Jackie Higgins Books

An enthralling examination of some of the most remarkable creatures in the animal kingdom, and what they tell us about what it means to be human.

'The World Atlas of Street Photography' focuses on the abundance of photography that has been created on street corners around the globe; it includes classic documentary street photography, as well as images of urban landscapes, staged performances, and sculptures. In so doing, this compelling reference book locates the meeting point between street photography and atlas, between artists and their personal understanding of our environment, not via a cartographic birds-eye view but through a more intimate, human- centred perspective. From New York to New Delhi, Beijing to Brighton, Havana to Hamburg, and Sydney to Seoul, this book presents an international cast of more than 100 established and emerging contemporary photographers.

David Bailey was part of a new generation who revolutionized fashion photography in the 1960s and made stars of models such as Jean Shrimpton. He was also among the first photographers to become a celebrity in his own right, socializing with and photographing many of the cultural icons of the 1960s and 1970s, such as Catherine Deneuve, The Beatles, Rolling Stones, Michael Caine and Andy Warhol. He has held contracts with British, American and Italian Vogue and contributed to many other major magazines and newspapers over more than 40 years. His simple and direct style is accompanied by an intimacy that reveals the personality and sensuality of his subjects. Over the course of his successful career, Bailey has produced books, paintings, commercials, documentaries and feature films and remains a high profile figure in photography and filmmaking. This book delves into the photographer's archive and provides an engaging overview of his career, including early and previously unpublished work alongside his iconic portraits from London and New York in the 1960s.

Why take a self-portrait but obscure your face with a lightbulb (Lee Friedlander, Provincetown, Cape Cod, Massachusetts (1968)? Or deliberately underexpose an image (Vera Lutter, Battersea Power Station, XI: July 13, 2004)? And why photograph a ceiling (William Eggleston, Red Ceiling, 1973)? In Why It Does Not Have To Be In Focus, Jackie Higgins offers a lively, informed defence of modern photography. Choosing 100 key photographs with particular emphasis on the last twenty years she examines what inspired each photographer in the first place, and traces how the piece was executed. In doing so, she brings to light the layers of meaning and artifice behind these singular works, some of which were initially dismissed out of hand for being blurred, overexposed or badly composed.