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As the song says, Deborah Harry looks good in blue-or wearing about anything, or, as shown in other photo essays but not this one, nothing at all.

Within the first few pages, Mick Rock discusses one key aspect of the Harry iconography: although their facial structures are almost utterly different, Debbie manages to almost eerily evoke the image of her idol, the late Marilyn Monroe. Indeed, she does so far better than does Madonna (who made a much more conscious and public effort to do so) or Gwen Stefani, both of whom have more similarity in facial shape. Debbie has an unusually large cranial structure and an extremely wide face, factors that make her universally admired looks even more remarkable. Unfortunately, Rock fails to effectively deal with the issue, but this is of tertiary importance in a book that could as easily have no words at all.

Rock is a thoroughly competent photographer by the standards of rock journalism, but he's no Sam Shaw, Cecil Beaton, George Barris, Eve Arnold, or any of the other classic era Leica/Rollei wielding pre-papparazi photographers, who made enduring idols not only of MM but so many of the other Classic Era actresses. As a result, a hundred years from now these images will probably be reviewed with interest, but not the unadulterated awe one might give to classic images of MM,Cyd Charisse, Ava Gardner, Audrey Hepburn, Elizabeth Taylor or others, none of whom-even the now-canonized Monroe-were objectively "more beautiful" than Harry.

These images-taken from too few photo shoots-are fine photographs on their own, and a fine document of Deborah Harry, who is a first-rate vocalist and a fine character actress who, unlike a lot of rock-and-roll stars, might have been as successful as _almost_ any of her childhood idols in the worlds of film and music in the pre-rock-and-antihero 40s and 50s and early 60s, before an awful August night in Brentwood and an equally bad November afternoon in Dallas turned a decade-and a nation-disillusioned and sour.

Deborah Harry is, almost everywhere except her own country, a major league rock star, and this book is a decent exposition of part of the reason why: she's a stunning-looking woman who can effectively employ everything she's got. The other lies in her music, both the "classic five" Blondie albums and her daring and eminently competent modern jazz and standards work with the Jazz Passengers, Stewart Copeland, and others. If you have a backward cousin in, say, Kansas City, who thinks that rock and roll means boring and dopey AOR warhorses like REO Speedwagon, Styx, and Rush, this book and a couple of Blondie albums might do him, or her, a lot of good next holiday season.

Beautiful work. Immortal and rare photos of Debbie Harry and her band in the late 70's. And amazing pictures of Miss Harry in 2003. A must-have for every fan around the world.

As the compiler of the book "Blondie, From Punk to the Present: A Pictorial History," I've viewed my share of photos and images of this band and its camera-friendly lead singer, Deborah Harry. The photographs in "Picture This" are striking and breathtakingly beautiful, and there's more textual commentary than I had anticipated (which is a plus). Mick Rock's Introduction is very insightful as he explains his craft, the realities of modern-day publishing, and the significance of Blondie and Deborah Harry all in one page, which is a feat in itself. And Deb's Foreword is a joy to read as she presents her perspective on being photographed and observations on Mr. Rock, including her appreciation that this photographer was "there for me."

The main text consists of an opening consideration of blondes and their universal appeal, beginning with Jean Harlow and later Marilyn Monroe having set the ultimate standard. And Deborah Harry certainly possesses that Monroe-like quality, according to the photographer. Mr. Rock then proceeds to relate his experiences in 1970s New York City which was characterized by a wide-open, almost wild West anything goes attitude, and places Blondie and Debbie in this larger context by relating the various photo shoots he conducted with her and the band in the late '70s.

And as if that wasn't enough, an added bonus is an accompanying DVD, "Picture This Behind the Scenes," which captures the photographer in action. The year 2000-"back to the future," as it were: "We can still do it, Deborah. Just like it was before," Mick Rock exclaims.

In the DVD, the photographer relates anecdotes from the book such as the first studio session with the band to the last session he had with Blondie before their breakup in 1981 to a more recent outdoors session with Deborah sporting a striking blue leather jacket (yes, she does look good in blue). Mick also describes a late '70s photo session he had with Chris Stein and Debbie at home. ("It was just me and them"). Mr. Rock concludes that Chris and Debbie were "first and foremost artists" and that "she's just a little lady, but a very neat package" indeed whose vulnerability made her such an inviting subject for the camera. And, in turn, Debbie describes Mick as "a brilliant photographer."

I'd like to include a personal note at this point, if I may. Two of Mick's photos grace the pages of the book I compiled on Blondie, and I had the good fortune of having several phone conversations with Mr. Rock as I worked with him on that book project. I was impressed by the time he took with me (considering his hectic schedule), and the care he exhibited in making this two-page photo spread happen. I'll always remember that.

In the DVD, the photographer made an observation something to the effect that you can't let on having too much fun practicing your craft since you can get in trouble for that. And he also noted, regarding the New York City '70s scene that: "I was in the thick of it." This book certainly serves as a testimony to that.