Published by Schiffer in 2005, Bunny Yeager’s Pin-Up Girls of the 1960s gathers Yeager’s photographs of 80 women across more than 230 images. The 160-page book is conceived as a retrospective of her own work from the decade, concentrating on the models, fashions, settings, and attitudes through which 1960s pin-up photography fashioned its public image.

Yeager’s approach moves between controlled studio sessions and outdoor locations, including natural settings and encounters with wild animals. That breadth gives the collection more than a single register of glamour. Poses may be carefully staged, but changes of costume, environment, and expression allow the women to project distinct styles and personalities. Color is central to the book’s account of the period, carrying the visual energy associated with the decade’s fashion and flower-power culture.

The pin-up is presented here not as an isolated photographic genre but as part of popular visual culture. These were images made for broad circulation and familiar from informal, everyday spaces such as school lockers and garage walls. Viewed retrospectively, their flirtation and theatricality also disclose the conventions through which femininity, allure, and self-presentation were pictured for a mass audience. Yeager’s position as both photographer and compiler makes the volume a concentrated view of how she returned to and framed this phase of her practice.

For collectors interested in portraiture, popular culture, and the photographic construction of glamour, the book’s significance rests in its focused scope. Its large group of subjects and movement between studio artifice and unconventional outdoor settings permit comparison across a substantial body of work rather than through a few familiar pictures. As a self-retrospective devoted specifically to the 1960s, it offers a coherent period study of Yeager’s imagery and of the visual codes that made pin-up photography so recognizable within that decade.