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Rating: 
Summary: The Look
Review: Bailey birthed the look and this book is chock a block full of it. It's a visual feast with very littly written clutter. A pity that there just wasn't a bit more...
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Summary: One of my favorite books documenting the sixties!!!
Review: David Bailey was the hippest photographer during the sixties!! He took pictures of sooo many great icons. Anywhere from Models(Jean Shrimpton, Twiggy, Penelope Tree), Movie Stars(Peter Sellers, Catherine Deneuve, Micheal Caine, Terrence Stamp, Julie Christie), Bands(The Beatles, The Rolling Stones, The Who), Designers and Artists...Mary Quant...Andy Warhol...even notorious gangsters..The Kray Twins!!!! Great Book!!! One of the coolest I own!!! Buy it!! If you're not sixties obsessed, you will be after flipping through this book!!! I'm not kidding.....
Rating: 
Summary: Worth the money - an impressive big book
Review: How great -- all the best, classic David Bailey photographs. I just bought the book and haven't had time to read it yet, but looking at all the pictures alone justifies the purchase. It's a big big book, but it seems like we've finally gotten the definitive Bailey book covering "the BLOW UP era."
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Summary: Fab! Smashing! Snap Happy!
Review: I haven't bought it yet but I did drool over it in a store.Page after page of pant-worthy pics of the doe-eyed deity amongdolly-birds, Jean Shrimpton, plus a plethora of portraits of dozens of Swinging London notables. Amazing shots from the wedding of Reg Kray! It's pricey, but I'm definitely saving up. No sixties enthusiast should be without it.
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Summary: Trip Back in Time
Review: If your'e looking for a book to take a trip back to the late 50's through the 60's this is a good way to get there. The fashion and ad shots of Jean Shrimpton and other models of that era are a kick. Anyone into nostalgia of those times will find this book interesting, David Bailey seemed to be ahead of his time in his style and his photos are thought provoking as well as great pieces of art. He had some great friends (male and female) that became his subjects. I wish there was a book #2 to follow--this book made me want to see more of his work!
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Summary: Goodbye Baby, and Amen
Review: In this collection of greatest hits by Swinging London plankholder David Bailey, we get:Celebrities of the time, including pop artists, pop intellectuals, TV presenters, English film stars, and the emerging British rock glitterati. Of these last Mick Jagger appears the most frequently, evolving from A Portrait Of A Famous Person Taken By David Bailey to the most notorious man in show business by the end of the decade. A close second is fading golden boy Brian Jones. Among the more conventional celebs are Terence Stamp, Michael Caine, and Peter Sellers. Stamp is so young and unformed here that it is hard to recognize him at first; Caine is reduced to a pipe & black frame glasses Everyman; and Sellers' portrait looks like a Roman bust. Documentary pictures of potato-nosed East Enders, including plenty of studio portraits of crime bosses the Kray brothers. Bailey won their respect for having come from the East End himself and achieving success. But, one photo shows the Kray twins with Bailey sitting in between, visibly hoping not to get bumped off. Lots of images of the original super-model, Jean Shrimpton, mostly from Vogue layouts but also plenty from other photo dates as well. There is also a generous helping of photographs of model Penelope Tree, whose face Bailey aptly described as "an Egyptian Jiminy Cricket." We also see lots of other perfectly turned out Vogue models. There are some exotic shots of Nepal and some snaps from his military service in Singapore, but the focus is in the main on early Sixties London. Though the book is not arranged chronologically, one can see his technical development, as he incorporates other photographers' ideas like askew framing, daylight flash, and tent lighting. There is a color section, but gorgeously inky b/w is the star here. Many of the subjects have been shorn of the celebrity that no doubt added to their portraits' impact, but that's no barrier to enjoying this big collection.
Rating:
Summary: Worth the money - an impressive big book
Review: This book is a must for anyone who remembers the fashions of the 60's or wants to learn what was in "Vogue" during this decade. The quality and the composition of the photographs are unrivaled. The very large book will be a wonderful addition to a collection, particularly fans of photography, professional or novice.
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Summary: A beautiful collector's item for photo buffs.
Review: This book is a must for anyone who remembers the fashions of the 60's or wants to learn what was in "Vogue" during this decade. The quality and the composition of the photographs are unrivaled. The very large book will be a wonderful addition to a collection, particularly fans of photography, professional or novice.
Rating:
Summary: The Look
Review: This exciting book combines portraits and fashion photography to show the revolution of casual coolness that David Bailey brought to both fields. Filled with classic poses of Jean Shrimpton, Penelope Tree, Catherine Deneuve, the Beatles, and the Rolling Stones that you will remember, the book is strengthened by many images you have never seen before. Breaking the previous rules for portraits and fashion, Bailey takes us into a hip, exciting world that offers unlimited promise through "spontaneity of gesture." David Bailey was the classic outsider, looking in. Born to a working class family in London's East End, no career could have been more unlikely. Being a rock musician was the most that young East Enders of that period could hope for. However, his background gave him a fresh perspective that brought originality and life to his work that we all enjoy. His career rose rapidly, being sought after by Vogue within a year of becoming a professional photographer. In fact, he was on contract to Vogue before meeting Jean Shrimpton, with whom he became so closely identified (both for their personal relationship and their work together). Some of these innovations work better than others. For example, he loved to pose a group with each person tilting in a different plane and then to put the image on the diagonal. Those tend to work quite well. On the other hand, he also liked to cut off the tops of heads (like Alex Katz paintings), and those often make the portraits much less interesting than if you got the whole head. He loved grainy, black-and-white images. These can be a bit too grainy. The essay by Martin Harrison is a helpful introduction to Bailey's work, and adds considerable value. I encourage you to read and study it in connection with the photographs. The book contains scenes that Bailey shot of the East End, that heighten the contrast between his former life and his new one. You will also see his first professional work (a wedding) and his first published work (a Sunday Pictorial in 1960). Bailey rose to prominence very quickly, based both on his talent and his eye for the potential of then-unknown, 18-year-old model Jean Shrimpton, who was to become a fashion icon of the period. Here are some of my favorite photographs in the book: Jean Shrimpton (Town - 1963; Sunday Mirror - 1964; Queen - January 1964; Queen - February 12, 1964; Vogue - June 1965) Catherine Deneuve (his later wife) (Brittany - 1966, Vogue - April 1, 1967) Joy Weston (Sunday Pictorial - 1960) Franco Zeffirelli (Vogue - 1961) Scouts (London, 1960) Sarah Miles (American Vogue - August 1, 1964) Robert Shaw (Vogue - September 15, 1963) Marianne Faithfull (September 1964) Peter Ustinov (Vogue - December 1965) Shirley MacLaine (Vogue - December 1965) The Rolling Stones (September 1964) Mick Jagger (Contact Sheet -- April 1968) Sue Murray (Vogue - March 15, 1967 and September 1, 1967) Raquel Welch (Goodbye Baby & Amen, June 1968) Afer you have finished enjoying this exciting collection and insightful essay, I suggest that you ask yourself where unnecessary formalism is restraining progress in something you do. For example, some churchs still have such formal services that while many are reassured by the familiarity this provides, their hearts are not still touched by it. Having identified this stall, how can you break through to open the doors to informality that will be constructive? Asking people what they are missing from their experiences is a good place to start. Going back to my example of worship, perhaps worship is too much unlike daily life. How can we integrate the two so that we worship as we live? Be cool!
Rating:
Summary: Classic Mod Iconography from the Swinging Sixties
Review: This exciting book combines portraits and fashion photography to show the revolution of casual coolness that David Bailey brought to both fields. Filled with classic poses of Jean Shrimpton, Penelope Tree, Catherine Deneuve, the Beatles, and the Rolling Stones that you will remember, the book is strengthened by many images you have never seen before. Breaking the previous rules for portraits and fashion, Bailey takes us into a hip, exciting world that offers unlimited promise through "spontaneity of gesture." David Bailey was the classic outsider, looking in. Born to a working class family in London's East End, no career could have been more unlikely. Being a rock musician was the most that young East Enders of that period could hope for. However, his background gave him a fresh perspective that brought originality and life to his work that we all enjoy. His career rose rapidly, being sought after by Vogue within a year of becoming a professional photographer. In fact, he was on contract to Vogue before meeting Jean Shrimpton, with whom he became so closely identified (both for their personal relationship and their work together). Some of these innovations work better than others. For example, he loved to pose a group with each person tilting in a different plane and then to put the image on the diagonal. Those tend to work quite well. On the other hand, he also liked to cut off the tops of heads (like Alex Katz paintings), and those often make the portraits much less interesting than if you got the whole head. He loved grainy, black-and-white images. These can be a bit too grainy. The essay by Martin Harrison is a helpful introduction to Bailey's work, and adds considerable value. I encourage you to read and study it in connection with the photographs. The book contains scenes that Bailey shot of the East End, that heighten the contrast between his former life and his new one. You will also see his first professional work (a wedding) and his first published work (a Sunday Pictorial in 1960). Bailey rose to prominence very quickly, based both on his talent and his eye for the potential of then-unknown, 18-year-old model Jean Shrimpton, who was to become a fashion icon of the period. Here are some of my favorite photographs in the book: Jean Shrimpton (Town - 1963; Sunday Mirror - 1964; Queen - January 1964; Queen - February 12, 1964; Vogue - June 1965) Catherine Deneuve (his later wife) (Brittany - 1966, Vogue - April 1, 1967) Joy Weston (Sunday Pictorial - 1960) Franco Zeffirelli (Vogue - 1961) Scouts (London, 1960) Sarah Miles (American Vogue - August 1, 1964) Robert Shaw (Vogue - September 15, 1963) Marianne Faithfull (September 1964) Peter Ustinov (Vogue - December 1965) Shirley MacLaine (Vogue - December 1965) The Rolling Stones (September 1964) Mick Jagger (Contact Sheet -- April 1968) Sue Murray (Vogue - March 15, 1967 and September 1, 1967) Raquel Welch (Goodbye Baby & Amen, June 1968) Afer you have finished enjoying this exciting collection and insightful essay, I suggest that you ask yourself where unnecessary formalism is restraining progress in something you do. For example, some churchs still have such formal services that while many are reassured by the familiarity this provides, their hearts are not still touched by it. Having identified this stall, how can you break through to open the doors to informality that will be constructive? Asking people what they are missing from their experiences is a good place to start. Going back to my example of worship, perhaps worship is too much unlike daily life. How can we integrate the two so that we worship as we live? Be cool!
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