BOSTON — Photographer Rob Shanahan has captured powerful images of music legends including Elton John, Barry Manilow, Sting, and many more. He's been Ringo Starr’s personal photographer since 2005.

He started playing the drums at the age of 10 and got his first camera 2 years later. From there, Shanahan fell in love not only with pictures but with the music of his subjects. Now, he's released a book, "Volume 1," showcasing some of his never-before-seen favorites. Emily Rooney sat down with a man who's had a front-row seat to fame. Some of those stories are in the slideshow above.

BOSTON — The “We Shall Not Be Moved” exhibit by photographer Kelly Creedon documents the human impact of the foreclosure crisis in Massachusetts. The exhibit is traveling to the hardest-hit cities and its next stop is downtown Springfield, where volunteers will partner with No One Leaves/Nadie Se Mude Nov. 19–20 to transform a vacant commercial space on Worthington Street into an installation. The exhibit will be on display there through Dec. 18. (Event info.)

Creedon and her subject David Dunwell, a homeowner dealing with foreclosure, appeared on "The Callie Crossley Show" on Nov. 15. 

Creedon started the project in 2008. She didn’t expect it — or the crisis — to extend all the way through 2011.
 
“One of the things that inspired me to start telling some of these stories was this series of eviction blockades that had been happening in Boston in 2008. And I sort of felt like I was catching the tail end of this sort of series of really moving actions, and recognizing at the same time that I'm not an economist and I wasn't in a position to be predicting where we were going to go as a country at that point, obviously. But I wasn't hearing people anticipating that 3 years down the line we would still be looking at another however many years — we’re at this point talking about 10 to 12 million families that we anticipate will be impacted by foreclosure, directly impacted, by the time we can find some recovery. So, I wasn't anticipating to still see our country and these communities so entrenched in this crisis, 3 years down the line.”
 
Dunwell talked about the hardest part of being foreclosed on:

“One of the main reasons we moved out to Springfield was to be able to have our own home and be able to show our children the way of life that was better than we had. We moved to Springfield because all the houses in the Boston area were elevated out of our price range. It was really tough and humbling to be able to present to our children this dream that we had is now lost. That we have no home now. That was really, really tough, compounded by the fact that I lost my job a year and a half prior — that was heart-wrenching.”

But when thinking about the future, Dunwell was more optimistic, despite the fact that Springfield had the most foreclosures in the state in 2010, he said:

“I’ve definitely found a home. I don’t think this is the end of my dream… I am in no way dismayed. I know that I will stand — if I don't get to keep my own house, I’ll stand again, and I'll show my own children that this dream is possible within Springfield, within Massachusetts, within the United States of America.”

See more photos.

PEABODY, Mass. — On view at the Peabody Essex Museum right now are scenes from an affair both torrid and tempestuous. When artist Man Ray met model Lee Miller, they fell madly in love and produced some of the twentieth century's most celebrated works.

Lee Miller was a 1920s supermodel when she met Man Ray.

"She appeared on the cover of Vogue, she became Edward Steichen's favorite model. And then a curious thing happened. Her image was licensed to the Kotex company for feminine hygiene products. And as a result, all of her modeling work dried up and she had to find other things to do," said Phillip Prodger, curator at the Peabody Essex Museum.

Man Ray was a surrealist artist — a legend already in the making and 17 years her senior. Looking to be an artist in her own right, Miller tracked Man Ray down in Paris — finding him at a bar near his studio.

Prodger describes the moment Man Ray and Miller met. "Man Ray says there are two problems. 'The first problem is I don't take assistants. And the second problem is I'm going on vacation and I won't be back for two weeks.' She says, 'I'm going with you.'"

And she did. It was 1929 and as documented in "Man Ray | Lee Miller, Partners in Surrealism" now on view at the Peabody Essex Museum, the two spent the next three years together. She was his apprentice then a peer and always his lover. They pushed each other personally and professionally, establishing singular styles.

"Man Ray was primarily interested in photographing in the studio and he was a very theatrical artist in a way," Prodger said. "He liked to set things up... you see Man Ray making surrealist compositions in the studio, you see Lee Miller going out on the street and photographing things that she sees. And in fact she was one of the first photographers to do that."

In this exhibit, you will find their disparate take on nudes as well. He finds a softness and rapture in her.

Prodger described Man Ray's rendering of Miller: "It's very warm, very inviting, she looks sensual, beautiful and erotic."

Prodger said that Miller found nothing erotic in herself. "She looks strong, you can see muscle definition, her back is held upright, she really looks like a feminist hero."

Aside from perspective, their personalities collided too. Theirs was an aggressive relationship fraught with jealousy and conflict. Like the time Miller fished one of Ray's photographs out of the trash and claimed it as her own. Man Ray exploded.

"He took that photograph that she had printed which showed her neck, took a razor blade and sliced the photograph across the neck and then took scarlet paint and painted where the so-called wound would be in that photograph and it was dripping down as if he had slit her throat," Prodger said.

Among the most famous of Man Ray's manifestations of rage — his metronome.

"He attached her eye to the pendulum of a metronome and gave instructions that it should be set in motion going back and forth, back and forth, until the viewer couldn't stand it any more and then smashed with a hammer," Prodger said.

And when she left him, Man Ray got over her in part by creating his painting of levitating lips. They are Miller's and he tended to it every day for two years. Lovers for just a spell, Man Ray and Lee Miller remained intertwined for their lifetimes. Their work though, evokes for eternity.

"Man Ray | Lee Miller, Partners in Surrealism" is at the PEM through December 4, 2011