Just months before her death, Marilyn Monroe gave a young photographer his big break, and this is his story "You're already famous, now you're going to make me famous," photographer Lawrence Schiller said to Marilyn Monroe as they discussed the photos he was about to shoot of her. "Don't be so cocky," Marilyn replied, "photographers can be easily replaced." The year was 1962, and Schiller, 25, was on assignment for Paris Match magazine. He already knew Marilyn -- they had met on the set of Let's Make Love -- but nothing could have prepared him for the day she appeared nude during a swimming pool scene for the motion picture Something's Got to Give . Marilyn & Me is an intimate story of a legend before her fall and a young photographer on his way to the top. Schiller's original text and extraordinary photographs--over two thirds of which have never or rarely been published --take us back to that time, and to the surprising connection that allowed Marilyn to bond with a kid from Brooklyn, a kid with a lot of ambition but very little experience. Now, 50 years later, TASCHEN is publishing Lawrence Schiller's story as a signed, numbered monograph limited to 1,962 copies, for the year of Monroe's untimely death. Schiller's is a story that has never been told before, and he tells it with tact, humor, and compassion. The result is a real and unexpected portrait that captures the star in the midst of her final struggle. Collector's Edition of 1,712 numbered copies (books numbered No. 251-1,962) signed by the photographer. Also available in two Art Editions of 125 copies , each with an original photograph The book and clamshell box are covered in a custom woven duchesse silk from one of the world's most distinguished silk mills, Taroni , of Como, Italy Printed on archival paper Four foldouts, with one gatefold measuring a full 110 cm (44 in.) across Translation booklet of the text available in German, French and Spanish with purchase upon request

Since September 2009, the legendary fashion and portrait photographer Terry Richardson has been keeping an online photo diary, posting a new picture every day. These posts typically contain informal portraits of whomever Richardson is shooting, or whichever celebrity, artist or other public figure has dropped by the studio--either for an actual sitting or perhaps to discuss an upcoming project. Also posted to the site are examples of Richardson's street photography--snaps of street signs, buildings and sights around New York. As with Andy Warhol's Time Capsules , the accumulation of these candid, off-the-cuff photographs over the past three years has amounted to a social map of the most interesting people on the fashion, art, political and music scenes. Equal parts red carpet and intimate salon, the parade of people who enter Richardson's studio is boggling in its diversity. Amongst the thousands featured in Terry Richardson's Diary 2010 are Barack Obama, Lady Gaga, Rihanna, Angela Westberry, Frank Ocean, Richard Prince, Ryan McGinley, Donatella Versace and Kate Moss. This tantalizing array of images also provides a sense of how many of our media and pop culture images are shaped by the creative energies of one talented individual. The book is presented in a yearbook format to accentuate its origins as a daily practice. Known for his punk-rock sensibility and willingness to take a fresh, edgy approach to portrait, fashion and documentary photography, Terry Richardson (born 1965) boasts a list of fashion clients including Marc Jacobs, Tom Ford and Yves Saint Laurent. His editorial work has been featured in publications ranging from Rolling Stone to Vogue and Vice .

"When published, "Autobiography" was one of LeWitt's eighteen "artist books" and one of six photography books. ..These books are no less profound than "Autobiography", but "Autobiography" is a more complex, ambitious, and in some respects, intimate project...In "Autobiography" LeWitt presents more than a thousand black-and-white images in grids, generally nine to a page. The artist catalogues virtually every corner, crevice, and item in his loft. We see an aggregate of unposed images - the bare facts of his everyday existence. We investigate each image, but the significance of this autobiography derives from the connection between images on a page, on a spread, and from page to page, as much as from any individual picture... LeWitt's artist books situate themselves among dozens of the artist's structures, wall drawings, drawings, and prints. For LeWitt, none of these works or media occupies a privileged position. Each work is a part of a chain of artistic production. Every work is part of a nonhierarchical whole. Thus, contradictorily, LeWitt's "Autobiography" purports to be just another work, yet its special significance is undeniable. ..In "Autobiography", Lewitt presents the life of the artist as the life of a particular person, in a particular culture, at a particular time and place. Nevertheless, "Autobiography" is unique in his oeuvre. For LeWitt, whose drawings, wall drawings, and structures are seemingly so pure and pared down, "Autobiography is an unparalleled work. While it takes its place as one work among "equals," it is singular in its demonstration that LeWitts's abstract, geometric forms are inextricable from the experience of his life and culture."--from Adam Weinberg's "LeWitt's Autobiography: Inventory to the Present".