The large prints in the book, some never published before, are reproductions of painted contact sheets and can be detached and framed or kept in their original form. After Life is Good and Good for You in New York, Klein’s visual language broke away from the traditional approach in which the photographer is a discreet, almost invisible presence: he used wide-angle lenses and made "anarchic", warped, out-of-focus but spontaneous images that reveal and emphasise the photographer’s presence on the scene.