| | PUBLISHER
ApertureBOOK FORMAT
Paperback, 5.5 x 8.25 in. / 189 pgs / 29 reproductions throughout. PUBLISHING STATUS
Pub Date 6/15/2005
No longer our product DISTRIBUTION
Contact Publisher
Catalog: PRODUCT DETAILS
ISBN 9780893816032 TRADE
List Price: $16.95 CAD $20.00 AVAILABILITY
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| | | APERTURERobert Adams: Why People PhotographSelected Essays and ReviewsText and essays by Robert Adams.
A now classic text on the art, Why People Photograph gathers a selection of essays by the great master photographer Robert Adams, tackling such diverse subjects as collectors, humor, teaching, money and dogs. Adams also writes brilliantly on Edward Weston, Paul Strand, Laura Gilpin, Judith Joy Ross, Susan Meiselas, Michael Schmidt, Ansel Adams, Dorothea Lange and Eugène Atget. The book closes with two essays on “working conditions” in the nineteenth- and twentieth-century American West, and the essay “Two Landscapes.” Adams writes: “At our best and most fortunate we make pictures because of what stands in front of the camera, to honor what is greater and more interesting than we are.”
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FORMAT: Paperback, 5.5 x 8.25 in. / 189 pgs / 29 reproductions throughout.
LIST PRICE: U.S. $16.95
LIST PRICE: CANADA $20
ISBN: 9780893816032
PUBLISHER: Aperture
AVAILABLE: 6/15/2005
DISTRIBUTION: D.A.P.
RETAILER DISC: TRADE
PUBLISHING STATUS: No longer our product
AVAILABILITY: Not Available
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Customer Service: (800) 338-2665
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| Robert Adams: Why People Photograph
Selected Essays and Reviews Published by Aperture.
Text and essays by Robert Adams. A now classic text on the art, Why People Photograph gathers a selection of essays by the great master photographer Robert Adams, tackling such diverse subjects as collectors, humor, teaching, money and dogs. Adams also writes brilliantly on Edward Weston, Paul Strand, Laura Gilpin, Judith Joy Ross, Susan Meiselas, Michael Schmidt, Ansel Adams, Dorothea Lange and Eugène Atget. The book closes with two essays on “working conditions” in the nineteenth- and twentieth-century American West, and the essay “Two Landscapes.” Adams writes: “At our best and most fortunate we make pictures because of what stands in front of the camera, to honor what is greater and more interesting than we are.”
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