Deborah Lou Turbeville, American fashion photographer died last October, 2013. She is credited with adding a darker, almost Gothic more brooding element to fashion photography beginning in the early 1970s.

Fashion photography was notoriously done in well-lit spaces, Turbeville wanted to create images that were edgier that with a sensuality and strangeness, glamour and decay. She created her own worlds inhabited by pale, haunted eyed models many times photographed in derelict buildings. In 2009, Women's Wear Daily wrote that Tuberville transformed "fashion photography into avant-garde art, — a distinction all the more striking in that she was almost completely self-taught.

The worlds Turbeville created are many times de rigueur in fashion photography today. She was the only woman and the only American in the triumvirate of Helmut Newton, Guy Bourdin and herself who changed fashion photography from safe to one that shocked the viewer. It wasn't just about the clothes anymore, Turbeville created her own dark fairy tales where the model and the clothes all became part of the Turbeville world. 

Books with Turbeville's photographs

Bryan Nash Gill

If there is, indeed, nothing lovelier than a tree, Connecticut-based artist Bryan Nash Gill shows us why. Creating large-scale relief prints from the cross sections of trees, the artist reveals the sublime power locked inside their arboreal rings. Gill creates patterns not only of great beauty but also year-by-year records of the life and times of fallen or damaged logs. He rescues the wood from the property surrounding his studio and neighboring land, extracts and prepares blocks of various species (including ash, maple, oak, spruce, and willow), then makes prints by carefully following and pressing the contours of rings and ridges until the intricate designs transfer from tree to paper. The results are colored, nuanced shapes—mesmerizing impressions of the structural integrity hidden inside each tree. These exquisitely detailed prints are collected and published here for the first time, with an introduction by esteemed nature writer Verlyn Klinkenborg and an interview with the artist describing his labor-intensive printmaking process. Also featured are Gill's series of printed lumber and offcuts, such as burls, branches, knots, and scrubs. Woodcut will appeal to anybody who appreciates the grandeur and mystery of trees, as well as those who work with wood and marvel at the rich history embedded in its growth.
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