In the 1964 film A Hard Day’s Night, it’s Ringo who wanders the back streets of London with camera in hand. The other Fabs, though, were just as interested in photography, chronicling their travels and lives on film. Paul McCartney was technically the best behind the lens, as witness his fine 2023 portfolio 1964: Eyes of the Storm, but Harrison was no stranger to the art, even if, as George Saunders remarks in his afterword, “They’re snapshots, really, made by a talented young guy with a new toy.” The “new toy” changed from time to time, as when Harrison acquired a fish-eye lens and snapped everything in sight with it, exulting, “everything looks mad through it!” Olivia Harrison writes that her husband used the camera as “a benign shield and playful way to deflect attention that followed him wherever he went.” The cameras—a Pentax SLR, a Polaroid SX-70, and many others—also provided an archive that’s much more relaxed than the usual run of Beatles-related photos, especially the series shot at the band’s 1968 retreat in Rishikesh, India: Paul, looking all of 12 years old, earnestly shaving; John experiencing a characteristic agony of the acoustic guitarist, namely trying to get a dropped pick out of the thing; Ringo showing off some impressively white teeth in a madcap grin. The self-portraits are welcome, too, the best of them showing off a kid who seems thrilled by most of life, whether geeking out in Tahiti with what appears to be a strand of kelp or snapping the band horsing around at a Miami swimming pool. The photographs gathered here attest to George’s own explanation for his interest: “I like cameras because you can see things in a different way, and you can make things look how they feel instead of how they are.”