The Rolling Stones, photographed by Michael Ward, in a Rolls Bentley in the English countryside in 1964.

Mick Jagger, photographed by Gered Mankowitz during the recording of *Aftermath* at RCA Studios, in Nashville, in 1965.

*Top,* the band, photographed by Terry O’Neill on James Street, in London, in 1964; *above,* Keith Richards, photographed by Tony Sanchez at home in Sussex, circa 1970s.

The band, photographed by Michael Joseph at Sarum Chase Grounds, in Hampstead, in 1968.

Brian Jones, photographed by Bill Wyman at RCA Studios in 1966.

Richards, photographed by Mankowitz while recording *Between the Buttons* at Olympic Studios, in London, in 1966.

*Top,* Jones, photographed by Mankowitz while recording *Between the Buttons; above,* the band, photographed by Ken Regan in New York in 1977.

Charlie Watts, photographed by Wyman in 1989.

The Rolling Stones, Out of Time

On the heels of Hackney Diamonds, the Rolling Stones’ first original studio album in 18 years, a new book collects rare and never-before-seen images of the band, photographed by Bill Wyman, Terry O’Neill, and others

“The Stones manage, by calling the terms of the exchange, to reverse objectification,” says the rock columnist Daniel Weizmann. “Even in black and white, The Beatles we meet are something fun for us to look at. Whereas The Rolling Stones are staring right back at us, as if to say, ‘You define us? No, no, we define you.’” Weizmann shares this thought in Harvey Kubernik’s introduction to a new Rolling Stones photography book, The Rolling Stones: Icons. Set for release on October 30, the collection comprises rare and never-before-seen images by 17 different photographers lucky enough to have worked with the band, along with anecdotes from each of them.

Perhaps the most interesting of the crowd is the man on the inside, founding member and bassist Bill Wyman. He always carried a passion for photography, but for a long time he never took pictures of his friends or family. That changed in Paris in 1965, he says, when he “finally had enough money for a decent camera.... From then on, I photographed the band: on planes, in hotels, houses, cars, and studios, preferring moments when my subjects were unaware of the camera—that’s when I got my best shots.” His photos have rawness and vulnerability. From Keith Richards with the black eye he got from Chuck Berry to Mick Jagger reading the Bible, Wyman’s giving us truth.