and their reindeer herds in the Arctic Circle, as well as the Mentawai jungle communities on islands west of Sumatra.

In characteristic monochrome, Salgado’s painterly notes are perfectly tuned to these sublime scenes, capturing sweeping aerial panoramas as much as the most intricate details and textures, from a reptilian skin to the fur coat of the Nenet people of northern Siberia. The exquisitely reproduced images are arranged not by theme but rather conceived as a journey around the globe, immersing them in Salgado’s vision of the Earth’s mesmerizing scale, order, and beauty.INSTITUTO TERRAFounded in 1998 at Aimorés in the state of Minas Gerais, Instituto Terra is the culmination of Lélia Wanick Salgado and Sebastião Salgado’s lifelong activism and work as cultural documentarians. Through a scientific program of planting and raising saplings, the organization has performed a miraculous reforestation of the once infertile region and furthered the Salgados’ mission of reversing the damage done to our planet. TASCHEN is proud to reach carbon zero status through our continued partnership.

From the time The Big Penis Book was published, readers anticipated The Big Book of Pussy. Granted, perhaps not the same readers, but the seed had been planted and the calls and letters began flowing in. Once they had that long-awaited book, some found themselves overwhelmed by the variety and abundance, as well as the sheer size of the book. As one reviewer wrote, “let’s give credit to Amazon for…the strength of its packaging. Who wants a 2-ton pussy book being ‘exposed’ for the mailman…?”

For those who worry that there can be too much of a good thing, we’ve made a pared down, “best of” edition of The Big Book of Pussy, a petite little kitten of a book that puts those in-your-face photos in proper perspective. Now you can follow the evolution of genital exposure with ease, through 100 years of photos with one thing in common: the exhibitionistic pleasure with which the models present their feminine pulchritude. And with over 150 photos—36 new to this book—of the pet we love to pet, no bothersome text to interrupt the flow, all in a package that won’t stress the mailman’s back, we just may have produced the perfect self-gifter of the year.

First, The Big Book of Breasts, then The Big Penis Book, The Big Book of Legs, and the weighty Big Butt Book. What could follow but an in-depth exploration of the female pudendum, that coveted orifice man spends nine months trying to escape, and a lifetime attempting to reenter? The Big Book of Pussy, not to be confused with a book of big pussy, closes out this popular series with an offering sure to be as controversial as it is popular. As in previous volumes, editor Dian Hanson delves into the historical significance of this humble os, to show how the yoni has been coveted, feared, reviled, and worshipped by civilizations worldwide, from New Guinea to old Ireland. The text is supported by playful photographs of women exposing their vulvas, from 1900 to the present day. Because depiction of this body part has long been wrapped in unwarranted shame, The Big Book of Pussy reframes the subject, featuring models who expose their most private part enthusiastically, happily, with smiles spread wide as… well, you get the picture. And with 400+ photos the point is made emphatically, in images both naturally furry and stylishly groomed.

Included are interviews with the auteur known as Pussyman, the ex-cop who turned masturbation into millions with a toy called the Fleshlight, Vanessa del Rio, squirter Flower Tucci, vaginal performance artist Mouse, and the singular Buck Angel. Contemporary photographers Terry Richardson, Richard Kern, Ralph Gibson, Jan Saudek, Guido Argentini, Ed Fox and others share their favorite pussy photos, so that by page 368 even the shiest reader will be calling, “Here, kitty, kitty!”

Helmut Newton (1920–2004) always showed a healthy disdain for the easy or predictable, so it’s no surprise that the SUMO was an irresistible project. The idea of a book the size of a private exhibition, with spectacular images reproduced to state-of-the-art origination and printing standards, emerged from an open, experimental dialogue between photographer and publisher. With the SUMO weighing in—boxed and shrink-wrapped—at 35.4 kg (just under 80 pounds), Newton created a landmark book that stood head and shoulders above anything previously attempted, both in terms of conceptual extravagance and technical specifications. Published in an edition of 10,000 signed and numbered copies, the SUMO sold out soon after publication and quickly multiplied its value. It now features in numerous collections around the world, including New York’s Museum of Modern Art. The legendary copy number one, signed by more than 100 of the book’s featured celebrities, broke the record for the most expensive book published in the 20th century, sold at an auction in Berlin on April 6, 2000 for 620,000 German marks—about 317,000 euros. Now, this XL edition celebrates 20 years of SUMO, the result of a project conceived by Helmut Newton some years ago. Revised by his wife June, the volume gathers 464 images and a new booklet that takes us through the making-of this publishing venture—a spectacular tribute to the larger-than-life Helmut Newton, now in a friendly format. Images © The Helmut Newton Estate / Maconochie Photography

Arranged alphabetically, this biographical encyclopedia features every major photographer of the 20th century alongside her or his most significant monographs.

From the earliest representatives of classical Modernism right up to the present day, Photographers A–Z celebrates those photographers who have distinguished themselves with important publications or exhibitions, and who have made a significant contribution to the culture of the photographic image. The entries include photographers from North America and Europe as well as from Japan, Latin America, Africa, and China.

Richly illustrated with facsimiles from books and magazines, the collection also features photographers working in “applied” areas, whose work is regarded as photographic art. Star turns include Julius Shulman, Terry Richardson, Cindy Sherman, and David LaChapelle.

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.

“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.

It’s taken yoga several thousand years to journey from a handful of monasteries dotting the Himalayas to the myriad studios of London, Lower Manhattan, and beyond. Whether bathing with holy men in the Ganges or joining the chorus of a thousand voices chanting “om,” photographer Michael O’Neill decided to devote himself to experiencing and recording the world of yoga at this critical juncture in its history. The result is a powerful photographic tribute to the age-old discipline turned global phenomenon, with over 250 million practitioners united in physical, spiritual, and mindful practice worldwide.

Famous for his photographs of the famous, O’Neill first set out to make portraits of the most influential yogis of our time—B. K. S. Iyengar, Shri K. Pattabhi Jois, T. K. V. Desikachar, Rodney Yee, Colleen Saidman, Gurmukh Kaur Khalsa—as well as those famed for integrating yoga into their high-profile lives, such as Donna Karan, Sting, and Trudie Styler. It was a chance to honor the masters and unite his lifelong passion for photography with a newfound love for yoga and meditation. But as his practice deepened, so did his drive to look past the personalities and the poses to document the roots of yoga. Over ten years O’Neill trekked beyond the traditional epicenters to meditate with monks in the Tibetan Plateau, live with sadhus in their tents at the Kumbh Mela, and marvel at the boys who practice the little known discipline of Mallakhamba at the wrestling grounds in Kochi. Says O’Neill: “All I wanted to do was to pay homage to yoga’s classical lineage and understand this unique moment before it slips away.”

Now brought together for the first time, this extraordinary body of work tells the story of yoga as it’s never been told before, with nearly 200 photographs, most of which have never been seen. Two of O’Neill’s most important subjects, meditation master His Holiness Swami Chidanand Saraswatiji and Ashtanga guru Eddie Stern, join the conversation with their essays on the role of yoga in contemporary culture, the history of the practice from the time of Patanjali, and the healing power of what Michael O’Neill calls “the architecture of peace . . . a series of postures that bring the practitioner closer to touching the infinite.”

Mert Alas, born in Turkey, and Marcus Piggott, born in Wales, met in 1994, at a party on a pier in Hastings, England. Piggott asked Alas for a light, the pair got talking, and rapidly discovered they had plenty in common, not least a love of fashion. Three years later, the duo now known as Mert and Marcus had moved into a derelict loft in East London, converted it into a studio, and had their first collaborative photographic work published in Dazed & Confused.

These days, Mert and Marcus shape the global image of such renowned brands as Giorgio Armani, Roberto Cavalli, Fendi, Miu Miu, Gucci, Yves Saint Laurent, Givenchy, and Lancôme, and public figures including Lady Gaga, Madonna, Jennifer Lopez, Linda Evangelista, Gisele Bündchen, Björk, Angelina Jolie, and Rihanna. Their photographs encompass a wide range of styles and influences but are renowned particularly for their use of digitized augmentation of images, and a fascination for strong, sexually charged, confident female subjects: “powerful women, women with a meaning, a you-don’t-have-to-talk-or-move-too-much-to-tell-who-you-are kind of woman.”

Bringing our best-selling Collector’s Edition to an affordable, compact format, this collection explores the unique vision of a creative partnership that has defined and redefined standards for glamour, fashion, and luxury. Approximately 300 images from the megawatt Mert and Marcus portfolio are accompanied by an introduction by Charlotte Cotton.

Sebastião Salgado’s photo book classic Workers. An Archaeology of the Industrial Age (first published in 1993) pays tribute to the time-honored tradition of manual labor in the new millennium when machines and computers replace human workers throughout the globe. With images of striking beauty and integrity, Salgado composes a visual elegy for the working men and women, whose indomitable spirit has prevailed over the harshest of conditions to achieve a singular grace.

More than those of any other living photographer, Sebastião Salgado’s images of the world’s poor stand in tribute to the human condition. Salgado defines his work as “militant photography”, dedicated to “the best comprehension of human being”; over the decades he has bestowed great dignity on the most isolated and neglected among us — from famine-stricken refugees in the Sahel to the indigenous peoples of South America.

With Workers, Salgado brings us a global epic that transcends mere image making to become an affirmation of the enduring spirit of working men and women. In this volume, three hundred fifty duotone photographs form an archaeological perspective of the activities that have defined hard work from the Stone Age through the Industrial Revolution to the present. With images of the infernal landscape of an Indonesian sulfur mine, the drama of traditional Sicilian tuna fishing, and the staggering endurance of Brazilian gold miners, Salgado unearths layers of visual information to reveal the ceaseless human activity at the core of modern civilization.

Workers presents its subject on several interactive levels: Salgado’s introductory text, written in collaboration with Brazilian author Eric Nepomuceno, expands his passionate photographic iconography; extended captions, also written by Salgado, provide a historical and factual framework. Honoring the timeless and indomitable spirit of the manual laborer, Workers renders the human condition with honesty and respect.

Helmut Newton (1920–2004) is remembered as one of the most prolific photographers of the 20th century, channeling the sensuality and erotic power of his subjects with panache, precision, and impact. His aesthetic was uniquely his, while at the same time establishing a new way of photographing fashion and glamour.

Joining TASCHEN’s illustrious collection of Helmut Newton titles, including Helmut Newton: Polaroids, Pages from the Glossies, and the spectacular Helmut Newton: SUMO, this fresh edition of Helmut Newton: Work spans an impressive stretch of Newton’s career, including some of his most striking shots from the ’60s through to his golden heyday. From shadowy street to hotel boudoir, it’s a collection that showcases Newton’s suggestive storytelling throughout his fashion, editorial, or personal pictures.

Andy Warhol was a relentless chronicler of life and its encounters. Carrying a Polaroid camera from the late 1950s until his death in 1987, he amassed a huge collection of instant pictures of friends, lovers, patrons, the famous, the obscure, the scenic, the fashionable, and himself. Created in collaboration with the Andy Warhol Foundation, this book features more than hundred of these instant photos.

Portraits of celebrities such as Mick Jagger, Alfred Hitchcock, Jack Nicholson, Yves Saint Laurent, Pelé, Debbie Harry are included alongside images of Warhol’s entourage and high life, landscapes, and still lifes. Often raw and impromptu, the Polaroids document Warhol’s era like Instagram captures our own, offering a unique record of the life, world, and vision behind the Pop Art maestro and modernist giant.

© The Andy Warhol Foundation for the Visual Arts, Inc.

The kind of fame and success The Rolling Stones have achieved in their 60-year career is without parallel; their most famous riffs and catchiest lyrics are indelibly engraved in our collective memory. With their mesmerizing on- and off-stage presence, the Stones set the standard for how a rock band should sound, pose, pout, and behave. They were the first to instinctively understand that what you looked like was as important as the music, and that photography had a vital role in promoting that image.

“The clothes and the hair are always impeccable,” describes author Luc Sante. “They were playing themselves, but with such consistent finesse you knew they were instinctively aware of the camera and how good they will look in the photos.” Unsurprisingly many of the greatest photographers in the history of the medium wanted to take their picture.

Produced in close collaboration with the band, this updated edition charts the Stones’ remarkable history and outrageously cool lifestyle in over 450 pages of photographs and illustrations, gathered from archives all over the world. Unprecedented access to the Rolling Stones’ own archives in New York and London adds an equally extraordinary, more private side to their story. For Mick, Keith, Charlie, and Ronnie this is their official photographic record.

Features: Over 450 pages of incredible images from some of the world’s greatest photographers, including David Bailey, Annie Leibovitz, Cecil Beaton, Anton Corbijn, Herb Ritts, Albert Watson, Andy Warhol, David LaChapelle, Peter Beard, Helmut Newton, Bent Rej, Gered Mankowitz, and Norman Parkinson. Essays from award-winning writers David Dalton, Waldemar Januszczak, and Luc Sante Appendix including the Stones in the media, a Stones timeline, a discography, and photographers’ biographies

In its heyday, the American circus was the largest showbiz industry the world had ever seen. From the mid-1800s to mid-1900s, traveling circuses performed for audiences of up to 14,000 per show, employed as many as 1,600 men and women, and crisscrossed the country on 20,000 miles of railroad in one season alone. The spectacle of death-defying daredevils, strapping superheroes and scantily clad starlets, fearless animal trainers, and startling “freaks” gripped the American imagination, outshining theater, vaudeville, comedy, and minstrel shows.

This book sheds fresh light on the circus phenomenon. With photographic gems of early circus performers, as well as original posters, lithographs, sideshow banners and engravings from the 16th to 19th centuries illustrating the worldwide roots of the circus, readers are transported to a world of thrill and skill, grit and glamor. Highlights include iconic circus photographs by Mathew Brady, Cornell Capa, Walker Evans, Weegee, and Lisette Model, and little-known circus images by Stanley Kubrick and Charles and Ray Eames.

Photographs have a strange and powerful way of shaping the way we see the world. The most successful images enter our collective consciousness, defining eras, making history, or simply touching something so fundamentally human and universal that they have become resonant icons all over the globe. To explore this unique influence, Photo Icons puts some of the most important photographic landmarks under the microscope.

From some of the earliest photography, such as Nicéphore Niépce’s 1827 eight-hour-exposure rooftop picture and Louis Daguerre’s famous 1838 street scene, through to Martin Parr, this is as much a history of the medium as a case-by-case analysis of its social, historical, and artistic impact. We take in experimental Surrealist shots of the 1920s and the gritty photorealism of the 1930s, including Dorothea Lange’s Migrant Mother.

We witness the power-makers (Che Guevara) and the heartbreakers (Marilyn Monroe) as well as the great gamut of human emotions and experiences to which photography bears such vivid witness: from the euphoric Kiss in Front of City Hall (1950) by Doisneau to the horror of Nick Ut’s Napalm Against Civilians showing nine-year-old Phan Thi Kim Phúc running naked toward the camera from South Vietnamese napalm.

In November 2020, Depeche Mode were inducted into the Rock & Roll Hall of Fame, and Dave Gahan, accepting the honour, said: “I’d like to thank Anton Corbijn who thank God came in at the right time and actually made us look cool.” Also in the fall of 2020, TASCHEN released the limited edition Depeche Mode by Anton Corbijn (81–18) signed by Depeche Mode and Anton Corbijn, and it became one of the fastest selling collector’s editions in the publishing company’s history. This pocket-sized and wallet-friendly edition is a testament to Corbijn’s unique vision, and indeed “cool” as Gahan acknowledged so movingly in his speech; an illustrated history of how Corbijn, who became in 1986 the band’s de facto creative director, and helped cement Depeche Mode’s reputation as the biggest cult band in the world.Featuring over 150 photographs from Corbijn’s extensive archives, including formal and informal portraits from places such as Madrid, Hamburg, the California desert, Prague and Marrakech; a multitude of off-the-cuff, candid images; and stunning live shots from all their tours since 1988 right up to 2023. Created with the full collaboration of the band, who share some insights on working with Corbijn, Depeche Mode by Anton Corbijn trumpets how one man’s original aesthetic, that has encompassed all of their photography, most of their music videos, album graphics and set designs, helped shape the band’s enduring popularity. Reflecting on his role in Depeche Mode, Corbijn recalls in the book’s introduction: “A lot of it came down to me, and I wanted it to be right for them. I wanted to think for them. To be great for them.” This book is a tribute to the depth and breadth of that greatness, a celebration of one of the most creative and enduring collaborations in rock history.

One day in 1945, fashion photographer André de Dienes met an aspiring model named Norma Jeane Dougherty. It was a momentous moment, both for his personal life and his photographic portfolio. Over the next few years, he would be briefly engaged to Norma Jeane, take a number of adventurous road trips with her, and build up a stunning series of portraits which would help launch her modeling, and later movie, career.

Now available as part of TASCHEN's Bibliotheca Universalis series, this collection of de Dienes's photographs and private memoirs offers an intimate picture of Norma Jeane the woman, before she was Marilyn the icon. From their trip to see Norma Jeane’s mother in a mental hospital to Marilyn’s visit a few days before her death, de Dienes's emotion-laden archive, often annotated with handwritten notes, offers a deeply personal account of Monroe's transformation from a sensitive, ambitious girl into a deeply troubled global star.

More than 100 years ago the brothers Adolf ("Adi") and Rudolf Dassler made their first pair of sports shoes. Hundreds of groundbreaking designs, epic moments, and star-studded collabs later, this book presents a visual review of the adidas shoe through almost 200 models.

To further develop and tailor his products to athletes’ specific needs, Dassler asked them to return their worn footwear when no longer needed, with all the shoes eventually ending up in his attic (to this day, many athletes return their shoes to adidas, often as a thank you after winning a title or breaking a world record). This collection now makes up the "adidas archive", one of the largest, if not the largest archive of any sports goods manufacturer in the world—which photographers Christian Habermeier and Sebastian Jäger have been visually documenting in extreme detail for years.

Shot using the highest reproduction techniques, these images reveal the fine details as much as the stains, the tears, the repair tape, the grass smudges, the faded autographs. It’s all here, unmanipulated and captured in extremely high resolution—and with it comes to light the personal stories of each individual wearer. We encounter the shoes worn by West Germany’s football team during its “miraculous” 1954 World Cup win and those worn by Kathrine Switzer when she ran the Boston Marathon in 1967, before women were officially allowed to compete; custom models for stars from Madonna to Lionel Messi; collabs with the likes of Pharrell Williams, Raf Simons, Stella McCartneyor Yohji Yamamoto; as well as the brand’s trailblazing techniques and materials.

Accompanied by expert texts, each picture tells us the why and the how, but also conveys the driving force behind adidas. What we discover goes beyond mere design; in the end, these are just shoes, worn out by their users who have loved them—but they are also first-hand witnesses of our sports, design, and culture history, from the beginnings of the Dassler brothers and the founding of adidas until today.

For six years Sebastião Salgado traveled the Brazilian Amazon and photographed the unparalleled beauty of this extraordinary region: the rainforest, the rivers, the mountains, the people who live there—this irreplaceable treasure of humanity in which the immense power of nature is felt like nowhere else on earth.

From men in bowler hats, floating in the sky, to a painting of a pipe above the caption "this is not a pipe", René Magritte (1898–1967) created an echo chamber of object and image, name and thing, reality and representation.

Like other Surrealist works, Magritte’s paintings combine a precise, mimetic technique with abnormal, alienating configurations which defy the laws of scale, logic, and science: a comb the size of a wardrobe, rocks that float in the sky, clouds that drift through an open door. The result is a direct yet disorientating realm, often witty, often unsettling, and always prompting us to look beyond the visible, to “what is hidden by what we see.”

This introductory book explores Magritte's vast repertoire of visual humor, paradox, and surprise which to this day makes us look and look again, not only at the painting, but at our sense of self and the world.

The Golden Age of Travel neatly overlaps with the reign of the Emperor Meiji, which began in 1868 with the overthrow of a feudal order that had kept Japan secluded from the outside world for more than 200 years. In the ensuing four-and-a-half decades, Japan became a less remote and more attractive destination for the international traveler and a popular subject for photographers, both Japanese and foreign.

In 536 pages, this book presents more than 700 vintage images of Japan, texts by a specialist in early Japanese photography, and extensive commentary through thematic sections exploring traditions as varied as tea, silk and Buddhism, as well as itineraries across five regions, all of which guide the reader through this captivating land.

Our travels take us from the enchanting vistas of Nagasaki to the seagirt shrine of Miyajima, long esteemed among the "Three Views" considered the most beautiful in Japan; from the rambling streets of Kobe to the energetic bustle of Osaka; from the cornucopia of historic sights in the ancient cities of Kyoto and Nara to the twin delights of shopping and sex in the vibrant modern port of Yokohama; from the timeless beauty of Mount Fuji and the mountainside scenery of nearby Hakone to the urban melange of Japan’s modern capital, where the traditions of Edo and the modernity of Tokyo co-existed; and, finally, from the jewel-like architecture of Nikkō set amidst forests and waterfalls to the islet-studded bay of Matsushima, until our journey ends in the remote wilds of Hokkaido, home to the indigenous Ainu.

A flâneur and photographer at once, Eugène Atget (1857–1927) was obsessed with walking the streets. After trying his hand at painting and acting, the native of Libourne turned to photography and moved to Paris. He supplied studies for painters, architects, and stage designers, but became enraptured by what he called “documents” of the city and its environs. His scenes rarely included people, but rather the architecture, landscape, and artifacts that made up the societal and cultural stage.

Atget was not particularly renowned during his lifetime but in the 1920s came to the attention of the Dada and Surrealist avant-garde through Man Ray. Four of his images, with their particular fusion of mimesis and mystery, appeared in the surrealist journal, La Révolution Surréaliste, while Ray and much of his artistic circle purchased Atget prints. Atget’s fame grew after his death, with several articles and a monograph by Berenice Abbott. Several leading photographers, including Walker Evans and Bill Brandt, have since acknowledged their debt to Atget.

This fresh TASCHEN edition gathers some 500 photographs from the Atget archives at Musée Carnavalet and the Bibliothèque Historique de la Ville de Paris to celebrate his outstanding eye for the urban environment and evocation of a Paris gone by. Down main streets and side streets, past shops and churches, through courtyards and arcades and the 20 arrondissements, we find a unique portrait of a beloved city and the making of a modern photographic master.

Sensual and softly surreal, the nude photography of Ralph Gibson frames the female form both organically and graphically, referencing art history while also innovating in the arena of erotic imagery, at once summoning visceral sensation and calling out for tactile attention. Thumb through this exquisite tribute to the contours and curves of womanhood and experience the intimacy of the photographic lens.

Reviving TASCHEN’s sold-out Collector’s Edition, this tribute gathers the best of Gibson’s exquisite nudes alongside some of his most recent works in an accessible, revised format, complete with a fresh in-depth interview by Eric Fischl. Strikingly graphic, meticulously composed, and loaded with subtle provocations, the master photographer’s mysterious, dreamlike images pay homage to greats such as Man Ray and Edward Weston, while continually pursuing new frontiers.

"A photographer once said that beauty in women is endless. Perhaps it was I who said it. [...] I love photographing women and could say that the form of the female body is absolute and perfect." —Ralph Gibson

Sebastião Salgado’s masterpiece Genesis is the result of an epic eight-year expedition to rediscover the mountains, deserts, and oceans, the animals and peoples that have so far escaped the imprint of modern society—the land and life of a still pristine planet. The Genesis project, along with the Salgados’ Instituto Terra, is dedicated to showing the beauty of our planet, reversing the damage done to it, and preserving it for the future.

On over 30 trips—by foot, light aircraft, boats, canoes, and even balloons, through extreme temperatures and in sometimes dangerous conditions—Salgado has created a collection of images showing us nature, animals, and indigenous peoples in such intense beauty it takes our breath away. The reach is truly global. Through Salgado’s lens, one discovers the animal species and volcanoes of the Galápagos; the penguins, sea lions, cormorants, and whales of the South Atlantic; Brazilian alligators and jaguars; and African lions, leopards, and elephants. We travel over icebergs in the Antarctic, the volcanoes of Central Africa, the ravines of the Grand Canyon, and the glaciers of Alaska. We encounter the Stone Age Korowai people of West Papua, nomadic Dinka cattle farmers in Sudan, Nenets and their reindeer herds in the Arctic Circle, as well as the Mentawai jungle communities on islands west of Sumatra.

In characteristic monochrome, Salgado’s painterly notes are perfectly tuned to these sublime scenes, capturing sweeping aerial panoramas as much as the most intricate details and textures, from a reptilian skin to the fur coat of the Nenet people of northern Siberia. The exquisitely reproduced images are arranged not by theme but rather conceived as a journey around the globe, immersing them in Salgado’s vision of the Earth’s mesmerizing scale, order, and beauty.INSTITUTO TERRAFounded in 1998 at Aimorés in the state of Minas Gerais, Instituto Terra is the culmination of Lélia Wanick Salgado and Sebastião Salgado’s lifelong activism and work as cultural documentarians. Through a scientific program of planting and raising saplings, the organization has performed a miraculous reforestation of the once infertile region and furthered the Salgados’ mission of reversing the damage done to our planet. TASCHEN is proud to reach carbon zero status through our continued partnership.

From the mighty halls of ancient Alexandria to the coffered ceilings of the Morgan Library in New York, human beings have had a long, enraptured relationship with libraries. Like no other concept and like no other space, the collection of knowledge, learning, and imagination offers a sense of infinite possibility. It’s the unrivaled realm of discovery, where every faded manuscript or mighty clothbound tome might reveal a provocative new idea, a far-flung fantasy, an ancient belief, a religious conviction, or a whole new way of being in the world.

In this new photographic journey, Massimo Listri travels to some of the oldest and finest libraries to reveal their architectural, historical, and imaginative wonder. Through great wooden doors, up spiraling staircases, and along exquisite, shelf-lined corridors, he leads us through outstanding private, public, educational, and monastic libraries, dating as far back as 766. Between them, these medieval, classical, baroque, rococo, and 19th-century institutions hold some of the most precious records of human thought and deed, inscribed and printed in manuscripts, volumes, papyrus scrolls, and incunabula. In each, Listri’s poised images capture the library’s unique atmosphere, as much as their most prized holdings and design details.

Featured libraries include the papal collections of the Vatican Apostolic Library, Trinity College Library, home to the Book of Kells and Book of Durrow, and the holdings of the Laurentian Library in Florence, the private library of the powerful House of Medici, designed by Michelangelo. With meticulous descriptions accompanying each featured library, we learn not only of the libraries’ astonishing holdings—from which highlights are illustrated—but also of their often lively, turbulent, or controversial pasts. Like Altenburg Abbey in Austria, an outpost of imperial Catholicism repeatedly destroyed during the European wars of religion, or the Franciscan monastery in Lima, Peru, with its horde of archival Inquisition documents.

At once a bibliophile beauty pageant, an ode to knowledge, and an evocation of the particular magic of print, Massimo Listri. The World’s Most Beautiful Libraries is above all a cultural-historical pilgrimage to the heart of our halls of learning, to the stories they tell, as much as those they gather in printed matter along polished shelves.

It’s taken yoga several thousand years to journey from a handful of monasteries dotting the Himalayas to the myriad studios of London, Lower Manhattan, and beyond. Whether bathing with holy men in the Ganges or joining the chorus of a thousand voices chanting “om,” photographer Michael O’Neill decided to devote himself to experiencing and recording the world of yoga at this critical juncture in its history. The result is a powerful photographic tribute to the age-old discipline turned global phenomenon, with over 250 million practitioners united in physical, spiritual, and mindful practice worldwide.

Famous for his photographs of the famous, O’Neill first set out to make portraits of the most influential yogis of our time—B. K. S. Iyengar, Shri K. Pattabhi Jois, T. K. V. Desikachar, Rodney Yee, Colleen Saidman, Gurmukh Kaur Khalsa—as well as those famed for integrating yoga into their high-profile lives, such as Donna Karan, Sting, and Trudie Styler. It was a chance to honor the masters and unite his lifelong passion for photography with a newfound love for yoga and meditation. But as his practice deepened, so did his drive to look past the personalities and the poses to document the roots of yoga. Over ten years O’Neill trekked beyond the traditional epicenters to meditate with monks in the Tibetan Plateau, live with sadhus in their tents at the Kumbh Mela, and marvel at the boys who practice the little known discipline of Mallakhamba at the wrestling grounds in Kochi. Says O’Neill: “All I wanted to do was to pay homage to yoga’s classical lineage and understand this unique moment before it slips away.”

Now brought together for the first time, this extraordinary body of work tells the story of yoga as it’s never been told before, with nearly 200 photographs, most of which have never been seen. Two of O’Neill’s most important subjects, meditation master His Holiness Swami Chidanand Saraswatiji and Ashtanga guru Eddie Stern, join the conversation with their essays on the role of yoga in contemporary culture, the history of the practice from the time of Patanjali, and the healing power of what Michael O’Neill calls “the architecture of peace . . . a series of postures that bring the practitioner closer to touching the infinite.”

“You’re already famous, now you’re going to make me famous,” photographer Lawrence Schiller said to Marilyn Monroe as they discussed the photos he was about to shoot of her. “Don’t be so cocky,” Marilyn replied, “photographers can be easily replaced.” The year was 1962, and Schiller, 25, was on assignment for Paris Match magazine. He already knew Marilyn—they had met on the set of Let’s Make Love—but nothing could have prepared him for the day she appeared nude in the motion picture Something’s Got to Give.

Marilyn & Me is an intimate story of a legend before her fall and a young photographer on his way up. Schiller’s extraordinary photographs and vibrant storytelling take us back to that time with tact, humor, and compassion. With more than 100 images, including rare outtakes from the set of Marilyn’s last film, the result is a real and unexpected portrait that captures the star in the midst of her final months.

Photographs have a strange and powerful way of shaping the way we see the world. The most successful images enter our collective consciousness, defining eras, making history, or simply touching something so fundamentally human and universal that they have become resonant icons all over the globe. To explore this unique influence, Photo Icons puts some of the most important photographic landmarks under the microscope.

From some of the earliest photography, such as Nicéphore Niépce’s 1827 eight-hour-exposure rooftop picture and Louis Daguerre’s famous 1838 street scene, through to Martin Parr, this is as much a history of the medium as a case-by-case analysis of its social, historical, and artistic impact. We take in experimental Surrealist shots of the 1920s and the gritty photorealism of the 1930s, including Dorothea Lange’s Migrant Mother.

We witness the power-makers (Che Guevara) and the heartbreakers (Marilyn Monroe) as well as the great gamut of human emotions and experiences to which photography bears such vivid witness: from the euphoric Kiss in Front of City Hall (1950) by Doisneau to the horror of Nick Ut’s Napalm Against Civilians showing nine-year-old Phan Thi Kim Phúc running naked toward the camera from South Vietnamese napalm.

When Benedikt Taschen asked the most important portrait photographer working today, Annie Leibovitz, to collect her pictures in a SUMO-sized book, she was intrigued by the challenge. The project took several years to develop and when it was finally published in 2014, it weighed in at 26 kg (57 pounds).

This incredible collection is now available in an accessible XXL book format.

Leibovitz drew on more than 40 years of work, starting with the photojournalism she did for Rolling Stone magazine in the 1970s through the conceptual portraits she made for Vanity Fair and Vogue. She selected iconic images—such as John Lennon and Yoko Ono entwined in a last embrace—as well as portraits that had rarely, if ever, been seen before.

The Annie Leibovitz SUMO covered political and cultural history, from Queen Elizabeth II and Richard Nixon to Laurie Anderson and Lady Gaga.

“What I had thought of initially as a simple process of imagining what looked good big, what photographs would work in a large format, became something else,” Leibovitz says. “The book is very personal, but the narrative is told through popular culture. It’s not arranged chronologically and it’s not a retrospective. It’s more like a roller coaster.”

Fans of Leibovitz and her many celebrated subjects can now enjoy that same roller coaster ride for themselves with this unlimited edition.

Helmut Newton’s unforgettable images, at once sophisticated and provocative, constitute a rich and ever-relevant artistic legacy. This book presents a compact but wide-ranging and impactful portfolio of his work, supported by an insightful introduction and a detailed biographical chronology.

Newton’s images straddle the knife-edge of ambiguity, teasing out allusions and social observations that both entice and challenge their viewers. In this portfolio, Newton’s unique perspective is effectively showcased, reflecting the complex undercurrents that give his images their distinct character across the breadth of his editorial work in the fields of fashion and portraiture.

This book reveals Newton’s evolution into a contrarian, a savvy and mischievous cynic, at once voyeur and satirist, whose lens framed contentious yet pivotal aspects of high fashion and high society in the latter decades of the twentieth century. He worked as a “gun for hire” while imposing his own perspectives and obsessions, defining most notably his idea of a powerful, self-assured woman. This figure became his most insistent theme, developed in erotically charged scenarios, most typically set in the seductive environment of opulent apartments or grand hotels, most notably in Paris, Monte Carlo, and Los Angeles.

From the mid-sixties, Newton’s dynamic images established his reputation in the world of fashion, through work published in leading magazines, among them Vogue Paris, Elle, Marie Claire, Nova, Queen, and British Vogue. From the mid-seventies his notoriety was extended through his first books and exhibitions. His images immortalize such luminaries of society, film, and fashion as Princess Caroline of Monaco, Charlotte Rampling, Paloma Picasso, and Karl Lagerfeld.

Helmut Newton’s glamorous, ground-breaking, and boundary-pushing photographs have an indisputable signature authority that maintains their hold on our imaginations.

A city built on two millennia of history, Paris is entering the third century of its love story with photography. It was on the banks of the Seine that Niépce and Daguerre officially gave birth to this new art that has flourished ever since, developing a distinctive language and becoming a vital tool of knowledge.

Paris: Portrait of a City leads us through what Goethe described as a “universal city where every step upon a bridge or a square recalls a great past, where a fragment of history is unrolled at the corner of every street.” The history of Paris is recounted in photographs ranging from Daguerre’s early incunabula to the most recent images—an almost complete record of over a century and a half of transformations and a vast panorama spanning more than 600 pages and 500 photographs.

This book brings together the past and the present, the monumental and the everyday, objects and people. Images captured by the most illustrious photographers—Daguerre, Marville, Atget, Lartigue, Brassaï, Kertész, Ronis, Doisneau, Cartier-Bresson, and many more—but also by many unknown photographers, attempt to bottle just a little of that “Parisian air,” something of that particular poetry given out by the stones and inhabitants of a constantly changing city that has inspired untold numbers of writers and artists over the ages.

Presenting an exciting patchwork of images from past and present, Paris: Portrait of a City is a huge and unique photographic study that, in a way, is the true family album of all Parisians. It is to them, and to all lovers of this capital city, that this vibrant, loving, and tender testimony is dedicated.

George Eastman’s career developed in a particularly American way. The founder of Kodak progressed from a delivery boy to one of the most important industrialists in American history, and a crucial innovator in photographic history.

Eastman died in 1932, and left his house to the University of Rochester. Since 1949 the site has operated as an international museum of photography and film, and today holds the largest collection of its kind in the world, containing over 400,000 images and negatives—among them the work of such masters as Alfred Stieglitz, Edward Steichen, and Ansel Adams.

Home also to 23,000 cinema films, five million film stills, one of the most important silent film collections, technical equipment and a library with 40,000 books on photography and film, the George Eastman House is a pilgrimage site for researchers, photographers, and collectors from all over the world. This volume curates the most impressive images from the collection in chronological order to offer an incomparable overview of photographic history.

Photographs have a strange and powerful way of shaping the way we see the world. The most successful images enter our collective consciousness, defining eras, making history, or simply touching something so fundamentally human and universal that they have become resonant icons all over the globe. To explore this unique influence, Photo Icons puts some of the most important photographic landmarks under the microscope.

From some of the earliest photography, such as Nicéphore Niépce’s 1827 eight-hour-exposure rooftop picture and Louis Daguerre’s famous 1838 street scene, through to Martin Parr, this is as much a history of the medium as a case-by-case analysis of its social, historical, and artistic impact. We take in experimental Surrealist shots of the 1920s and the gritty photorealism of the 1930s, including Dorothea Lange’s Migrant Mother.

We witness the power-makers (Che Guevara) and the heartbreakers (Marilyn Monroe) as well as the great gamut of human emotions and experiences to which photography bears such vivid witness: from the euphoric Kiss in Front of City Hall (1950) by Doisneau to the horror of Nick Ut’s Napalm Against Civilians showing nine-year-old Phan Thi Kim Phúc running naked toward the camera from South Vietnamese napalm.

If you were to stand in one spot at an iconic location for 30 hours and simply observe, never closing your eyes, you still wouldn’t be able to take in all the detail and emotion found in a Stephen Wilkes panoramic photograph. Not only does Wilkes shoot over 1,500 exposures from a fixed angle, he also distills this visual information afterward in his studio, painstakingly composing selected frames into a single image.

Day to Night presents 60 epic panoramas created between 2009 and 2018, shot everywhere from Africa’s Serengeti to the Champs-Élysées in Paris, from the Grand Canyon to Coney Island, from Trafalgar Square to Red Square. Each composition is a labor of love as well as patience. Wilkes waited more than two years to gain permission to photograph Pope Francis celebrating Easter mass in the Vatican, ultimately producing a vivid tableau in which the pontiff appears 10 times.

The book also features extraordinary details—works of art in their own right that highlight the stories contained within each image. A bride makes her way through Central Park; in Tanzania, zebras gather around a near-invisible watering hole during a drought; in Rio de Janeiro, surfers come and go while a man holds a sign reading “No more than two questions per customer.” “It is exactly these small stories, these details, that draw people into the photographs,” says Wilkes. Once discovered, these mini narratives lend each composition a personal, candid feel.

This collection takes us on a seamless trip from dawn to dark across the world’s most iconic locations, unveiling the unique ebb and flow of man-made and natural landmarks like never before.

Also available in two Art Editions of 100 copies respectively, each with a print numbered and signed by the photographer.

From the building of the Brooklyn Bridge to immigrants arriving at Ellis Island, the slums of the Lower East Side to magnificent art deco skyscrapers, New York’s remarkable rise, reinvention, and growth is not just the tale of a city, but the story of a nation. This beautiful book lays out the streets, sidewalks, culture, and crowds of the greatest city in the world—in all the greatness of its extremes, contradictions, energy, and attitude. With vistas of Central Park alongside Coney Island and the sleaze of Times Square, this city portrait champions the complexity and chaos of New York—its architecture, culture, fashion, and ethnic diversity. More than just a tribute to the metropolis and its civic, social, and photographic heritage, New York. Portrait of a City also pays homage to the indomitable spirit of those who call themselves New Yorkers: full of hope and strength, resolute in their determination to succeed among its glass and granite towers.

Many loved The Big Book of Legs but some found it just too darn big, weighing in at nearly seven pounds. True, it was packed with shapely legs spanning six decades, from the first shy emergence of the ankle in the 1910s, through the rolled stockings and rouged knees of the 1920s, to the Betty Grable ’40s, the stockinged and stilettoed ’50s, on into the sexually liberated ’60s and ’70s, but it could still put a dent in your own thighs if you sat reading for too long.

Fortunately here at TASCHEN we listen to your groans of agony as well as your moans of ecstasy; thus, this light and portable new edition, packing over 100 of the choicest photos from the original volume, as well as 38 new photos, into a compact (and frankly adorable) package. From Betty Grable to Bettie Page, the greatest legs of the 20th Century can be found within, shot by Irving Klaw, Bunny Yeager, and the incomparable Elmer Batters, father of leg art. There are silk and nylon stockings, high heels in abundance, curvy calves, taut thighs, playful toes and towering arches—with no bothersome text to get in the way. Could leg love get any sweeter?

From men in bowler hats, floating in the sky, to a painting of a pipe above the caption "this is not a pipe", René Magritte (1898–1967) created an echo chamber of object and image, name and thing, reality and representation.

Like other Surrealist works, Magritte’s paintings combine a precise, mimetic technique with abnormal, alienating configurations which defy the laws of scale, logic, and science: a comb the size of a wardrobe, rocks that float in the sky, clouds that drift through an open door. The result is a direct yet disorientating realm, often witty, often unsettling, and always prompting us to look beyond the visible, to “what is hidden by what we see.”

This introductory book explores Magritte's vast repertoire of visual humor, paradox, and surprise which to this day makes us look and look again, not only at the painting, but at our sense of self and the world.

Avedon and Baldwin’s American Journey

Richard Avedon and James Baldwin’s landmark 1964 book finally back in print

This meticulous reprint of Richard Avedon and James Baldwin’s Nothing Personal explores the complexities and contradictions still at the center of the American experience – especially timely in the age of Donald Trump. Deploying both image and text, Avedon and Baldwin examine the formation of identity, and the bonds that both underlie and undermine human connection. An accompanying 72-page booklet features a fresh essay by Pulitzer Prize-winning critic Hilton Als, and many of Avedon’s unpublished outtakes, correspondence, preliminary layouts and ephemera.

In 1963-64, former high school friends Richard Avedon, at the time one of the world’s most famous photographers, and James Baldwin, best-selling novelist and essayist and a leading literary voice in the American civil rights movement, collaborated on Nothing Personal, a book about the state of life in America.

Avedon’s subjects range from civil rights icons, to intellectuals, politicians, pop singers, patients in a mental institution, and ordinary Americans, all carefully juxtaposed, cropped, and tightly sequenced. Here, the American Nazi Party contends with poet Allen Ginsberg, and a weary General Eisenhower gives way to the sway of Malcolm X. Depleted mental institution patients call out for human warmth, and are followed by the embrace of mother and child.

Baldwin’s four-part essay offers a critique of a society that is disconnected, unjust and divisive, and therefore in the midst of an existential crisis. In a highly personal and pertinent testimony, he writes about his own experience of harassment by a racist police officer in his native New York City. Yet Baldwin, like Avedon, ends his work with the inescapable need for – and power of – love.

Designed by legendary art director Marvin Israel, Nothing Personal is a triumph of minimalism. An oversized book in its own white slipcase, the striking placement of both photographs and text revolutionized the design and packaging of photography books. This is a faithful reprint of the original book, which has been out of print for decades, and was produced with the collaboration of The Richard Avedon Foundation.

Hilton Als, Avedon’s former colleague at The New Yorker, and a scholar of Baldwin’s work, traces the making of Nothing Personal and documents the friendship and creative relationship between Avedon and Baldwin. Als also movingly reflects on how Nothing Personal impacted his own life, as well as his friendship with Avedon.

When first published in 1964, Avedon and Baldwin’s vision of America was controversial, and both men endured harsh criticism for being liberal elites and “Hollywood moralists” who were not representing the true feelings of “real” Americans. Sound familiar?

To coincide with the book’s release, New York’s Pace Gallery will present a comprehensive exploration of Avedon’s photographs and documents from Nothing Personal.

Like hardly any other artist of his generation, Wolfgang Tillmans has shaped our perception of the world. From early portraits of his friends to still lifes, travel shots, nudes, landscape and sky photographs, to his abstract work, Tillmans has created a multitude of iconic works in his unmistakable visual language, opening up new paths and possibilities for both photography and contemporary art. In 2000 he was the first photographer and the first non-British person to receive the renowned Turner Prize.

His first volume for TASCHEN (1995) shows the young generation of the 1990s, of which Tillmans himself was a member, in clubs, at Gay Pride, at fashion events, and in everyday life. His dense, realistic photographs conjure up tangible utopias of community and society and are important documents of their time as well. With the follow-up volume Burg (1998), Tillmans enriches his subject matter with another array of beautiful, now iconic photographs. In truth study center (2005), his images condense into even more subtle compositions and now stand alongside completely abstract works. Finally, Neue Welt (2012) documents Wolfgang Tillmans’ travels around the globe: from London to Tierra del Fuego, India, Papua New Guinea, Saudi Arabia, and Central Africa, we follow his ever-inquisitive eye for the realities of our planet, for social situations with people and markets, technology and architecture, and last but not least, nature and astronomy. For this volume, the artist for the first time made use of the new possibilities of digital photography. This enabled a density of information and incisiveness hardly seen in photographs until then.

This 40th-anniversary publication from TASCHEN combines the best of the four books in one volume. Wolfgang Tillmans himself has compiled this edition, partly redesigned it, added some recent works, and written a new foreword.

Paging through this collection of images, which spans three decades, there are countless moments to delight in, moments that are held not only in our collective memory but in our individual ones too.

Sebastião Salgado’s photo book classic Workers. An Archaeology of the Industrial Age (first published in 1993) pays tribute to the time-honored tradition of manual labor in the new millennium when machines and computers replace human workers throughout the globe. With images of striking beauty and integrity, Salgado composes a visual elegy for the working men and women, whose indomitable spirit has prevailed over the harshest of conditions to achieve a singular grace.

More than those of any other living photographer, Sebastião Salgado’s images of the world’s poor stand in tribute to the human condition. Salgado defines his work as “militant photography”, dedicated to “the best comprehension of human being”; over the decades he has bestowed great dignity on the most isolated and neglected among us — from famine-stricken refugees in the Sahel to the indigenous peoples of South America.

With Workers, Salgado brings us a global epic that transcends mere image making to become an affirmation of the enduring spirit of working men and women. In this volume, three hundred fifty duotone photographs form an archaeological perspective of the activities that have defined hard work from the Stone Age through the Industrial Revolution to the present. With images of the infernal landscape of an Indonesian sulfur mine, the drama of traditional Sicilian tuna fishing, and the staggering endurance of Brazilian gold miners, Salgado unearths layers of visual information to reveal the ceaseless human activity at the core of modern civilization.

Workers presents its subject on several interactive levels: Salgado’s introductory text, written in collaboration with Brazilian author Eric Nepomuceno, expands his passionate photographic iconography; extended captions, also written by Salgado, provide a historical and factual framework. Honoring the timeless and indomitable spirit of the manual laborer, Workers renders the human condition with honesty and respect.

“What is it about a dull yellow metal that drives men to abandon their homes, sell their belongings and cross a continent in order to risk life, limbs and sanity for a dream?” – Sebastião Salgado When Sebastião Salgado was finally authorized to visit Serra Pelada in September 1986, having been blocked for six years by Brazil’s military authorities, he was ill-prepared to take in the extraordinary spectacle that awaited him on this remote hilltop on the edge of the Amazon rainforest. Before him opened a vast hole, some 200 meters wide and deep, teeming with tens of thousands of barely-clothed men. Half of them carried sacks weighing up to 40 kilograms up wooden ladders, the others leaping down muddy slopes back into the cavernous maw. Their bodies and faces were the color of ochre, stained by the iron ore in the earth they had excavated. After gold was discovered in one of its streams in 1979, Serra Pelada evoked the long-promised El Dorado as the world’s largest open-air gold mine, employing some 50,000 diggers in appalling conditions. Today, Brazil’s wildest gold rush is merely the stuff of legend, kept alive by a few happy memories, many pained regrets—and Sebastião Salgado’s photographs. Color dominated the glossy pages of magazines when Salgado shot these images. Black and white was a risky path, but the Serra Pelada portfolio would mark a return to the grace of monochrome photography, following a tradition whose masters, from Edward Weston and Brassaï to Robert Capa and Henri Cartier-Bresson, had defined the early and mid-20th century. When Salgado’s images reached The New York Times Magazine, something extraordinary happened: there was complete silence. “In my entire career at The New York Times,” recalled photo editor Peter Howe, “I never saw editors react to any set of pictures as they did to Serra Pelada.” Today, with photography absorbed by the art world and digital manipulation, Salgado’s portfolio holds a biblical quality and projects an immediacy that makes them vividly contemporary. The mine at Serra Pelada has been long closed, yet the intense drama of the gold rush leaps out of these images. This book gathers Salgado’s complete Serra Pelada portfolio in museum-quality reproductions, accompanied by a foreword by the photographer and an essay by Alan Riding.Also available in a signed and limited Collector’s Edition

In 1960, photographer William Claxton and noted musicologist Joachim E. Berendt traveled the United States hot on the trail of jazz. Through music halls and marching bands, side streets and subways, they sought to document this living, breathing, beating musical phenomenon that enraptured America across social, economic, and racial lines.

The result of Claxton and Berendt’s collaboration was Jazzlife, much sought after by collectors and now revived in this fresh TASCHEN volume. From coast to coast, from unknown street performers to legends of the genre, this defining jazz journey explores just what made up this most original of American art forms. In New Orleans and New York, in St. Louis, Biloxi, Jackson, and beyond, Claxton’s rapturous yet tender images and accompanying texts examine jazz’s regional diversity as much as its pervasive vitality and soul. They show the music makers and the many spaces and people this music touched, from funeral parades to concert stages, from an elderly trumpet player to kids who hung from windows to catch a glimpse of a passing band.

With portraits of Charlie Parker, Count Basie, Duke Ellington, Muddy Waters, Gabor Szabo, Dave Brubeck, Stan Getz, Billie Holiday, Ella Fitzgerald, Miles Davis, Charles Mingus, Thelonious Monk, John Coltrane, and many more, this is as much a compelling slice of history as it is a loving personal tribute.

Helmut Newton (1920–2004) always showed a healthy disdain for the easy or predictable, so it’s no surprise that the SUMO was an irresistible project. The idea of a book the size of a private exhibition, with spectacular images reproduced to state-of-the-art origination and printing standards, emerged from an open, experimental dialogue between photographer and publisher. With the SUMO weighing in—boxed and shrink-wrapped—at 35.4 kg (just under 80 pounds), Newton created a landmark book that stood head and shoulders above anything previously attempted, both in terms of conceptual extravagance and technical specifications.

Published in an edition of 10,000 signed and numbered copies, the SUMO sold out soon after publication and quickly multiplied its value. It now features in numerous collections around the world, including New York’s Museum of Modern Art. The legendary copy number one, signed by more than 100 of the book’s featured celebrities, broke the record for the most expensive book published in the 20th century, sold at an auction in Berlin on April 6, 2000 for 620,000 German marks—about 317,000 euros.

Now, this XL edition celebrates 20 years of SUMO, the result of a project conceived by Helmut Newton some years ago. Revised by his wife June, the volume gathers 394 images and a booklet that takes us through the making-of this publishing venture—a spectacular tribute to the larger-than-life Helmut Newton, now in a friendly format.

Born in the Brazilian countryside, and nearly six feet tall by the age of 14, Gisele Bündchen grew from humble roots into one of the most successful supermodels in the world. This book celebrates her 20-year milestone in the industry with a unique and spectacular collection of jaw-dropping glamour and intimate, personal insights.

Gisele was just 18 when she made her breakthrough in the S/S 1998 ready-to-wear “Rain” show of Alexander McQueen, who chose “The Body” thanks to her ability to walk in towering heels on a slippery runway. The same year, Gisele secured her first British Vogue cover, and swiftly became the most in-demand cover girl of her generation. The following year, she was chosen for the cover of American Vogue, shot by Steven Meisel, and lauded as “the return of the sexy model” with her bronzed, athletic beauty defying late-’90s grunge. Since then, Gisele has appeared on more than 1,000 covers around the globe, in approximately 450 fashion shows, and in multinational campaigns for the biggest fashion and beauty brands.

With more than 300 photographs, this book is curated and art directed by Giovanni Bianco. From Gisele’s legendary nude portrait by Irving Penn, chosen as the book’s cover, to iconic shots from such industry luminaries as Steven Meisel, Mario Testino, Peter Lindbergh, David LaChapelle, Juergen Teller, Inez & Vinoodh, Mert Alas & Marcus Piggott, and Corinne Day, it is a unique artistic presentation of the most famous Brazilian export together with Pelé and Senna and the highest-earning model in the world. The breathtaking image collection is accompanied by an introduction by Steven Meisel and tributes from Gisele’s closest friends, family, and fashion leaders, who shed light on how and why she has become one of the greatest models of all time.

Gisele is donating all her proceeds from the book to charity.

During the 1960s, Dennis Hopper carried a camera everywhere—on film sets and locations, at parties, in diners, bars and galleries, driving on freeways and walking on political marches. He photographed movie idols, pop stars, writers, artists, girlfriends, and complete strangers. Along the way he captured some of the most intriguing moments of his generation with a keen and intuitive eye. A reluctant icon at the epicenter of that decade’s cultural upheaval, Hopper documented the likes of Tina Turner in the studio, Andy Warhol at his first West Coast show, Paul Newman on set, and Martin Luther King during the Civil Rights March from Selma to Montgomery, Alabama.

From a selection of photographs compiled by Hopper and gallerist Tony Shafrazi, this extensive volume, finally back in print in a new edition, distills the essence of Hopper’s prodigious photographic career. Also included are introductory essays by Shafrazi and legendary West Coast art pioneer Walter Hopps, as well as an extensive biography and new afterword by journalist Jessica Hundley. With excerpts from Victor Bockris’s interviews of Hopper’s famous subjects, friends, and family, this volume revives an unprecedented exploration of the life and mind of one of America’s most fascinating personalities.

Ellen von Unwerth was a supermodel before the term was invented, so she knows a thing or two about photographing beautiful women. Now one of the world’s most original and successful fashion photographers, she pays homage to the world’s most delectable females in Fräulein. This celebration of our era’s sexiest female icons includes Claudia Schiffer, Kate Moss, Vanessa Paradis, Britney Spears, Eva Mendes, Lindsay Lohan, Dita von Teese, Adriana Lima, Carla Bruni, Eva Green, Christina Aguilera, Monica Bellucci and dozens more.

Switching effortlessly between color and immaculate black and white, von Unwerth’s photography revels in sexual intrigue, femininity, romance, fetishism, kitsch humor, decadence and sheer joie de vivre. Whether nude or in lingerie and a dazzling smile, her subjects are never objectified. Some flaunt personal fantasies; others are guarded, suggesting that we have stumbled into a secret world. Fashion and fantasy were never so enchantingly combined.

It has been almost a generation since Sebastião Salgado first published Exodus but the story it tells, of fraught human movement around the globe, has changed little in 16 years. The push and pull factors may shift, the nexus of conflict relocates from Rwanda to Syria, but the people who leave their homes tell the same tale: deprivation, hardship, and glimmers of hope, plotted along a journey of great psychological, as well as physical, toil.

Salgado spent six years with migrant peoples, visiting more than 35 countries to document displacement on the road, in camps, and in overcrowded city slums where new arrivals often end up. His project includes Latin Americans entering the United States, Jews leaving the former Soviet Union, Kosovars fleeing into Albania, the Hutu refugees of Rwanda, as well as the first “boat people” of Arabs and sub-Saharan Africans trying to reach Europe across the Mediterranean ea. His images feature those who know where they are going and those who are simply in flight, relieved to be alive and uninjured enough to run. The faces he meets present dignity and compassion in the most bitter of circumstances, but also the many ravaged marks of violence, hatred, and greed.

With his particular eye for detail and motion, Salgado captures the heart-stopping moments of migratory movement, as much as the mass flux. There are laden trucks, crowded boats, and camps stretched out to a clouded horizon, and then there is the small, bandaged leg; the fingerprint on a page; the interview with a border guard; the bundle and baby clutched to a mother’s breast. Insisting on the scale of the migrant phenomenon, Salgado also asserts, with characteristic humanism, the personal story within the overwhelming numbers. Against the indistinct faces of televised footage or the crowds caught beneath a newspaper headline, what we find here are portraits of individual identities, even in the abyss of a lost land, home, and, often, loved ones.

At the same time, Salgado also declares the commonality of the migrant situation as a shared, global experience. He summons his viewers not simply as spectators of the refugee and exile suffering, but as actors in the social, political, economic, and environmental shifts which contribute to the migratory phenomenon. As the boats bobbing up on the Greek and Italian coastline bring migration home to Europe like no mass movement since the Second World War, Exodus cries out not only for our heightened awareness but also for responsibility and engagement. In face of the scarred bodies, the hundreds of bare feet on hot tarmac, our imperative is not to look on in compassion, but, in Salgado’s own words, to temper our behaviors in a “new regimen of coexistence.”

George Eastman’s career developed in a particularly American way. The founder of Kodak progressed from a delivery boy to one of the most important industrialists in American history, and a crucial innovator in photographic history.

Eastman died in 1932, and left his house to the University of Rochester. Since 1949 the site has operated as an international museum of photography and film, and today holds the largest collection of its kind in the world, containing over 400,000 images and negatives—among them the work of such masters as Alfred Stieglitz, Edward Steichen, and Ansel Adams.

Home also to 23,000 cinema films, five million film stills, one of the most important silent film collections, technical equipment and a library with 40,000 books on photography and film, the George Eastman House is a pilgrimage site for researchers, photographers, and collectors from all over the world. This volume curates the most impressive images from the collection in chronological order to offer an incomparable overview of photographic history.

TASCHEN presents Lost + Found and Good News, the latest and final publications from artist David LaChapelle. The books are the fourth and fifth installments of LaChapelle’s five-book anthology, which began with LaChapelle Land (1996), continued with Hotel LaChapelle (1999), and followed by Heaven to Hell (2006).

Lost + Found is a visual recording of the times we live in and the issues we face, expressed through David LaChapelle’s unique and distinctive vision. Featuring a monumental curation of images that have never before been published in book form, it chronicles LaChapelle’s strongest images as a visionary to date while encapsulating our time in history.

This fourth volume also introduces a decade of unseen work from LaChapelle’s creative renaissance, where he offers a bridge into paradise and the sublime, leading viewers into volume two: Good News.

Lost + Found features:
Pamela Anderson, Julian Assange, Isabella Blow, David Bowie, Naomi Campbell, Hillary Clinton, Frances Bean Cobain, Miley Cyrus, Lana Del Rey, Lady Gaga, Sharon Gault, Daphne Guinness, Whitney Houston, Kris Jenner, Kendall Jenner, Bruce Jenner, Kylie Jenner, Dwayne Johnson, Khloe Kardashian, Kim Kardashian, Eartha Kitt, David LaChapelle, Amanda Lepore, Nicki Minaj, Katy Perry, Sergei Polunin, Keith Richards, Rihanna, Chris Rock, Amber Rose, Britney Spears, Uma Thurman, Andy Warhol, Kanye West, Pharrell Williams, Amy Winehouse, and many others...

Lost + Found and Good News are sold separately.

A unique tribute from David Bowie’s official photographer and creative partner, Mick Rock, compiled in 2015, with Bowie’s blessing.

In 1972, David Bowie released his groundbreaking album The Rise and Fall of Ziggy Stardust and the Spiders from Mars. With it landed Bowie’s Stardust alter ego: a glitter-clad, mascara-eyed, sexually ambiguous persona who kicked down the boundaries between male and female, straight and gay, fact and fiction into one shifting and sparkling phenomenon of ’70s self-expression. Together, Ziggy the album and Ziggy the stage spectacular propelled the softly spoken Londoner into one of the world’s biggest stars.

A key passenger on this glam trip into the stratosphere was fellow Londoner and photographer Mick Rock. Rock bonded with Bowie artistically and personally, immersed himself in the singer’s inner circle, and, between 1972 and 1973, worked as the singer’s photographer and videographer.

This collection brings together spectacular stage shots, iconic photo shoots, as well as intimate backstage portraits. With a lenticular cover of different headshots, it celebrates Bowie’s fearless experimentation and reinvention, while offering privileged access to the many facets of his personality and fame. Through the aloof and approachable, the playful and serious, the candid and the contrived, the result is a passionate tribute to a brilliant and inspirational artist whose creative vision will never be forgotten.

As sensitive to human suffering as to the simple pleasures of life, Robert Doisneau is one of the most celebrated exponents of the Photographie humaniste that swept through the 1950s. Cherished in particular for his soulful portraits of Paris, Doisneau demonstrated a unique ability to find – and perfectly frame – charismatic characters, entertaining episodes, and fleeting moments of humor and affection.

A summation of a spectacular career, this extensive Doisneau collection includes all his best-loved images from Paris alongside many lesser-known compositions which equally rejoice in “the ordinary gestures of ordinary people in ordinary situations.” The many quotations from the photographer throughout the volume immerse the reader in Doisneau’s thoughts and give verbal expression to the sensitivity, warmth, and wit which characterize his pictures.

Through the images, we are transported to the grim suburbs of Doisneau’s youth; the world of manual labor whose nobility he so admired; and to the studios of the many groundbreaking artists that Doisneau captured in moments of reflection and creativity. A number of color shots of the transformed suburbs of Doisneau’s childhood reveal a different, more critical eye to the master photographer.

For this new monograph on all aspects of the life and oeuvre of Robert Doisneau, his longtime friend and TASCHEN author Jean Claude Gautrand had unlimited access to the extensive photo archive Atelier Robert Doisneau. The preface is by Doisneau’s daughters Francine Deroudille and Annette Doisneau.

Born in Berlin in 1920, Helmut Newton trained as a teenager with legendary photographer Yva, following her lead into the enticing pastures of fashion, portraiture and nudes. Forced to flee the Nazis aged only 18, Newton never left Berlin behind. After his career exploded in Paris in the 1960s, he returned regularly to shoot for magazines like Constanze, Adam, Vogue, Condé Nast's Traveler, ZEITmagazin, Männer Vogue, Max and the Süddeutsche Zeitung Magazin as well as his own magazine Helmut Newton’s Illustrated.

In 1979, the newly relaunched German Vogue commissioned him to retrace the footsteps of his youth to capture the fashion moment. The resulting portfolio, Berlin, Berlin!, inspired the title of the exhibition which celebrates 20 years of the Helmut Newton Foundation.

This collection includes Newton’s most iconic Berlin images, as well as many unknown shots from the 1930s to the 2000s: nightcrawlers in uber-cool clubs and restaurants, nude portraits in the boarding houses he knew from his youth, and the Berlin film scene, featuring Hanna Schygulla and Wim Wenders at the Berlin Wall, John Malkovich and David Bowie.

In October 2003, only months before his death, Newton moved large parts of his archive to his new foundation, housed in the Museum of Photography beside the Zoologischer Garten station—the very station from which he fled Berlin in the winter of 1938. This publication thus closes a circle in the story of his extraordinary life and work.

This is a photographic love story tracing the fifty-five years of collaboration, partnership and history of Helmut and June Newton. First published in 1998, their legendary joint project Us and Them was presented in book form and accompanying exhibitions.

The book‘s first part – Us – features personal portraits of each other and self-portraits taken over several decades, revealing affection and intimacy behind each image and bringing forth nostalgia of the time. It is a photographic diary that records the life Helmut and June Newton shared away from the public eye. 

The second part of the book – Them – is a sumptuous journey through time, where the lens of the master brings forth images of stunning portraits of an array of jet set, celebrities, important cultural figures, and some of the most famous faces of the time. From Catherine Deneuve, Anjelica Huston, David Hockney, and Timothy Leary to Peter Beard, Yves Saint Laurent, Thierry Mugler, Jane Birkin, and Charlotte Rampling, among others. The portraits taken by Helmut and June Newton in various sittings are presented side by side in pairs, thus revealing two facets of the same personality. This volume unmistakably highlights that the life and work of Helmut and June Newton were inexplicably linked in every way. One was never possible without the other.

The 20th century saw fashion evolve from an exclusive Parisian salon business catering for the wealthy elite into a global industry employing millions, with new trends whisked into stores before the last model has even left the catwalk.

Along the way, the signature silhouettes of each era evolved beyond recognition. For women, House of Worth crinolines gave way to Vionnet’s bias-cut gowns, Dior’s New Look to Quant’s Chelsea Look, Halston’s white suit to Frankie B.’s low-rise jeans. In menswear, ready-made suits signaled the demise of bespoke tailoring, long before Hawaiian shirts or skinny jeans entered the game.

20th-Century Fashion offers a retrospective of the last hundred years of style via 400 fashion advertisements from the Jim Heimann Collection. The images trace not only the changing trends but also the evolution in their marketing and audience, as fashion was adopted into popular culture and the mass market, decade by decade. An in-depth introduction and illustrated timeline detail the style-makers and trendsetters, and how historic events, design houses, retailers, films, magazines, and celebrities shaped the way we dressed—then and now.

In 1965, Steve Schapiro started documenting Andy Warhol for LIFE magazine: Warhol was cementing a reputation as an important Pop artist who drew his inspiration from popular culture and commercial objects. With his sunglasses, blond wig, and bland public utterances, Warhol was enigmatic, charismatic, intensely ambitious, and aware that to become a star, you needed the presence of people to document your ascent. Schapiro, also ambitious and hardworking, who in his own words “kept quiet and smiled a lot,” was an ideal witness to Warhol’s relentless rise from cult New York artist to 20th-century icon. Ironically, LIFE never published the story, so many of these images are seen here for the first time, scanned from negatives found deep in Schapiro’s archive.

Between 1965 and 1966, Schapiro busily photographed Warhol and his entourage of superstars, including the legendary Edie Sedgwick and Nico, hanging out art openings,. making his underground movie Camp, working on his silkscreens at the Factory, and roaming the streets of New York. Schapiro was also present at the opening of Warhol’s first museum retrospective at the Institute of Contemporary Art in Philadelphia, attended by a hyped-up crowd of thousands —the night where art’s coolest new king was crowned and Andymania was born. The final stop on the Warhol express train is Los Angeles, where Andy exhibited his ironic Silver Clouds at the Ferus Gallery, stayed at the picturesque Castle, and set up and filmed a performance by cult band the Velvet Underground.

Featuring more than 120 photographs, Schapiro’s images are juxtaposed with tipped-in plates of original Warhol artworks exhibited during the period. The art works include Before and After, 4, 1962, Colored Campbell’s Soup Can, 1965, S&H Green Stamps, 1965, One Dollar Bills (Fronts), 1962, 100 Cans, 1962, Flowers, 1965, Shot Red Marilyn, 1964, Elvis I and II [Elvis Diptych] [Ferus Type], 1963–64, Green Disaster # 2 (Green Disaster Ten Times), 1963, White Disaster (White Car Crash 19 Times), 1963, and many others. Also featuring an interview with Steve Schapiro, who passed away in early 2022, and an essay and extended captions by official Warhol biographer Blake Gopnik. Andy Warhol and Friends 1965–1966 is a definitive portrait of a groundbreaking artist at a transformative period in postwar American culture.

Sebastião Salgado’s masterpiece Genesis is the result of an epic eight-year expedition to rediscover the mountains, deserts, and oceans, the animals and peoples that have so far escaped the imprint of modern society—the land and life of a still pristine planet. The Genesis project, along with the Salgados’ Instituto Terra, is dedicated to showing the beauty of our planet, reversing the damage done to it, and preserving it for the future.

On over 30 trips—by foot, light aircraft, boats, canoes, and even balloons, through extreme temperatures and in sometimes dangerous conditions—Salgado has created a collection of images showing us nature, animals, and indigenous peoples in such intense beauty it takes our breath away. The reach is truly global. Through Salgado’s lens, one discovers the animal species and volcanoes of the Galápagos; the penguins, sea lions, cormorants, and whales of the South Atlantic; Brazilian alligators and jaguars; and African lions, leopards, and elephants. We travel over icebergs in the Antarctic, the volcanoes of Central Africa, the ravines of the Grand Canyon, and the glaciers of Alaska. We encounter the Stone Age Korowai people of West Papua, nomadic Dinka cattle farmers in Sudan, Nenets and their reindeer herds in the Arctic Circle, as well as the Mentawai jungle communities on islands west of Sumatra.

In characteristic monochrome, Salgado’s painterly notes are perfectly tuned to these sublime scenes, capturing sweeping aerial panoramas as much as the most intricate details and textures, from a reptilian skin to the fur coat of the Nenet people of northern Siberia. The exquisitely reproduced images are arranged not by theme but rather conceived as a journey around the globe, immersing them in Salgado’s vision of the Earth’s mesmerizing scale, order, and beauty.INSTITUTO TERRAFounded in 1998 at Aimorés in the state of Minas Gerais, Instituto Terra is the culmination of Lélia Wanick Salgado and Sebastião Salgado’s lifelong activism and work as cultural documentarians. Through a scientific program of planting and raising saplings, the organization has performed a miraculous reforestation of the once infertile region and furthered the Salgados’ mission of reversing the damage done to our planet. TASCHEN is proud to reach carbon zero status through our continued partnership.

Polaroids occupy a special place in the hearts of many photo enthusiasts who remember a time when “instant photography” meant one-of-a-kind prints that developed within minutes of clicking the shutter. What was once a crucial tool for photographers to test their shots before shooting on film has now become obsolete in the face of digital photography.

Luckily for us, legendary photographer Helmut Newton saved his test Polaroids, allowing a privileged and rare chance to see the tests from a selection of his greatest shoots over a period of decades, including many from the TASCHEN titles SUMO, A Gun for Hire, and Work. Selected by his widow, June Newton, from over 300 photos featured at the 2011 exhibition “Helmut Newton Polaroids” at the Museum für Fotografie in Berlin, this collection captures the magic of Helmut Newton photo shoots as only Polaroids can.

This platinum tome is the most comprehensive visual history of surfing to date, marking a major cultural event as much as a publication. Following three and a half years of meticulous research, it brings together more than 900 images to chart the evolution of surfing as a sport, a lifestyle, and a philosophy.

The book is arranged into five chronological chapters, tracing surfing culture from the first recorded European contact in 1778 by Captain James Cook to the global and multi-platform phenomenon of today. Utilizing institutions, collections, and photographic archives from around the world, and with accompanying essays by the world’s top surf journalists, it celebrates the sport on and off the water, as a community of 20 million practitioners and countless more devotees, and as a leading influence on fashion, film, art, and music.

An unrivaled tribute to the breadth, complexity, and richness of surfing, this book is a must-have for any serious player on the surfing scene and anybody who aspires to the surfing lifestyle. As one surfing scribe has declared, “There has never been a book like this, and there will never be another one again.”

A unique tribute from David Bowie’s official photographer and creative partner, Mick Rock, compiled in 2015, with Bowie’s blessing.

In 1972, David Bowie released his groundbreaking album The Rise and Fall of Ziggy Stardust and the Spiders from Mars. With it landed Bowie’s Stardust alter ego: a glitter-clad, mascara-eyed, sexually ambiguous persona who kicked down the boundaries between male and female, straight and gay, fact and fiction into one shifting and sparkling phenomenon of ’70s self-expression. Together, Ziggy the album and Ziggy the stage spectacular propelled the softly spoken Londoner into one of the world’s biggest stars.

A key passenger on this glam trip into the stratosphere was fellow Londoner and photographer Mick Rock. Rock bonded with Bowie artistically and personally, immersed himself in the singer’s inner circle, and, between 1972 and 1973, worked as the singer’s photographer and videographer.

This collection brings together spectacular stage shots, iconic photo shoots, as well as intimate backstage portraits. It celebrates Bowie’s fearless experimentation and reinvention, while offering privileged access to the many facets of his personality and fame. Through the aloof and approachable, the playful and serious, the candid and the contrived, the result is a passionate tribute to a brilliant and inspirational artist whose creative vision will never be forgotten.

Ren Hang, who took his life February 23, 2017, was an unlikely rebel. Slight of build, shy by nature, prone to fits of depression, the 29-year-old Beijing photographer was nonetheless at the forefront Chinese artists’ battle for creative freedom. Like his champion Ai Weiwei, Ren was controversial in his homeland and wildly popular in the rest of the world. He said, “I don’t really view my work as taboo, because I don’t think so much in cultural context, or political context. I don’t intentionally push boundaries, I just do what I do.”

Why? Because his models, friends, and in his last years, fans, are naked, often outdoors, high in the trees or on the terrifyingly vertiginous rooftops of Beijing, stacked like building blocks, heads wrapped in octopi, body cavities sprouting phone cords and flowers, whatever entered his mind at the moment. He denied his intentions were sexual, and there is a clean detachment about even his most extreme images: the urine, the insertions, the many, many erections. In a 2013 interview VICE magazine asked, “there are a lot of dicks … do you just like dicks?” Ren responded, “It’s not just dicks I’m interested in, I like to portray every organ in a fresh, vivid and emotional way.” True though that may be, the penises Ren photographed were not just fresh and vivid, but unusually large, making one wonder just where he met his friends.

In the same piece, Hang also stated, “Gender isn’t important when I’m taking pictures, it only matters to me when I’m having sex,” making him a pioneer of gender inclusiveness. Young fans still eagerly flock to his website and Facebook, Instagram, and Flickr accounts. His photographs, all produced on film, have been the subject of over 20 solo and 70 group shows in his brief six-year career, in cities as disparate as Tokyo, Athens, Paris, New York, Copenhagen, Frankfurt, Vienna, and yes, even Beijing. He self-published 16 monographs, in tiny print runs, that now sell for up to $ 600. TASCHEN’s Ren Hang is his only international collection, covering his entire career, with well-loved favorites and many never-before-seen photos of men, women, Beijing, and those many, many erections. We take solace remembering Ren’s joy when he first held the book, shared by his long-time partner Jiaqi, featured on the cover.

Sebastião Salgado’s haunting black-and-white photographs from the GENESIS project record landscapes and people unchanged in the devastating onslaught of modern society and development. Salgado calls GENESIS “my love letter to the planet.”

Vienna combines drama and elegance like no other. For centuries the heart of the Austro-Hungarian Empire, the stately city on the Danube, has been defined by vast palaces and imperial grandeur—but behind the Baroque opulence, Vienna is also a place of genteel coffee house culture, epicurean tradition, and a heritage of both delicate and daring music, art, and design, from Johann Strauss to Egon Schiele, from Gustav Mahler to Josef Hoffmann.

This volume is a treasure trove of photography from the last 175 years, following the evolution of Vienna from imperial capital to modern metropolis. Like a visual walk through time and cityscape, hundreds of carefully curated pictures trace the developments in Vienna’s built environment and the cultural and historical trends they reflect, whether the urban Gesamtkunstwerk of the 19th-century Ringstrasse or the experiments of “Red Vienna” in the 1920s, when the city had a social democrat government for the first time.

Through these remarkable photographs, we discover not only the great landmarks and lesser-known corners of Vienna, but also the ubiquity and the tumult of its history. We see the cultural blossoming of the fin de siècle, when radical innovators such as Gustav Klimt, Egon Schiele, Adolf Loos, and Sigmund Freud turned Vienna into a “laboratory of modernity”; the clashes of 1934; the ascent of Nazi dictatorship; and the horrors writ by the Holocaust in what was once one of the most populous and multi-ethnic cities on earth. More recently, fascinating postwar photographs explore the Vienna of the Third Man, at once a city in ruins and a hub for spies. The book closes with the most recent pictures, celebrating the emergence of today’s Vienna—one of the most attractive cities in Europe, in which rich history once again coexists with international flair and vibrant contemporary culture.

Arranged alphabetically, this biographical encyclopedia features every major photographer of the 20th century alongside her or his most significant monographs.

From the earliest representatives of classical Modernism right up to the present day, Photographers A–Z celebrates those photographers who have distinguished themselves with important publications or exhibitions, and who have made a significant contribution to the culture of the photographic image. The entries include photographers from North America and Europe as well as from Japan, Latin America, Africa, and China.

Richly illustrated with facsimiles from books and magazines, the collection also features photographers working in “applied” areas, whose work is regarded as photographic art. Star turns include Julius Shulman, Terry Richardson, Cindy Sherman, and David LaChapelle.

At the turn of the 20th century, the American photographer Edward Sheriff Curtis (1868–1952) started on his 30-year project to produce a monumental study of North American Indians. Using an approach that was both artistically and scientifically ambitious, he recorded, in words and pictures, the traces of the traditional Indian way of life that was already beginning to die out.

With tireless personal commitment Curtis visited 80 American Indian tribes from the Mexican border to the Bering Strait, gaining their confidence through his patience and sensitivity. His work was printed in 20 volumes between 1907 and 1930 as The North American Indian, but with only 272 copies, originals became extremely rare.

This book gathers Curtis’s entire American Indian portfolio into one publication, offering renewed access to and appreciation of his extraordinary achievement, which is as much a precious historical document as a triumph of the photographic form.

"Some people's photography is an art. Mine is not. If they happen to be exhibited in a gallery or a museum, that's fine. But that's not why I do them. I'm a gun for hire," Helmut Newton told Newsweek in 2004. This prosaic proclamation from one of the 20th century's most celebrated photographers may be perceived as surprising. Still it firmly positions Newton as the no-frills image-maker that he was. His work is so powerful and striking, that it defies categorization. In refusing to call his work "art," Newton leaves us free to do so. Judging from the amount of museum and gallery shows that have featured his work, it is clear that the option has been widely exercised.

A Gun for Hire brings together a selection of Newton's fashion catalog work from the early 1960s to 2003 including campaigns for BiBA (the first fashion catalog in 1962), Chanel, Yves Saint Laurent, Versace, Thierry Mugler, Blumarine, Villeroy & Boch and Absolut Vodka, as well as his last editorial photographs for US and Italian Vogue—encompassing the body of work he made as a "gun for hire."

With an introduction by Matthias Harder and statements by Pierre Bergé, Tom Ford, Josephine Hart, June Newton, and Anna Wintour.

“We must remember that in the brutality of battle another such apocalypse is always just around the corner.” —Sebastião Salgado

In January and February 1991, as the United States-led coalition drove Iraqi forces out of Kuwait, Saddam Hussein’s troops retaliated with an inferno. At some 700 oil wells and an unspecified number of oil-filled low-lying areas they ignited vast, raging fires, creating one of the worst environmental disasters in living memory.

As the desperate efforts to contain and extinguish the conflagration progressed, Sebastião Salgado traveled to Kuwait to witness the crisis firsthand. The conditions were excruciating. The heat was so vicious that Salgado’s smallest lens warped. A journalist and another photographer were killed when a slick ignited as they crossed it. Sticking close to the firefighters, and with characteristic sensitivity to both human and environmental impact, Salgado captured the terrifying scale of this “huge theater the size of the planet”: the ravaged landscape; the sweltering temperatures; the air choking on charred sand and soot; the blistered remains of camels; the sand still littered with cluster bombs; and the flames and smoke soaring to the skies, blocking out the sunlight, dwarfing the oil-coated firefighters.

Salgado’s epic pictures first appeared in the New York Times Magazine in June 1991 and were subsequently awarded the Oskar Barnack Award, recognizing outstanding images on the relationship between man and the environment. Kuwait: A Desert on Fire is the first monograph of this astonishing series. Like Genesis, Exodus, and The Children, it is as much a major document of modern history as an extraordinary body of photographic work.

More than 100 years ago the brothers Adolf ("Adi") and Rudolf Dassler made their first pair of sports shoes. Hundreds of groundbreaking designs, epic moments, and star-studded collabs later, this book presents a visual review of the adidas shoe through almost 200 models.

To further develop and tailor his products to athletes’ specific needs, Dassler asked them to return their worn footwear when no longer needed, with all the shoes eventually ending up in his attic (to this day, many athletes return their shoes to adidas, often as a thank you after winning a title or breaking a world record). This collection now makes up the "adidas archive", one of the largest, if not the largest archive of any sports goods manufacturer in the world—which photographers Christian Habermeier and Sebastian Jäger have been visually documenting in extreme detail for years.

Shot using the highest reproduction techniques, these images reveal the fine details as much as the stains, the tears, the repair tape, the grass smudges, the faded autographs. It’s all here, unmanipulated and captured in extremely high resolution—and with it comes to light the personal stories of each individual wearer. We encounter the shoes worn by West Germany’s football team during its “miraculous” 1954 World Cup win and those worn by Kathrine Switzer when she ran the Boston Marathon in 1967, before women were officially allowed to compete; custom models for stars from Madonna to Lionel Messi; collabs with the likes of Pharrell Williams, Raf Simons, Stella McCartneyor Yohji Yamamoto; as well as the brand’s trailblazing techniques and materials.

Accompanied by expert texts, each picture tells us the why and the how, but also conveys the driving force behind adidas. What we discover goes beyond mere design; in the end, these are just shoes, worn out by their users who have loved them—but they are also first-hand witnesses of our sports, design, and culture history, from the beginnings of the Dassler brothers and the founding of adidas until today.

The Wunderkammer, or “cabinet of curiosities,” saw collectors gathering objects from many strands of artistic, scientific, and intellectual endeavor, in an ambitious attempt to encompass all of humankind’s knowledge in a single room.

From the Grand Duke Francesco I de’ Medici and Holy Roman Emperor Rudolf II to Archduke Ferdinand II of Habsburg, these aristocratic virtuosos acquired, selected, and displayed the objects in real-life catalogues that represented the entire world—spanning architecture, interior design, painting, sculpture, gemology, geology, botany, biology and taxonomy, astrology, alchemy, anthropology, ethnography, and history.

Marvel at the unicorn horns (narwhal tusks), gems, rare coral growths, Murano glasswork, paintings and peculiar mechanical automata. Browse through illustrations of exotic and mythical creatures and discover the famed “Coburg ivories,” an astounding collection of crafted artifacts. These collections are nothing short of a journey through time, from the Renaissance and Age of Discovery, the Mannerist and Baroque periods, up to the present day. Although many of these cabinets of curiosities no longer exist, others have been meticulously reconstructed, and new ones born.

These marvelous cabinets of curiosities can now be explored by all in this XXL collection. To realize this mammoth undertaking, Massimo Listri traveled to seven European countries over several decades; the result is a set of gorgeous photographs, an authoritative yet accessible introduction, and detailed commentary on each of the 19 chambers highlighting the most remarkable items in each collection. Discover how these timeless treasures both describe and defined civilization, the modern concept of the museum, and our very knowledge of the universe.

A flâneur and photographer at once, Eugène Atget (1857–1927) was obsessed with walking the streets. After trying his hand at painting and acting, the native of Libourne turned to photography and moved to Paris. He supplied studies for painters, architects, and stage designers, but became enraptured by what he called “documents” of the city and its environs. His scenes rarely included people, but rather the architecture, landscape, and artifacts that made up the societal and cultural stage. Atget was not particularly renowned during his lifetime but in the 1920s came to the attention of the Dada and Surrealist avant-garde through Man Ray. Four of his images, with their particular fusion of mimesis and mystery, appeared in the surrealist journal, La Révolution Surréaliste, while Ray and much of his artistic circle purchased Atget prints. Atget’s fame grew after his death, with several articles and a monograph by Berenice Abbott. Several leading photographers, including Walker Evans and Bill Brandt, have since acknowledged their debt to Atget. This fresh TASCHEN edition gathers some 500 photographs from the Atget archives at Musée Carnavalet and the Bibliothèque Historique de la Ville de Paris to celebrate his outstanding eye for the urban environment and evocation of a Paris gone by. Down main streets and side streets, past shops and churches, through courtyards and arcades and the 20 arrondissements, we find a unique portrait of a beloved city and the making of a modern photographic master.

First impressions count, especially in Milano. In this unprecedented photographic journey, editor Karl Kolbitz opens the door to 144 of the city’s most sumptuous entrance halls, captivating in their diversity and splendor. These vibrant Milanese entryways, until now hidden away behind often restrained façades, are revealed as dazzling examples of Italian modernism, mediating public and private space with vivid configurations of color and form, from floors of juxtaposed stones to murals of minimalist geometry.

The collection spans buildings from 1920 to 1970 and showcases the work of some of the city’s most illustrious architects and designers, including Giovanni Muzio, Gio Ponti, Piero Portaluppi, and Luigi Caccia Dominioni, as well as non-pedigreed architecture of equal impact and interest. The photographs for the publication were exclusively shot by Delfino Sisto Legnani, Paola Pansini, and Matthew Billings, each evoking the entryways with individual sensibility and a stylistic interplay of detail shots—such as stones, door handles, and handrails—with larger architectural views.

The images are accompanied by concise contributions from Penny Sparke, Fabrizio Ballabio, Lisa Hockemeyer, Daniel Sherer, Brian Kish, and Grazia Signori, together bringing a wealth of architecture, design, and natural stone expertise to guide the reader through the applied materials and fittings as well as the art-historical and social implications of each of the ingressi. As much an architectural city guide as an aesthetic study, the book provides the exact address and an annotated Milan map for all featured entryways, as well as the architect name and date of construction.

In the well-documented realm of 20th-century Italian design, Kolbitz has stepped over the threshold and delivered a brand new area of inquiry in Milanese modernism. With the rigor of its multifaceted research, poised photography, and breadth of its featured hallways, this is an invigorating new reference work and an inside look at the city’s design DNA across high to low architecture.

Mario Testino is one of the world’s most successful fashion and portrait photographers, whose images are noted for their freshness and intimacy. Peruvian by birth, Testino has been fascinated by Rio de Janeiro since his earliest summer vacations. "When I was 14, on holiday, and going from my house to the beach and seeing everyone walk everywhere in their tiny bathing suits—the girls and boys were so sexy and carefree and wild—I just could not believe it."This easy sensuality, sexual freedom and lust for life left a deep impression; Testino has been going back ever since, for work and fun, passion and inspiration. Featuring candid shots of exquisite cariocas baring nubile flesh, including supermodel Gisele Bündchen, MaRIO DE JANEIRO Testino captures the essence of this incomparably seductive city and its sultry citizens. From its breathtaking sunset panoramas, to the throbbing chaos of its world-famous carnival, this is Testino’s love poem to the Brazilian metropolis that captured his teenage heart, and never let go.

The Polaroid Corporation’s photography collection is the greatest portfolio of Polaroid images in the world. Begun by Polaroid founder Edwin Land and photographer Ansel Adams, the collection now includes some 23,000 images by hundreds of photographers throughout the world, including pieces by the likes of David Hockney, Andy Warhol, and Jeanloup Sieff.

The Polaroid Book dives into these archives, paying tribute to a medium that continues to defy the digital age. Like an oversized Polaroid film pack, this collection curates works by luminaries and unknowns alike, celebrating the boundless possibilities that develop inside the white borders of the original instant photograph.

Features: more than 250 works from the Polaroid Collections an essay by Polaroid’s Barbara Hitchcock on the beginnings of instant photography and the collection’s history a chapter featuring the various types of Polaroid cameras