In 1962, The Beatles released their first hit single, “Love Me Do.” By 1964, the band had risen to international superstardom. Paul McCartney Photographs 1963–64: Eyes of the Storm captures three pivotal months in The Beatles’ extraordinary journey, December 1963 through February 1964, not through the familiar images that circulated in the press, but through the lens of one of their own. Read on to learn more about these rarely before seen photographs:

1. They reflect a “snapshot aesthetic,” prevalent in photography at the time

The photographs in Eyes of the Storm were taken by McCartney with his 35mm Pentax SLR (single-lens reflex) camera, which came out in the 1950s as part of a new generation of handheld cameras. McCartney, along with each of the other Beatles, acquired the camera in 1963, at a time when many were experimenting with this newly popularized medium. The technology of the 35mm handheld camera allowed for a spontaneity in picture-taking, leading to the emergence of a “snapshot” aesthetic that embraced imperfection. Photographs could be taken fast, on the go, from different vantage points and even moving vehicles. Like his image of Ringo immersed in music, McCartney’s pictures reflect this new spirit in photography, as well as the literal blur of travel that The Beatles were experiencing, rapidly moving from one place to another.

2. Few of the photographs had been printed until this exhibition

Almost 60 years after The Beatles’ first appearance on The Ed Sullivan Show in 1964 — when the group reached over 73 million American viewers and set the record for the most-watched television program to-date — McCartney’s photographs were serendipitously rediscovered. Although well-preserved, few of the images had ever been printed or shared beyond McCartney’s immediate family and friends. Most existed only as negatives or printed in the simple form of contact sheets. For Eyes of the Storm, McCartney reviewed his 1,000-image archive from this period and selected approximately 280 to make into modern prints. Inkjet prints and chromogenic prints were made from the negatives, and, where the negatives were missing, scans were made from contact sheets.

3. They capture “Beatlemania” in full force

McCartney took these photographs at the very moment of the band’s meteoric rise to stardom. They depict the frenzied crowds chasing the band down the New York City streets, for example, and the swarms of people greeting them at the Miami airport. In McCartney’s photographs, “Beatlemania” is palpable. Reflecting his interest in understanding the fans and audiences to whom they appealed, McCartney turned his lens onto them, just as the photojournalists were simultaneously trying to make sense of this exceptionally popular band. The Beatles were at the eye of the storm they created: thousands of eyes were looking to capture that storm, and McCartney, with his camera, returned their gazes.

4. They present an insider’s view of The Beatles

In addition to the fans, McCartney photographed his fellow bandmates, as well as a whole cast of characters in their inner circle — their girlfriends, manager, roadies, and chauffeur, among others. Almost like snapshots found in family albums, McCartney’s photographs capture the intimacy between the band members and those closest to them, revealing candid, behind-the-scenes moments to which fans and press photographers did not have access. In McCartney’s colorful Miami photographs, the bandmates are shown relaxing during some time off — taking a boat trip, swimming, or enjoying a drink by the pool.

5. They reflect McCartney’s lifelong curiosity for photography and the visual arts 

McCartney’s interest in photography dates back to his early childhood. In the 1950s, his family owned a Kodak Brownie box camera, which he used to take pictures of their daily life. Later, as a member of The Beatles, McCartney was often surrounded by photographers (including Dezo Hoffmann, Harry Benson, and Robert Freeman), and in observing their techniques, he was able to develop his own. Though McCartney is the first to describe himself as “only an enthusiastic photographer who happened to be in the right place at the right time,” he also acknowledges the camera as a powerful tool for making sense of the world: “We were fascinated by what we were doing and what was happening to us and it’s something I’ve never really lost . . . I’ve never lost that sense of wonder.”