Hollywood: Confidential

Hollywood: Confidential is the latest collection of beautifully timed photos from bestselling society photographer Dafydd Jones. Formerly of Tatler and Vanity Fair, Jones is a serial capturer of intimate moments during high-society functions. As famous Vanity Fair editor Graydon Carter puts it, when it comes to party photographers, Dafydd Jones is the snipers sniper the best of the best. On numerous occasions in the 1990s and 2000s, Jones turned his lens to the faces of Hollywood with all his usual impudence, as they mingled and danced at private events in the Hollywood Hills, Oscar-night parties and awards ceremonies. The result is a rare thing photographs that convey the underlying personalities of the worlds most public personas. Following on from England: The Last Hurrah and New York: High Life / Low Life, this is an essential portrait of celebrity culture from behind the scenes, featuring the likes of Anna Nicole Smith, Tom Cruise, Prince, Winona Ryder, Tony Curtis, Oprah, Nicholas Cage and more. Praise for Dafydd Jones: "Dafydd catches those moments of genuine exhilaration, wealth and youth." The Hollywood Reporter "Mr. Jones goes about his business with cheery zest and a wicked eye." New York Times "Some carefully tended public images are punctured with such rapier precision that one can hear the hiss as they deflate." Mitchell Owens, The World of Interiors "Sublime vintage photographs" Hermione Eyre, the Telegraph "Modest though he is, Dafydds photographs will endure for having perfectly captured a society on the brink of decline." Country & Townhouse podcast "The New York book is an evocative historical document, brimming with nostalgia and menace." Hannah Marriott, The Guardian "The best party photographers, and their numbers are few, are like snipers Dafydd Jones is the snipers sniper the best of the best." Graydon Carter, foreword from New York: High Life / Low Life "Dafydds brilliant evocation of a time and a class only seem more potent today, when we know that so many of the moneyed twits in his 80s portfolio ended up running the country, as they always have" Tina Brown, The New Yorker