This October, Reel Art Press releases Vanity, a plush hardback featuring an extensive collection of Scott Caan’s most
recent work. This outstanding volume showcases Caan’s revered photojournalist style. Capturing real life interactions that draw out a raw and honest core from his subjects, Caan juxtaposes this with his more glamorous life as a celebrity.

The book’s cover image is an example of the more privileged side of life; taken from the top of the red carpet at Cannes (where no photographer has ever been allowed) looking back at the hive of paparazzi below.

Caan is the son of much celebrated actor James Caan, and although he’s mostly known for his own acting work (Ocean’s Eleven, Entourage, Gone in Sixty Seconds), in the last decade Caan has built up a reputation as a truly outstanding photographer. The title of the book certainly nods to his years in the spotlight, but the depth of his work makes it clear that this isn’t ‘a vanity project’ and Caan confdently reclaims the word in full force with this exquisite demonstration of his talent.

“To me, Vanity was the perfect title. Photography is the one thing I can do where I don’t have to answer to anybody. …
In a sense, it is my selfsh way of saying; “these are the photographs that I like” – Scott Caan

Shot exclusively on flm, Caan’s photographs are unremorseful and enduring. He crosses intimate dark interiors of late nights in locked Hollywood hotel rooms with stark backdrops of dilapidated urban landscapes in South America – his subjects across both settings often appearing solemn or troubled. And from portraiture to nudes, each photo Cann takes pulls the viewer into a story or a puzzle of what was existing in the moment it was captured.

This edition is designed and edited by the Emmy-award winning Creative Director Howard Nourmand, who introduces Caan’s body of work. Nourmand has produced artwork for countless artists, musicians, and flmmakers and his capacity to mesh flm and design has earned him recognition in the world of contemporary storytelling.

Foreword by Mark Mothersbaugh of Devo.