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Mark Seliger's (b. 1959) photography has dominated magazine covers, feature articles, and media campaigns for decades. With signature compositions and painterly flair, he has built an incredible body of work, featuring unforgettable portraits of the world's leading personalities in music, fashion, politics, business, and entertainment. This book showcases Seliger's best-known portraiture, as well as select standouts from his landscape and creative work. His extraordinary portfolio is 30 years in the making and features some of the most famous and influential faces of our time, including Kurt Cobain, Nelson Mandela, Emma Watson, Barack Obama, Hillary Clinton, Susan Sarandon, Drew Barrymore, Bruce Springsteen, David Byrne, Matthew Barney, Jennifer Lawrence, Mick Jagger, Lenny Kravitz, Jerry Seinfeld, Kerry Washington, Misty Copeland, Amy Schumer, and Tony Bennett. This is his most diverse and comprehensive book since Physiognomy (1999).

Outkast: \"I just wanted this very dapper portrait. These guys are the classic Southern gentlemen.\" EMMYLOU HARRIS: \"I love to listen to her music. Her voice is so haunting. This was shot in an old house in Yonkers.\" BRUCE SPRINGSTEEN: \"This was shot for the record 'Magic.' Bruce is great, he just comes in without an entourage or any fuss. He's very real and warm. It's almost like he makes you more comfortable than you make him.\" Lenny Kravitz with daughter Zoe: \"I was in a car next to them and just shot this photo as we were driving around in Miami. We were all heading to get some tacos, and I was like, 'Do you mind if I take some photos on the way?' and Lenny was like, 'Okay.'\" Courtney Love: \"This was for Hole's first record. I just wanted a very simple representation of her. Ever since she came onto the scene, she was this iconic graphic character - like a vintage baby doll.\" GEORGE HARRISON: \"George was not happy about getting his photo taken for Rolling Stone here. He was still mad at the magazine for a 1974 review of \"Dark Horse.\" This was in 1992. But in the end he did it.\"

The set treads a lone highway through Americana, borrowing from folk, blues, country, rock and pop in much the same way [T Bone Burnett] has guided Robert Plant and Alison Krauss. [Lenny Kravitz] adds vocal texture to the Eagles-like Broken Promises, [Sheryl Crow] duets on guitar-drawl rocker Cold Ground, and Nelson's gravelly voice blends with [Mark Seliger]'s rich country in A Thousand Kisses.

Mark Seliger is responsible for a hefty proportion of the most iconic rock'n'roll images of the past two decades. The New York photographer was the chief snapper for Rolling Stone during the 1990s, shooting more than 100 covers. His latest exhibition drew its inspiration from a hidden brick stairwell uncovered when Seliger had to renovate his HQ. In My Stairwell, which opens on August 1, features the famous and not-so- famous, from David Bowie to multimedia artist Matthew Barney, partner to the equally avant garde Bjork.

Photographer Mark Seliger took the topless shots after photographing the then-20-year-old Myskina for the cover and interior of the 2002 Gentleman's Quarterly sports issue as part of a story about female tennis players. Myskina alleged Seliger promised the pictures wouldn't be published anywhere besides the GQ issue. She sued Cond Nast Publications, Gentleman's Quarterly and Seliger.

[Mark Seliger] & Keep A Child Alive: Shoot for the Most Important Cause of Our Time; Celebrities Join Fight Against AIDS in Africa wearing DRUG DEALER T-Shirts and being photographed for ad campaign. Join the likes of Alicia Keys, Lenny Kravitz, Naomi Campbell and Rosie Perez in an all day shoot committed to the cause. Famed photographer, Mark Seliger, will spend the day shooting celebrities to become part of KCA's 'BECOME A DRUG DEALER\" CAMPAIGN.

Tennis star's lawsuit calls a fault on GQ The photos were taken by GQ photographer Mark Seliger for an article in the October 2002 edition, and one approved photo of Myskina fully clothed was published. The lawsuit against Seliger, GQ and its corporate parent, Conde Nast, alleges that Seliger sold the photos to Medved magazine and that GQ failed to stop him.

One of the moodiest of the season's books is \"Edward Steichen: The Early Years.\" The cover photo alone, a top-hatted coachman approaching the Flatiron Building in a green dusk, is a more delicate version of the images conjured by Victorian gaslight melodrama. Not all the images here are in that mood. But many seem to be emerging out of some misty vortex, as if we were being allowed only a momentary glimpse before they recede. There's a stunning portrait of a leonine Rodin standing in front of one of his sculptures wrapped in a cloak that, as Steichen renders it, might well be marble itself. And there's a nude titled \"Figure With Iris\" that suggests what Klimt might have come up with had he been a photographer. There's an impressive variety of both influence and effect on display in \"Brandt: The Photography of Bill Brandt.\" The introductory essay by photography critic Bill Jay does a fine job of delineating those influences, and of making the case that Brandt's dabbling with surrealism was a continuation of the way his more photorealist work located drama and emotion in atmosphere. \"Assumption of the real is essential to surrealism,\" Jay writes. But there is more of a sense of the fantastic in Brandt's \"realistic\" than in the photos where he is consciously emulating the surrealists. The work done in the bars of Limehouse or Stepney during the '30s, and the shots taken during the blackout of the war years when, Brandt says, London \"looked more beautiful than before or since,\" does for that town what Brassai did for Paris. And though the nudes that play with the distortion of form are less satisfying than the ones that don't, the faces of Brandt's models - and it is the faces of people that most link them to the time in which they live - appear deceptively contemporary. \"Fifty Years of Portraits\" doesn't equal its impact because the bigness of the [Peter] Beard show is the point. Containing pages from the fat notebooks Beard has kept for years - a combination of scrapbooks, diary and collage - the show juxtaposes Beard's fashion photography and portraiture with the photos he's taken from his camp in Kenya. A picture of an unselfconsciously nude Eva Herzigova rifling through one of Beard's notebooks might be next to an image of a slaughtered elephant. Many of the photos have scribbled notes, designs, newspaper clippings, detritus crammed into the margins like a patchwork frame; many have a wash of spattered bovine blood. Portraits of Francis Bacon (who was Beard's friend) are given equal weight with the face of a baby gorilla taken in Rwanda one year before the genocide. Snaps of Beard's young daughter are included, as is an elephant fetus suspended in a jar. Far from being shallow, the mixture is the work of a man who doesn't compartmentalize, and who absolutely refuses to blunt his meanings. Beard insists there are both beauty and horror in these photos, just as the blood that spatters the prints is both lovely and repellent.