Bøger udgivet af Reel Art Press

Featuring over a century of striking images, this beautiful volume celebrates the men and women behind the lens. It showcases known, unknown, and celebrity photographers with their cameras: at work, in candid snaps, and posed self- portraits.

In January of 1974, David Godlis, then a 22-year-old photo student, took a ten-day trip to Miami Beach, Florida. Excited to visit an area he had frequented a decade earlier as a kid, GODLIS set his sights on an area of slightly outdated efficiency art deco hotels that was then a busy Jewish retiree enclave on the expansive beaches facing the Atlantic Ocean. These retirees, all dressed up in their best beach outfits, would spend their days on lounges and lawn chairs, playing cards amidst the sunshine and palm trees. GODLIS walked his way through this somewhat surrealistic scene, shooting what he now considers his first good photographs. In so doing he discovered his own Street Photography style - an eclectic mix of influences, from Robert Frank to Diane Arbus, from Garry Winogrand to Lee Friedlander.

A passion project from celebrated portrait photographer Perou with accompanying text from Karl Hyde of dance music duo Underworld, Tunnel Vision is a hypnotic portrait of England''s underpasses. Photographed at night, you can almost hear the ominous hum of the broken strip-lighting, the knot of fear in the gut, the prickling silence of these desolate, urban landscapes. These unloved spaces are notoriously menacing, graffiti-ridden, inconvenient and prone to flooding. Yet through Perou''s lens, the architecture is also elevated to something beyond itself, at times even ethereal.

An unmissable gift book, A Small Book of Jewish Comedians is a perfect (please God) post-pandemic pick-me-up. In 1978, Time magazine estimated that around 80 percent of professional American comics were Jewish, and Jewish humour remains a foundation stone of American popular culture and humour. This book is not intended as a definitive tome but is instead a joyful and irreverent celebration of great photography and of some of the greatest one-liners of the twentieth century, ripe in satire, anecdote, self-deprecation and irony.

With its singular focus on the very best portrait photography of the Film Noir era, every page of this coffee table volume is rich in brooding atmosphere. The portraits were taken by premiere studio photographers like Robert Coburn, Ernest Bachrach and A.L. Whitey. Their remarkable ability to exaggerate the play of shadow and light to dramatic effect is the reason that their work still has the same ability to arrest the viewer as it did in the 1940s. The photographs remain some of the most innovative and striking portraits in the history of cinema.

Originally published: New York: Grossman Publishers, 1969. [Colophon incorrectly states 1968.]

One of the foremost documentary photographers working today, Hunter Barnes has an extraordinary ability to document aspects of culture and communities ignored by the mainstream and often misrepresented in the modern American narrative. This new, limited cloth-bound edition is dedicated to his photographs of the ancient Nez Perce tribe. Hunter lived with the Nimiipuu people for four years, forming deep bonds of friendship and respect before he began taking photographs. Shot in black and white, the photographs are beautiful and stark, his subjects unflinching in their gaze

By the start of 1966, The Rolling Stones position as rock gods was established. They were making serious money and splashing out on new homes and cars. Their official photographer was invited to shoot an ''At Home'' session with each of the band. This is the first time his ''At Home'' sessions have been collated and published. The photographs are relaxed, the band''s ease with Mankowitz evident. There are moments of contemplation, intimacy and wit, and Mankowitz manages to capture something of an amused innocence to the whole concept, as if the five of them can''t quite believe how far they have come.

The definitive collection of Leonard Freed's acclaimed photographs of the New York police department during the turbulent 1970sMagnum photographer Leonard Freed worked alongside the New York police for several years, documenting the gritty reality of life on the beat at a notorious time of soaring crime and great social unrest, with the city near bankruptcy. Of his near-decade with the police department, Freed observed that "What I saw were average people doing a sometimes boring, sometimes corrupting, sometimes dangerous and ugly and unhealthy job." His nuanced essay has a poignancy and grace, capturing the camaraderie of officers alongside the people they are hired to protect. Freed accompanied the NYPD on murder investigations, drug raids, public demonstrations and community outreach initiatives, as well as documenting the ordinary daily grind of the job. This reedited and redesigned take on Freed's original 1980 book features several unseen photographs from the archive. It is a celebration of this complex and compassionate body of work, which has a social resonance and relevance in today's climate. Born in Brooklyn, New York, photojournalist Leonard Freed (1929-2006) rose to prominence for his portrayal of societal and racial injustices, particularly in relation to the black community during the American civil rights movement in the 1960s. He is also renowned for his numerous insightful photo essays on the Jewish community in Amsterdam and Germany, the Yom Kippur War, Asian immigration in England, North Sea oil development, Spain after Franco and his essays on the New York police department in the 1970s, among others.

An exhilarating photographic essay on racing culture and an intimate, insider view of NASCARPhotographer Hunter Barnes (born 1977) is one of the foremost documentary photographers working in America today. For this book, Barnes was given extraordinary access to document NASCAR (National Association for Stock Car Auto Racing) culture. In order to capture the true essence of NASCAR, Barnes went on the road with the Ganassi team, spending timein the parking lot with fans for a week before the race to really get a sense of the spirit of the culture andhow it originally started--in the South, with the moonshiners building cars to outrun the revenuers. Spirit of the Southern Speedways presents an exhilarating photographic essay of racing culture and gives an intimate and insider look at NASCAR, capturing some of the most recognizable figures in racing, including Richard "The King" Petty, the legend Junior Johnson who has won 50 races as a driver and 139 as an owner, Jack Roush, the owner of Roush Fenway Racing team and famed race car driver Dale Earnhardt, Jr. The book also reflects on the intimate relationship between the fans and the drivers. Barnes is known for documenting American communities that have been ignored or misrepresented by the mainstream media, including the dying communities of the Old West, and inmates in the California State Prison.

Der Fotograf Hunter Barnes verfügt über die außergewöhnliche Fähigkeit, kulturelle Aspekte und Gemeinschaften zu dokumentieren, die vom Mainstream ignoriert und im Narrativ des modernen Amerika oft fehlinterpretiert werden. In seiner neuesten Arbeit erforscht er das Las Vegas von einst. "In dieser goldenen Ära, in der alle mit allen befreundet waren, war es üblich, sich ganz groß in Schale zu werfen." Diese Fotos zelebrieren das alte Vegas. Sie zeigen die Menschen, die die Stadt in ihrer Blütezeit geprägt haben. Viel ist davon leider nicht mehr übrig, doch hier sind die Menschen und Wahrzeichen, die das Leben "Off The Strip" repräsentieren, noch einmal alle versammelt.Hunters beeindruckende Porträts erinnern an Persönlichkeiten aus der "großartigsten Stadt, in der man einst leben konnte, und in der der Geist des alten Las Vegas bis heute nachwirkt." Schon mit Anfang 20 veröffentlichte Hunter Barnes, Jahrgang 1977, sein erstes Buch Redneck Roundup, in dem er den Bevölkerungsschwund im Alten Westen dokumentierte. Weitere Projekte folgten: Vier Jahre verbrachte er mit dem Stamm der Nez Percé Indianer. Einige Monate bei einer Pfingstgemeinde in den Appalachen, die lebende Schlangen in ihre Gottesdienste einbauten. Er fotografierte Motorradgangs, Autotuner, Straßenbanden und auch die Insassen des California State Prison. So entstanden intensive und authentische Porträts der Subkulturen Amerikas.Hunter fotografiert ausschließlich mit analogem Filmmaterial - diese Art der Entschleunigung entspricht ganz seinem Ansatz. Die drei wichtigsten Säulen seiner Arbeit sind: die Reise, die Menschen und der Ort. Diese hält er dann auf seinen Fotografien fest, bevor sie sich massiv verändern oder gar für immer verschwinden.

A warm and intimate portrait of London's most legendary jazz venueRonnie Scott's in London is one of the world's most celebrated jazz clubs. Freddy Warren began photographing Ronnie Scott's when it was still a construction site, and went on to photograph every major happening at the club for more than ten years. Warren's appreciation and love of jazz and its characters suffused his photos, as he sought to capture "the atmosphere--the 'aurora' as I call it--the movement ... the fantastic communication between the players, that makes jazz what it is." Ronnie Scott's 1959-69, published to celebrate the club's 60th anniversary, is the first time Warren's vast archive of jazz photos has been accessed; nearly all the images included in this publication are completely unseen. In this volume you will find photographs of Ronnie warming his hands around a fire on the construction site and inspecting the walls as they went up, followed by performance shots of the greats of jazz including Miles Davis, Art Blakey, Stan Getz, Zoot Sims, Duke Ellington, Nina Simone and many more. Powerful on-stage portraits are accompanied by relaxed off-stage moments, such as Yusef Lateef holding an impromptu meeting around soup pots in the kitchen. Ronnie Scott's 1959-69 is a warm and intimate portrait of a legendary jazz venue.

Eine außergewöhnliche Zusammenstellung bisher unveröffentlichter Fotografien der Beat GenerationDieses großartige Buch mit Aufnahmen des renommierten Magnum-Fotografen Burt Glinn enthält eine bemerkenswerte Zusammenstellung von weitgehend unveröffentlichten Fotografien der Beat Generation. Dieser Schatz von Bildern wurde entdeckt, als R|A|P mit Burt Glinns Witwe, Elena, an einer größeren Retrospektive seines Werkes arbeitete. Neben zahlreichen Schwarz-Weiß-Aufnahmen enthält das Buch auch über 70 farbige Bilder. Diesen gelingt es, die rohe Energie der Beat-Generation auf eine Art und Weise zu zeigen, wie sie nie zuvor in Buchform erhältlich war. Die Fotografien entstanden zwischen 1957 und 1960 in New York und San Francisco und sie zeigen fast alle Mitglieder der Szene, darunter Allen Ginsberg und Jack Kerouac, Dichter wie Gregory Corso, William Morris und viele andere. Glinn wurde für sein außergewöhnliches Talent als sozialdokumentarischer Fotograf gefeiert. Während seiner Zeit bei den Beatniks erfasste seine Kamera den Spirit der Counterculture - zu sehen sind Schriftsteller, Musiker und Künstler, die sich in Cafés, Bars und auf Partys trafen. Seine Kamera hielt eine Art zu leben fest, die vom gesellschaftlichen Mainstream nie akzeptiert wurde. Im Archiv fand sich auch ein Essay von Jack Kerouac, der hier mit veröffentlicht wird.

A collection of photographer Michael Zagaris' work capturing rock musicians and rock groups on film, both on stage and off during the late 20th century, accompanied by Zagaris' own perspective and recollections of the photo shoots and their contexts.

This book will trace the journey of Shelley''s Frankenstein from limited edition literature to the bloodstream of contemporary culture. It includes new research on the novel''s origins, with a reprint of the earliest-known version of the creation scene; visual material on adaptations for the stage, in magazines, on playbills, in prints and in book publications of the nineteenth century; series of visual essays on many of the film versions and their inspirations in the history of art; and Frankenstein in popular culture on posters, advertisements, packaging, in comics and graphic novels.

From Thelonius Monk to John Coltrane, Miles Davis to Nina Simone, Jim Marshall's defining photographs of the 1960s jazz sceneJim Marshall is known as the defining father of music photography and his intimate photographs of the greats of rock & roll, country, folk, blues and jazz are legendary. Renowned for his extraordinary access and ability to capture the perfect moment, his influence is second to none. In 2014, Marshall became the only photographer ever to be honored by the Grammys with a Trustees Award for his life's work.Published here for the first time ever are Marshall's jazz festival photographs from the 1960s, which capture the crowd, the performances and unguarded moments with jazz icons such as Thelonious Monk, John Coltrane, Miles Davis, Nina Simone, Ray Charles and many more.Over 95% of the material in this breathtaking volume has never been seen before. Marshall's remarkable photographs of the festivals at Newport and Monterey immortalize the unique energy and soul of these celebrations of jazz. Complete access to Marshall's vast archive has been granted for this book. It includes a foreword by President Bill Clinton and an introduction by renowned jazz writer Nat Hentoff, and is designed by art director Graham Marsh (The Cover Art of Blue Note Records, Hollywood and the Ivy Look). This is the first in a series of books to be published by Reel Art Press in collaboration with the Jim Marshall Archive.Jim Marshall (1936-2010) was born in Chicago. While still in high school, he purchased his first camera and began documenting musicians and artists in San Francisco. Over a 50-year career he created hundreds of legendary images that came into public consciousness through magazine features, more than 500 album covers and six books: Monterey Pop, Not Fade Away, Proof, Jazz, Trust and Pocket Cash.

To mark the fiftieth anniversary of the recording of their classic Odessey and Oracle album, The Zombies have assembled an eclectic collection of rare and unseen photos, original artwork, and personal memories that offer readers an intimate snapshot of one of the more influential bands to emerge from the UK music scene of the 1960s. The lavishly illustrated book includes handwritten lyrics for 22 songs. Contributions from Paul Weller, Brian Wilson and Carlos Santana, among many others.

"Barbara Pyle's intimate behind the scenes photographs from 1975 and the recording, rehearsing, and touring of Born To Run have been ... awaited for forty years and are finally being published for the first time"--Dust jacket flap.

Brigid Berlin (born 1939) was one of the most prominent and colorful members of Andy Warhol's Factory in the 1960s and 1970s. Her legendary personal collection of Polaroids is collected here for the first time and constitutes an intimate, beautiful, artistic, outrageous insight into this iconic period. This wild photographic odyssey featured a foreword by cult filmmaker John Waters, who 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." Berlin 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, who notes: "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."

Back by popular demand, this stunning new Evergreen Edition of the worldwide bestseller delivers a pictorial celebration of the look and attitude of "Ivy." In the decade between 1955 and 1965 a coterie of discerning Hollywood hipsters appropriated the incomparable Ivy League clothing of America's East Coast elite. These West Coast actors elevated The Ivy Look to the height of cool and defined a quintessentially American male dress code for a new generation of movie audiences. From the button-down hip of Steve McQueen, Paul Newman and Anthony Perkins to the preppy sensibilities of Woody Allen and Dustin Hoffman; the understated but carefully selected components of The Ivy Look didn't shout "look at me!" but instead gave off an image of approachable correctness and laid back confidence. Exhaustively compiled, this coffee table volume to take an in-depth look at how "Ivy" established itself as the epitome of Hollywood style, gained a new democratic global following and a place in history as the look of modern America.

A bold visionary, Art Kane (1925-1995) explored a number of genres--fashion, editorial, celebrity portraiture, travel and nudes--with an unrelenting and innovative eye. Like his contemporaries Guy Bourdin and Helmut Newton, Kane developed a style that didn't shy from strong color, eroticism and surreal humor. In 1958 Kane assembled the greatest legends in jazz and shot what became his most famous image, "Harlem 1958." In the 1960s and 1970s, Kane photographed, among others, the Rolling Stones, The Who, Cream, Janis Joplin, The Doors and Bob Dylan. While the battle for civil rights in America and the Vietnam War raged, Kane was refining a conscientious response to the period with editorial work that was powerfully accessible and populist in its desire to communicate to a large audience. This is the first time Kane's work has been collected into one volume. Beautifully curated, it is a fitting tribute to one of photography's most original and creative forces.