Jim Marshall: Show Me the Picture: Images and Stories from a Photography Legend (Jim Marshall Photography Book, Music History Photo Book)

Jim Marshall took an incredible number of great photos. What is frustrating to me is there's been a tendency to print the same famous ones over and over. Those are great photos for sure, but there's so much more. I used to sit on Jim's living room rug and go thru the stacks of 8x10 prints that were doomed to never see the light of day. Fabulous photos which tell so much about that time and place. Marshall had an incredible eye and a feel for the essence of the moment. Amelia has done a great job of bringing some of those obscure photos to the fore. There are thousands more and I hope another hundred books are on the way. If you love this sort of direct and honest photojournalism you need to see as many Marshall photos as you can. Don't miss this book.

I had seen plenty of Jim Marshall's music photography even before I had the first clue who he was. First were his many iconic images, like Johnny Cash flipping the bird for the warden at San Quentin State Prison, Jimi Hendrix burning his guitar at Monterey Pop, Bob Dylan rolling a tire down a cobbled Greenwich Village street, and Janis Joplin with her bottle of Southern Comfort, all of which I absorbed through pop cultural osmosis, without even trying. Later came the covers of many beloved records in my own collection, like the Allman Brothers laughing and leaning on their stenciled flight cases, for At Fillmore East. Or the trippy shot, taken high above the stage, for the original Woodstock triple LP. An achingly gorgeous photo of Jimi in blue, from Hendrix In The West. Clapton, Baker and Bruce standing in front of a paisley-covered wall, on the back cover of Best of Cream. The Grateful Dead performing in the middle of Haight Street, used as the inside gatefold image for their Live/Dead album. And Jerry Garcia proffering a large snifter of brandy, on the cover of Farewell To Winterland, a particularly excellent triple vinyl Dead bootleg. But Jim Marshall was so much more than a great chronicler of some of my favorite musicians. Covering his entire career from 1959 through his death in 2010 and taking a deep dive into his archive of over 1,000,000 frames, this book makes the case for Marshall as one of the great photographers of the 20th century. The images just keep coming. The North Beach beatnik scene in his native San Francisco. Stunningly intimate portraits of jazz greats like Coltrane, Davis and Monk. Definitive shots from early folk, jazz and rock festivals. The very young Woody Allen, Dick Gregory and Carol Channing. Ogden Nash and William Saroyan. Stunning early-sixties street photography. Poverty in Appalachia. The civil rights movement, including the Mississippi Summer of 1964. Marshall's photo of Mrs. Fannie Lee Chaney, at the moment she learned her son James had been murdered at the hands of the Klan and the local police, is simply unforgettable. And that's just scraping the surface. The breadth and depth of this book are impressive. The packaging is first class, from a clever slipcase that mimics a 35 mm camera, to the impeccable print quality that makes the photos pop. The accompanying texts are excellent. Lead author Amelia Davis was Marshall's personal assistant for the last 13 years of his life, and Marshall left his entire estate to her. She paints a loving yet unsparingly honest portrait of Marshall, who was a complicated personality to say the least. The essays by Michelle Margetts, the last of Marshall's wives and lovers still alive, are similarly warm, clear eyed and illuminating of both the man and the work. Meg Schiffler, chief curator of the San Francisco Art Commission Galleries, illuminates Marshall's early career in San Francisco and New York and positions him within the larger cultural and political movements of the late 1950s and early 1960s. Marshall's friend, the author and music critic Joel Selvin, describes Jim's professional ascent as a participant-observer alongside and within the San Francisco psychedelic music scene, and his subsequent descent into addiction, gun violence and general insanity. And Karen Grigsby Bates writes movingly of Jim's largely unknown work in Appalachia and the Deep South. To summarize: come for the gorgeously reproduced, era-defining photography and stay for the texts. Between them you have an amazingly compelling and enjoyable overview of one of the great photographers of the twentieth century.

Amazing content. Jim’s photos are sublime. The book is a treasure trove of images and artifacts. Seeing the contact prints and lesser known street photography work is a revelation. The love and respect is evident throughout. The only disappointment is the layout and design. This is a thick tome. The designer opted to place left page images all the way to the right, where they practically disappear into the spine. The wonderful quotes from friends, subjects, and admirers that appear throughout are clumsy typographic embarrassments that distract but can’t spoil the wonderful words they compete against. The color reproductions are a bit muddy. The black and whites are a bit better. Jim’s work and the author’s devotion transcend the botched presentation by so much that I’ll still cherish the book. Maybe a future edition will bring a better design.

While I have pretty much every book of Marshall's photographs, this is a "must have" in my opinion. In addition to the beautiful printing and book jacket, Jim's photographs are the star of the show. Many new (to me) images I've never seen before. A great mix of Jim's legendary music photography, civil rights images and street scenes take you back to an era of not only the great music/musicians but the volatile 60's. The wonderful image of Wes Montgomery with John Coltrane is work the price of the book to me. Run, don't walk and pick up a copy of this gem.

This is important piece of photojournalism that provides vivid detail and context to the music and culture of the 1960s and 1970s. It is so much more than a book on rock photography as it seamless weaves together music with historical events like the assassination of JLK, the Vietnam War, Woodstock, The Monterey Pop Festival, and striking images from the Civil Rights movement. Remarkable and Brilliant! So many great, iconic and rare captures of: Hendrix, Johnny Cash, The Rolling Stones, The Who, Janis Joplin, Grace Slick, Cream, Buddy Guy, John Coltrane, Miles Davis, Clapton, Frampton, Willie Nelson, Jerry Garcia, and the list goes on: What's most striking about this book is the realistic story-telling. So many photography books get it wrong- it is either too dense with content or you don't get enough of the back-story. This book hits the mark here, and many times, I felt more drawn into the story and going back and forth to the images. It gave me a sense of being there or if the image was just captured. This is a must-have for the rock photography or photojournalist hobbyist (and talk about a gift that won't get re-gifted or returned - this is it for that person). If you happen to also be a photographer, you'll find yourself seeing things through a different lens next time you go shoot. You'll find yourself drawn in and wanting more of SHOW ME THE PICTURE.. P.S. And if you do want more and have an INSTAGRAM account, follow JIM MARSHALL PHOTO where you will see bonus images in the gallery and fun insider info in INSTAGRAM stories!)

I met Jim Marshall during a number of years in the photograher’s pit at the Newport Folk Festivals. He coordinated the press section at Woodstock and I obtained my press pass through him. Always a gentleman and a sweetheart. And, for sure, his work was EXCEPTIONAL. Sadness in his tale, as well.

The essays on his background, and the addition of his earlier, non-music work are a plus in fleshing out the career of this iconic but troubled photographer. If you're just interested in his music work, he has other great books out that are specifically devoted to this. If you're interested in the broader arc of his multi-disciplinary career, this is a great book. About half of this volume is music-based, the other half is documentary and street photography.

I’ve waited for this book for a little while now and it DID NOT DISAPPOINT!! This book is fantastic!! Not only does it have images I’ve never seen from events and places I never even knew Jim shot, but it also has a lot o the classics. Plus there’s plenty of info flowing through it so it’s not just another photo book. It’s more like a biography. The Marshall team really hit it out of the park. Pick up this book today! You won’t regret it one bit!

The photos were very familiar to me. Just more of the same stuff. Boring actually.

This foto book is a must ad to the every music fans library. One of the greatest photographers of our times work up close and personal. With descriptions from someone who seemingly put up w/ him on a daily basis. Mr. Marshall has managed to capture artist at the truest most vulnerable best (and worse).

Jim Marshall took an incredible number of great photos. What is frustrating to me is there's been a tendency to print the same famous ones over and over. Those are great photos for sure, but there's so much more. I used to sit on Jim's living room rug and go thru the stacks of 8x10 prints that were doomed to never see the light of day. Fabulous photos which tell so much about that time and place. Marshall had an incredible eye and a feel for the essence of the moment. Amelia has done a great job of bringing some of those obscure photos to the fore. There are thousands more and I hope another hundred books are on the way. If you love this sort of direct and honest photojournalism you need to see as many Marshall photos as you can. Don't miss this book.

I had seen plenty of Jim Marshall's music photography even before I had the first clue who he was. First were his many iconic images, like Johnny Cash flipping the bird for the warden at San Quentin State Prison, Jimi Hendrix burning his guitar at Monterey Pop, Bob Dylan rolling a tire down a cobbled Greenwich Village street, and Janis Joplin with her bottle of Southern Comfort, all of which I absorbed through pop cultural osmosis, without even trying. Later came the covers of many beloved records in my own collection, like the Allman Brothers laughing and leaning on their stenciled flight cases, for At Fillmore East. Or the trippy shot, taken high above the stage, for the original Woodstock triple LP. An achingly gorgeous photo of Jimi in blue, from Hendrix In The West. Clapton, Baker and Bruce standing in front of a paisley-covered wall, on the back cover of Best of Cream. The Grateful Dead performing in the middle of Haight Street, used as the inside gatefold image for their Live/Dead album. And Jerry Garcia proffering a large snifter of brandy, on the cover of Farewell To Winterland, a particularly excellent triple vinyl Dead bootleg. But Jim Marshall was so much more than a great chronicler of some of my favorite musicians. Covering his entire career from 1959 through his death in 2010 and taking a deep dive into his archive of over 1,000,000 frames, this book makes the case for Marshall as one of the great photographers of the 20th century. The images just keep coming. The North Beach beatnik scene in his native San Francisco. Stunningly intimate portraits of jazz greats like Coltrane, Davis and Monk. Definitive shots from early folk, jazz and rock festivals. The very young Woody Allen, Dick Gregory and Carol Channing. Ogden Nash and William Saroyan. Stunning early-sixties street photography. Poverty in Appalachia. The civil rights movement, including the Mississippi Summer of 1964. Marshall's photo of Mrs. Fannie Lee Chaney, at the moment she learned her son James had been murdered at the hands of the Klan and the local police, is simply unforgettable. And that's just scraping the surface. The breadth and depth of this book are impressive. The packaging is first class, from a clever slipcase that mimics a 35 mm camera, to the impeccable print quality that makes the photos pop. The accompanying texts are excellent. Lead author Amelia Davis was Marshall's personal assistant for the last 13 years of his life, and Marshall left his entire estate to her. She paints a loving yet unsparingly honest portrait of Marshall, who was a complicated personality to say the least. The essays by Michelle Margetts, the last of Marshall's wives and lovers still alive, are similarly warm, clear eyed and illuminating of both the man and the work. Meg Schiffler, chief curator of the San Francisco Art Commission Galleries, illuminates Marshall's early career in San Francisco and New York and positions him within the larger cultural and political movements of the late 1950s and early 1960s. Marshall's friend, the author and music critic Joel Selvin, describes Jim's professional ascent as a participant-observer alongside and within the San Francisco psychedelic music scene, and his subsequent descent into addiction, gun violence and general insanity. And Karen Grigsby Bates writes movingly of Jim's largely unknown work in Appalachia and the Deep South. To summarize: come for the gorgeously reproduced, era-defining photography and stay for the texts. Between them you have an amazingly compelling and enjoyable overview of one of the great photographers of the twentieth century.

Amazing content. Jim’s photos are sublime. The book is a treasure trove of images and artifacts. Seeing the contact prints and lesser known street photography work is a revelation. The love and respect is evident throughout. The only disappointment is the layout and design. This is a thick tome. The designer opted to place left page images all the way to the right, where they practically disappear into the spine. The wonderful quotes from friends, subjects, and admirers that appear throughout are clumsy typographic embarrassments that distract but can’t spoil the wonderful words they compete against. The color reproductions are a bit muddy. The black and whites are a bit better. Jim’s work and the author’s devotion transcend the botched presentation by so much that I’ll still cherish the book. Maybe a future edition will bring a better design.

While I have pretty much every book of Marshall's photographs, this is a "must have" in my opinion. In addition to the beautiful printing and book jacket, Jim's photographs are the star of the show. Many new (to me) images I've never seen before. A great mix of Jim's legendary music photography, civil rights images and street scenes take you back to an era of not only the great music/musicians but the volatile 60's. The wonderful image of Wes Montgomery with John Coltrane is work the price of the book to me. Run, don't walk and pick up a copy of this gem.

This is important piece of photojournalism that provides vivid detail and context to the music and culture of the 1960s and 1970s. It is so much more than a book on rock photography as it seamless weaves together music with historical events like the assassination of JLK, the Vietnam War, Woodstock, The Monterey Pop Festival, and striking images from the Civil Rights movement. Remarkable and Brilliant! So many great, iconic and rare captures of: Hendrix, Johnny Cash, The Rolling Stones, The Who, Janis Joplin, Grace Slick, Cream, Buddy Guy, John Coltrane, Miles Davis, Clapton, Frampton, Willie Nelson, Jerry Garcia, and the list goes on: What's most striking about this book is the realistic story-telling. So many photography books get it wrong- it is either too dense with content or you don't get enough of the back-story. This book hits the mark here, and many times, I felt more drawn into the story and going back and forth to the images. It gave me a sense of being there or if the image was just captured. This is a must-have for the rock photography or photojournalist hobbyist (and talk about a gift that won't get re-gifted or returned - this is it for that person). If you happen to also be a photographer, you'll find yourself seeing things through a different lens next time you go shoot. You'll find yourself drawn in and wanting more of SHOW ME THE PICTURE.. P.S. And if you do want more and have an INSTAGRAM account, follow JIM MARSHALL PHOTO where you will see bonus images in the gallery and fun insider info in INSTAGRAM stories!)

I met Jim Marshall during a number of years in the photograher’s pit at the Newport Folk Festivals. He coordinated the press section at Woodstock and I obtained my press pass through him. Always a gentleman and a sweetheart. And, for sure, his work was EXCEPTIONAL. Sadness in his tale, as well.

The essays on his background, and the addition of his earlier, non-music work are a plus in fleshing out the career of this iconic but troubled photographer. If you're just interested in his music work, he has other great books out that are specifically devoted to this. If you're interested in the broader arc of his multi-disciplinary career, this is a great book. About half of this volume is music-based, the other half is documentary and street photography.

I’ve waited for this book for a little while now and it DID NOT DISAPPOINT!! This book is fantastic!! Not only does it have images I’ve never seen from events and places I never even knew Jim shot, but it also has a lot o the classics. Plus there’s plenty of info flowing through it so it’s not just another photo book. It’s more like a biography. The Marshall team really hit it out of the park. Pick up this book today! You won’t regret it one bit!

The photos were very familiar to me. Just more of the same stuff. Boring actually.

This foto book is a must ad to the every music fans library. One of the greatest photographers of our times work up close and personal. With descriptions from someone who seemingly put up w/ him on a daily basis. Mr. Marshall has managed to capture artist at the truest most vulnerable best (and worse).

You can’t love photo books or rock and roll, Jazz and background stories like these without living this book. Read it twice. Buy it and spend a few amazing hours with Jim. No one like him. Never was. - JEFF DUNAS

Never get tired of looking at this stuff

Fabulous book. Pictures are amazing. I have this to my Dad for Christmas and he really liked it.

Perfect

Delivered on time and in new condition. Excellent photographic retrospective.

The honesty in Jim’s photos combined with the honesty in the contributors shared stories, comments and insights has me transfixed. I highly recommend!

As someone who loves history and music, this collection does not disappoint. Very well done, Bravo.

Great book, great images and quality!

Gorgeous book! Used as a guest book for our wedding. Incredible pictures and stories!

Christmas gift that I couldn't hold for Christmas... I gave it to him a week early because I was so excited.

RIP Jim!

Great book!

At the 1969 Woodstock Festival, Jim Marshall is seen wearing several Leica cameras hanging around his neck. It’s an indelible image of the artist in his element. In the 1979 movie “Apocalypse Now,” Dennis Hopper portrays a crazed American photojournalist who has multiple cameras dangling from his neck. Hopper said he modeled aspects of this character on Jim Marshall. There is a riveting photo of Hopper in the book staring directly into Marshall’s camera lens while he is standing backstage next to Brian Jones, Nico, and Judy Collins at the 1967 Monterey Pop Festival. This is just one of the countless iconic images Marshall shot during his lifetime. Hopper’s depiction of a crazed cocaine-fueled photographer (inspired by Marshall) might be an exaggeration; however, in 1983, Marshall was screaming obscenities and waving a gun at his neighbors in San Francisco while high on cocaine and alcohol. He was later arrested and sentenced to five years’ probation for a weapons violation. Marshall had famously once said: “I love cars, guns, and cameras. Cars and guns have got me into trouble. Cameras haven’t.” The 1983 incident was a fall from grace for Marshall during his long and impressive career. His life is wonderfully chronicled in “Jim Marshall: Show Me The Picture.” His passion for photography began at an early age. He was a photojournalist who only used natural lighting. Wandering about the city, he would find fascinating images to document: people at a lunch counter, little kids sitting on a bench, a lone soldier at a pinball machine, nightclub singers. Finding these “hero shots” was what motivated Marshall. As Michael Zagaris recalls: “Jim was really curious, he was inquisitive, and more than wanting to just shoot it, you could tell he wanted to be in it. He wanted to jump in it and experience it.” While in San Francisco from 1959 to 1962, Marshall established what would become lifelong relationships with John Coltrane, Miles Davis, and other artists. He moved to New York’s Greenwich Village in 1962 to expand his reputation and acquired assignments from national publications and major record labels. He befriended Judy Collins, Joan Baez and the up-and-coming Bob Dylan. He returned to San Francisco at a pivotal moment. A musical renaissance was emerging and he was there to capture key moments of the Summer of Love, auditorium shows and festivals. He became close friends with Johnny Cash. “Whenever anyone asks me how I got the photographs I did, why I was often the only photographer present or got such unique access, I reply simply, 'Trust.’” Marshall’s compassion for social justice was also a driving force, photographing freedom marches and all aspects of life, from the fortunate to the unfortunate. I met Jim three times: once in the early seventies at a photo lab, forty years later at a book signing where he was talking about his book “TRUST,” and weeks afterward at a San Francisco art gallery where his photos were on display. I noticed him seated alone and came over to say hello and sat beside him. He gave me a guarded “What the hell do you want?” look before relaxing once he realized I was only there to express appreciation for his work and to talk about art. This last encounter was shortly before his death. Within this book are many intimate and poignant recollections by Michelle Margetts, Amelia Davis, and others who knew Jim Marshall well. I did not. However, from my brief encounters, I did glean a sense of who he was and the love he had for his art. Jim Marshall was an exemplary photographer who not only was technically skilled but had a unique instinct for gaining access and knowing when to aim and shoot to document quintessential moments. I highly recommend this book. It’s a real treasure.

This is a great book for your collection. The best part from my perspective was seeing all of the Jim Marshall photos I had not seen before (and didn't even know about). Like the images where he was with a coal mining family in Hazard, Kentucky. Unbelievable imagery that captures the moment and the family's hardships. I also enjoyed the commentary from John Carter Cash and Greg Allman's son ... some great insight into what went on before / during and after all the iconic photos we have seen before. Lastly, enjoyed seeing images of Jim Marshall as a child and his family, which I had not previously seen until now. I highly recommend this book! If you're a fan of photography ... Jim Marshall is the Greatest Photographer the world has ever known! Enjoy.

Jim Marshall: Show Me The Picture by Amelia Davis is a must have book for anyone who loves photography, rock and roll, jazz, social history or life in general. It’s obvious that Davis knew Marshall better than any other human. The photographs tell stories, take you back to a time and tell you something about the man, the myth, the legend of Jim Marshall. If you’re not familiar with Jim Marshall’s work, this book and documentary are a perfect starting point. I promise you’ll never look back.

"Jim Marshall Show Me the Picture, Images and Stories From a Photography Legend" by Amelia Davis is a wonderful compilation of a wider range of his photography that has been published in the past. Jim Marshall is known for his images of jazz and rock musicians but this book also shows the documentary and street photography that he did during most of his career, including the Mississippi Freedom Summer in 1964 and work in San Francisco and New York. The book is beautifully laid out mixing work of different subjects along with written observations by those who were close to him. An amazing document that reveals much about this complex and very talented artist. Highly recommended.

Looking at the photos in this book, you see Jim had access to his subjects. He was able to bring out the emotions they were feeling at the moment of the image. He was also trusted, they would share their most inner feelings with him. All this is evident with the pictures and stories told in this book. Amelia and others have assembled some of Jim's photos and stories that bring us into the personal lives of his subjects.

I recently purchased this book and was blown away by the images in it. Jim was by far the best Rock photographer of all time and it's and honor to see these images in one book. I really look forward to seeing the documentary that is due to come out as well. You will not be disappointed with this or any other book of Jim's photos!! ENJOY!!!

I just finished reading this book cover-to-cover, and feel like I've got some real insight into an exceptionally complex person. It's one hell of a story! Of course the pictures are completely amazing. I like trying to imagine was he standing when he took that? He's so often on the stage himself, or in some other very intimate situation with his subjects. He seems to have always been in the right spot, with the perfect lens for the situation. He always came up with the goods!

Jim Marshall's body of work speaks to so many different layers of who we are as people. I was familiar with his ability and focus on people in the realm of music. This amazing collection introduces you to the vastness of his body of work and a side of Marshall that is rarely seen. It informs us of the condition of America, in music, culture, and history! I am blown away and glad to add this to my collection now!

Was much bigger than I expected it to be. Was Christmas Gift for my daughter-in-law and she displays it on her coffee table in her home proudly....