Blow-Up, a box-office hit and winner of the Grand Prix at Cannes, is one of the undisputed masterpieces of Antonioni and of cinema. Shot in London, it tells the story of a fashion photographer who by chance documents a murder in a park, noticing it only when he develops the negatives. The film at once became a landmark in the history of art and photography too, because of the complexity of its themes: the theoretical reflection on the relationship between cinema and photography and between photography and reality, human eye and lens; the historical context in which it was made; and its portrait of Swinging London. This book reflects on the relations between visual media by retracing every stage that led to the conception and making of the film, from the short story by Julio Cortázar that inspired it. Alongside the texts are the original pictures the protagonist hangs on his walls, made by Don McCullin: after filming they were lost for almost thirty years until the collector Philippe Garner bought them at auction in London in 1996. There were 21. There are also stills, including those by Eve Arnold, and backstage images. To shape the character, a fashion photographer turning towards social documentary, Antonioni drew on British photographers of the time such as John Cowan. Among the preparatory materials are a questionnaire for the fashion photographers of Swinging London, a report by Anthony Haden-Guest on their world and habits, and a piece by Francis Wyndham on Brian Duffy, Terence Donovan and David Bailey. It closes with an interview with Antonioni by Alberto Moravia, first published in L’Espresso when the film came out.