21,77 €
24,19 €
-10% with code: EXTRA
Robert Adams: Why People Photograph
Robert Adams: Why People Photograph
21,77
24,19 €
  • We will send in 10–14 business days.
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…
24.19
  • Publisher:
  • ISBN-10: 0893816035
  • ISBN-13: 9780893816032
  • Format: 14.1 x 21 x 1.6 cm, minkšti viršeliai
  • Language: English
  • SAVE -10% with code: EXTRA

Robert Adams: Why People Photograph (e-book) (used book) | bookbook.eu

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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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  • Publisher:
  • ISBN-10: 0893816035
  • ISBN-13: 9780893816032
  • Format: 14.1 x 21 x 1.6 cm, minkšti viršeliai
  • Language: English English

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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