“If any man could claim to have imagined the future it would probably be Harry Lange.” BBC ARTS
The Holy Grail
Harry Lange’s Complete Unseen Archive
This stunning tome is a previously unseen look behind-the-scenes at the making of this most legendary of science fiction classics. It is an in-depth examination of the complete, largely unpublished archive of art director Harry Lange’s designs, concepts, roughs and photographs.
Lange’s strikingly realistic designs created an extraordinary vision of the future. By releasing this unpublished archive and explaining its significance, the book takes the reader/viewer on a journey deep into the visual thinking behind 2001, for the first time ever – visual thought that might actually work.
The book is about the process, as well as the finished product. It examines how Harry Lange’s experience with NASA fed into the innovations of the film. It includes rejected designs, concepts and roughs, as well as the finished works. It reveals how the design team was obsessed with things that actually might work. The book illustrates several innovations that were science fiction in the 1960s but have since become science fact, including a ‘newspad’ designed by IBM, which bears an uncanny resemblance to today’s iPad. The remarkable designs for 2001 created a credible vision of the future.
ISBN: 978-0-9572610-2-0
336pp; Hardback; 600+ illustrations
290 x 245mm / 11.4 x 10 in.
“Hunter Barnes has spent a decade photographing groups that determinedly reject mainstream life” The Guardian
Roadbook is a magnificent work by one of the most important emerging documentary photographers in America. Hunter’s beautiful and sensitive photographs document aspects of American culture and communities ignored by the mainstream and his artistic gaze focuses on the faces of proud groups of people who are consistently misrepresented in the modern American narrative. “For years I’ve traveled with my cameras capturing moments of time with the people the road has led to me.”
Hunter’s photographs flash us into moments and scenes most people will never get to experience first-hand during their lifetime. Hunter cherishes the friendships he builds with people who recognize his sincerity and allow him access to their private worlds. After establishing their trust over meaningful dialogue and shared experiences, he frames his subjects as they are and where they dwell. As Nathaniel Kilcer writes in his foreword, “Great photographs might be the hope, but Hunter leads with modest curiosity, expectation suspended, the journey his calling. He seeks out forgotten quarters and the stories concealed there.” Hunter also shoots exclusively in black and white film, “In the end, film provides a fitting metaphor for Hunter’s entire process: it takes a long time to earn the trust of these people, and it takes time to commit them to paper.”
ISBN: 978-1-909526-27-3;
£29.95 / $49.95 192pp; Hardback; 160 b/w photographs
290 x 245 mm / 11.4 x 10 in.
Stunning photography by Bill Bernstein. Containing many previously unpublished photographs, Disco takes the viewer on an access-all-areas tour of late-70s New York nightlife.
“Who were these people of the night… ? It was the Posers. The Watchers. The Posers watching other Posers watching the Watchers, watching the Dancers, watching themselves.” Bernstein’s eye was drawn to the characters that lived for the night, rather than the celebrities, the unknown men and women who were transformed by the nightclub haze, and this is one reason his photographs from this time feel so authentic and immersive.
As James Hillard writes in his foreword, “These shots capture the very essence of what going out was, is, and should be, all about. They showed the true democracy of the dance floor where anyone could be a star, as long as they had the right attitude and flair … The pictures in this book are a document of an incredibly exciting and creative time, not only in music, but also in social, political and fashion history too.”
All the photographs featured were shot by Bernstein from 1978-80. Manhattan was the epicentre of the movement. And Bill Bernstein captured it all.
ISBN: 978-1-909526-22-8
176pp; Hardback; 150 b/w photographs
304 x 245 mm / 12 x 10 in.
“Conveys the revolutionary idealism, mayhem and excitement of that moment in history.” L’Oeil de la Photographie
Incredible photographs of the Cuban Revolution as it unfolded.
Includes iconic and unseen images.
New Year’s Eve, 1958, 10pm: Magnum photographer Burt Glinn is at a black tie party in New York when he hears news that dictator Fulgencio Batista has fled Cuba. By 7am the next morning, he is in Havana in a cab, saying, “Take me to the revolution”.
Such photojournalistic fervour allowed Glinn to be in the middle of the action to capture the Cuban Revolution as it unfolded on the ground. As Glinn said, “I could get up as close as I wanted.” His magnificent photographs convey the revolutionary idealism, mayhem and excitement of that moment in history. This tome includes some of Glinn’s most iconic Cuban photographs, as well as unseen shots, in both black and white and colour. From gunshots being fired, confusion on the streets, the rounding up of the Batista Secret Police, spontaneous gatherings, embracing revolutionaries returning home to mothers, and, of course, Fidel Castro’s triumphant entrance into Havana.
Glinn is famously quoted as saying, “I think that what you’ve got to do is discover the essential truth of the situation, and have a point of view about it.” This tome celebrates his ability to do just that.
ISBN: 978-1-909526-31-0; £40 / $60
176pp; Hardback; 150+ colour & b/w photographs 304 x 245 mm / 12 x 10 in.
November 2015
“A wealth of super-rare photos from the pivotal year” Rolling Stone
Legendary unseen photographs.
“I knew I was witnessing history in the making.”
Barbara Pyle’s intimate behind-the-scenes photographs from 1975 during the recording, rehearsing and touring of Born to Run have been eagerly awaited for forty years and are finally being published for the first time.
Barbara captured Springsteen and the Band as they were catapulted to stardom. She is also one of the only photographers who has ever been given access inside the recording studio while Springsteen is working.
“I first saw Bruce and the E Street Band by accident … I was blown away by their music. For the next year, I drove to as many of their gigs as I could reach. They jokingly started calling me their ‘official unofficial photographer.’ I was just expected to be there, and I almost always was – on my self-imposed mission to document this little known New Jersey band. … I had the remarkable good fortune to spend most of the last Born to Run months in the studio with Bruce and the band. I became sort of a living ‘good luck’ charm and was asked to be there many nights. I knew I was witnessing history in the making.”
This stunning and intimate tome also marks the fortieth anniversary of Born to Run.
ISBN: 978-1-909526-34-1;
228pp; Hardback; 150+ colour & b/w photographs
304 x 245 mm / 12 x 10 in.
“A veritable treasure trove of intimate snapshots from her time with the titans of the 1960s New York art scene.” British Journal of Photography
The ultimate insider’s portrait of Andy Warhol’s Factory and New York’s art and underground scene.
Brigid Berlin was Andy Warhol’s best friend and one of the most prominent and colourful members of his Factory in the 1960s and 1970s. Her legendary personal collection of Polaroids are collected here for the first time and are an intimate, beautiful, artistic, outrageous insight into this iconic period.
This wild photographic odyssey features a foreword by cult filmmaker John Waters. He writes, “Brigid was always my favorite underground movie star; big, often naked, and ornery as hell. … The Polaroids here show just how wide Brigid’s world was; her access was amazing. She was never a groupie, always an insider.” Brigid knew everyone and her lens captured them all: celebrities, Superstars, artists, herself, and, of course, Warhol. As Waters observes, through her snaps, “Andy was uncovered and revealed like never before.”
The book also features an introduction by Bob Colacello, editor of Warhol’s Interview magazine, and features writer for Vanity Fair: “In recording life, she captured our times. By myopically depicting her own transgressions and self- indulgences, she has prophetically reflected the narcissism and exhibitionism, the craving for fame and confusing of fame and infamy that have become the staples of American popular culture.” In discussing her style, he reflects, “This is the opposite of fashion photography or studio portraiture. Brigid was a realist. What she saw is what you got.”
ISBN: 978-1-909526-24-2;
208pp; Hardback; 250 colour photographs
280 x 235 mm / 11 x 9 in.
“We come across the work of someone like David Hurn and realize how much about the 1960s we still have to discover.” New York Times
Iconic 1960s photographs from one of Magnum’s finest photographers.
A magnificent volume curated with insight and appreciation for a true master of his art. Magnum photographer David Hurn’s rendering of the 1960s encompasses both Hollywood screen idols and East End sun-seekers; headline news, alongside rituals unchanged for centuries. Photoessays from the streets of New York, anti-Vietnam protests, the London Soho scene, the French Riviera, Queen Charlotte’s Ball and the Isle of Wight Festival in 1969; portraits of Michael Caine, Quentin Crisp, Julie Christie, amongst many more; and Hurn’s work within the film industry, capturing The Beatles during filming of A Hard Day’s Night, Sean Connery in From Russia With Love and Jane Fonda in Barbarella. An incredibly well-rounded vision of the 1960s that is not to be missed.
“Life as it unfolds in front of the camera is full of so much complexity, wonder and surprise that I find it unnecessary to create new realities. There is more pleasure, for me, in things as they are.” – David Hurn
ISBN: 978-1-909526-13-6
228pp; Hardback; 240 colour and b/w photographs
290 x 245 mm / 11.4 x 10 in.
Released: October 2015
“The more intensely you look at them, the more each picture will tell you.”
Neal Preston’s legendary music images include some of the most memorable ever made of rock’s most iconic stars. If this era could be described as a hurricane, Neal captured this from his unique position in the eye of the Rock‘n’Roll hurricane.
“In a room with five people or 50,000, Neal always seems to find a place of his own, to capture a moment not noticed or looked for by anyone else. His live photography perfectly relays the feeling of having been at that concert, to feel the excitement and energy and to visualise the music and identity of the subject.”
Neal has toured with Led Zeppelin, The Who, Queen, Fleetwood Mac, Bruce Springsteen, and countless others. This special, limited edition book has been produced in collaboration with The Lightpower Collection and features some of the greatest highlights from Neal’s 40-year career, carefully selected to represent the finest work from his extensive catalogue.
Produced to coincide with an exhibition at the Frankfurt Musikmesse in April 2015, this book has accompanying text in English and German.
ISBN: 978-1-909526-35-8;
112pp; Hardback; 65+ colour & b/w photographs
290 x 245 mm / 11.4 x 10 in.
Exquisite nude photography.
First volume dedicated to Kelley’s visionary colour nude photography of 1940s-1970s.
Features outtakes and unseen images from Marilyn Monroe’s iconic 1948 nude shoot.
Over 95% of images never-before-seen.
Complete access to Kelley’s archive granted for first time.
Edited by Kelley’s son, Tom Kelley Jr.
In 1948, celebrity photographer Tom Kelley took a photograph of an out-of-work actress; a nude posed with arm outstretched against a scarlet background. That actress was Marilyn Monroe. In 1953, this photo became Playboy’s first ever centrefold in its inaugural issue. Kelley’s photograph has become one of the most viewed nudes in history and, as Norman Mailer wrote, is ‘breathtakingly beautiful’. This is but one image from a vast, previously unseen archive of Kelley’s visionary nude photography from the 1940s to 1970s, published for the first time by R|A|P.
This exquisite volume is accompanied by text from Peter Doggett. Describing the evolution of Kelley’s style, he writes: ‘The 1940s portraits have an air of classicism … Next comes the era of the exotic: of leopard skins and fur, French lingerie and exquisite furniture … And then, in the late 1960s and into the 1970s, the mood is one of freedom … in keeping with the spirit of the age … And then there are the photographs that transcend the genre for which they were intended, and veer towards experimental art – the almost eerie “doll” portraits, for example, that seem to prefigure the later work of Cindy Sherman.’
ISBN: 978-1-909526-03-7
288pp; Hardback; 250 colour photographs
290 x 245mm / 11.4 x 10 in.
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