Average customer rating:
- A Beautifully Printed Book!!!
- Eugene Smith... what can I say!
- Staff Photographer, Seattle Times, Seattle, Washington
- Review of Smith book from an old friend
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W. Eugene Smith Photographs 1934-1975
Gilles Mora
Manufacturer: Harry N. Abrams
ProductGroup: Book
Binding: Hardcover
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Dream Street: W. Eugene Smith's Pittsburgh Project
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ASIN: 0810941910 |
Customer Reviews:
A Beautifully Printed Book!!!.......2005-09-18
Ugly cover design, but beautiful tonal range in the printing of this beautiful collection of Eugene Smith's work. A very comprehensive book of Smith's photojournalistic art.
Eugene Smith... what can I say!.......2002-01-20
Superb. I am a professional photographer, and i really admire Smiths work. This book is a great collection of some of his images.
The publishers did a good job reproducing the photographs, nice detail and tone. Definitely worth the price.
Staff Photographer, Seattle Times, Seattle, Washington.......2000-07-17
An excellent display and text of one of one of the world's great photojournalists. I would recomend this book highly to any fan of E. Eugne Smith
Review of Smith book from an old friend.......1999-01-08
SMITH BOOK REVIEW
Having risked hernia to browse the impressive new book of an old friend and neighbor, ( W. Eugene Smith; Photographs 1934-1975 John T. Hill/Gilles Mora) what first grabs is the space, air and light enveloping these intense images with almost a loving caress, a sense of freshness and sunlight never possible in our dim, dingy-dusty claustrophobic Sixth Avenue loft building, where, just outside my studio door, were piled stacks upon stacks of his work mounted on black 16x20 dogeared mats, just waiting to be stolen, but which were, in fact, attributed by many visitors to some magical drugstore, and could I, please, arrange to have their wedding pictures made there, too? Gene couldn't sell one print for even twenty-five bucks in those days. Every night when I came home to sleep there was the despairing Clement Attlee staring upward at the bare light bulb over my doorway.
That was forty years ago, and twenty since Gene went to that great blast of ferrocyanide in the sky, and much ado about him has taken place in the interim. New York fifties mindset was Freudian psychoanalysis; everyone went to a shrink. Any prominent individualistic tendencies were often condemned to one definition of neurosis or another, and in the rather small and specious world of photography , Gene's maverick determination stood out in high relief. Businessmen photographers-- like the young Lee Friedlander, himself awash in Freudophilia, considered Gene a `spoiler', pretentious-precious, and went instead to sit at the feet of the polymorphous Walker Evans; yes, "pomposity" was pretty much the legend that Gene's exit from LIFE brought down around his head. Not a team player at all; tsk tsk. And in his brave repudiation of corporate moloch, Gene valiantly pratfalled himself right into the lap of utter poverty.
To large extent, Gene's persona seemed to require a struggle against impossible odds; it focused and sharpened him to the high standards he demanded from himself , and he was no slouch when it came to grandstanding, often with tears, his anti-Goliath position. He built his own Myth of Smith, his self-invented public (relations?) image, fine when LIFE was footing the bill, but now, inside our firetrap former whorehouse , there was real rent to pay, real electric bills, bona fide empty refrigerators. That is about when we began to get acquainted--- I never really bought the Myth; for me he was just the strangely interesting guy downstairs who became a great pal.
Outside the loft, Gene was quick to acquire the packagable cliche of the garret-starved self-destructive artist. Compared to Van Gogh, he earned some residue of American Puritan contempt; this man whose great humanity was most evident in his work was treated most inhumanely by his peers.
Inside the loft, for many years the two of us were in daily contact, working and trying to exist under extremely difficult economic circumstances, and we often had one helluva good time!! I found him to be a genial, generous, courageous---often outrageous-- warm wildly witty man, always humble, sensitive, shy and hard-working, sharing a great interest in art, with a remarkable philosophical perspective. We jabbered of Welles and Chaplin , wide angle lenses, witches, Goya, Haiti, Satchmo, Stravinsky, O'Casey, Joyce, Kazan, war, suicide, politics, cock-fought over girls, guzzled cheap scotch, and swung with the jazz that regularly took place in my studio , as if great mind trips could avert the cold fact of the necessity to eat. I remember one hot summer day, making cream cheese and molasses sandwiches for us on cinamon bread. Gene argued that we didn't have to buy the molasses because we could get the iron from our rusty tap water. As a rule, his antic humor and punning sense managed always to keep things slightly off-balance; this man who had such a profoundly dramatic instinct and attraction for the tragic had also a capricious spirit of the absurd in the way he conducted his daily life; Van Gogh with a manic dash of Robin Williams.
And astonishingly productive. Yet always the gloomy impassioned chairoscuro came out of the darkroom-- prints blacker than black, then mounted on black, dense, intense, often in layout strangulation, making sure; I , W. Eugene Smith , won't let you go gently into that unferrocyanided good night. Sans assignments, now more artist than journalist, for years on end Gene shuffled his prints, made and remade PITTSBURG, photographed our jazz and our personal La Boheme, tried a failed book, a failed magazine, and finally luck brought him The Jewish Museum show and then his crescendo, Minimata.
One night in Bradley's in 1975, Gene said, "Well, Dave, I finally got there at last. I've got ten thousand dollars in the bank for the first time. Of course, it's only going to be there about a week."
Jump cut posthumous; an icon, passed away amongst us, is now suddenly acknowledged. Many who jeered him, refused him recognition, now come out to sycophant, to pedestal, to celebrate his life-- including LIFE itself. Gee, we're SO sorry; but let's exploit!
Those twenty-five dollar prints buckled the registers at auctions, and giant profits were made; yes, the same old art-woe story--- just at the time Vinnie the Gogh himself was pulling down millions in Sotheby sales. The dark side of Gene, finally, surely, took care of his children and at least one of his wives.
We get a brilliant and sensitive biography by Jim Hughes, a soso documentary, worldwide traveling shows. And then it seemed over. "There's no money left around for Gene Smith anymore" comments executor John Morris in the late eighties, handing his stewardship over to Gene's bastard son.
Now, surprise! comes this current coffee table dominatrix which gives Gene's babies, his pictures, the opportunity to have a life of their own in renewal. SNAP!! Of course one can argue anew the merits of the individual essays and which choices are the best, etc., but for myself-- having gone to bed amidst these images for many years, there's something new about them now; suddenly welcome. There is a spank-spank/no-no here; not all of what we see are Gene's own prints, very much against the artist's wishes, but the damage is by no means on the level of, say, Clement Greenberg's sanding off the paint on David Smith's sculptures after his death. And most of these choices help illuminate Gene's way of seeing and working. There are also textual inaccuracies; Hall Overton did not own the loft bldg. I had rented three floors, and Hall rented originally from me, and my friend Sid Grossman sent over Harold Feinstein to share Hall's floor. When Harold left, he brought in Gene.
I liked John Hill's technical essay at the closure. I was with Gene the night MAD EYES burnt out all the surrounding background, with ritual Clan MacGregor celebration, for neither of us-- one painter, one photographer-- gave a whit about `objectivity'.
This spacious book-bomb adds honor and light to these master photographs, allowing them their own life and breathing room not usually available. Gene's insistence on control force-gilded his lilies, giving barely any space in his layouts to let the eye feel free to wander on its own volition. Now one can look afresh with impunity, and they look a bit different--even better.
In any event, Gene, now busily groping angels, can no longer argue in his own defense, no longer joke, weep, holler, cajole, rage, pun. And he doesn't need to.
You know? This fellow really had one goddamned great eye and sense of when.
David X Young
Oct 22 1998
Book Description
The "bible" of radiography, this comprehensive resource presents more than 400 projections. Clear, step-by-step instructions explain all commonly performed procedures. Merrill's shows how to properly position the patient so that each radiograph provides the information the physician needs to make a correct diagnosis. Separate chapters cover each bone group or organ system, all illustrated in full color and augmented with MRI images as appropriate. This text is so highly regarded that many state boards and the American Registry of Radiologic Technologists refer to it when designing their certification exams.
Book Description
This handy pocket companion presents radiographic essentials in a quick-reference format ideal for the clinical setting. Bulleted, step-by-step explanations illustrate how to position the patient for 200 of the most common radiographic projections, including mobile and neonatal procedures. Unique to this guide is coverage of digital radiography and reference radiographs with each positioning presentation.
Customer Reviews:
Merrill's pocket guide.......2007-08-26
Great little book to keep by my side but i wish the pages were laminated or at least where the pages meet the spiral because they are so thin and seem likely to rip at any time.
Merrill's Pocket Guide.......2007-03-17
A great little book. It has pictures of positions (and radiographs to match), and charts to fill in your own information.
Book Description
Review and apply the concepts presented in Merrill's Atlas! This popular workbook set includes anatomy labeling exercises, positioning exercises, self-tests, and an answer key. Types of exercises include matching, labeling and identifying anatomy, short-answer and multiple-choice questions, crosswords, true/false, fill-in-the-blank, identifying structures on radiographs, and identifying proper patient positioning. A must-have for radiography students!
Book Description
W. Eugene Smith (1918-78) is widely acknowledged as the 'master photo-essayist of his generation'. He declared that his mission in life was nothing less than to 'document, in words and pictures, the human condition'. 55 includes images from the landmark photo-essays 'Country Doctor', 'Pittsburgh' and 'Minamata', as well as other work from his massive legacy.
Other artists in this series include: Eugene Atget, Mathew Brady, Wynn Bullock, Julia Margaret Cameron, Joan Fontcuberta, David Goldblatt, Nan Goldin, Graciela Iturbide, Andre Kertesz, Dorothea Lange, Mary Ellen Mark, Joel Meyerowitz, Boris Mikhailov, Lisette Model, Laszlo Moholy-Nagy, Eadweard Muybridge, Eugene Richards, Shomei Tomatsu, Joel-Peter Witkin
Customer Reviews:
Eugene Smith-Master of the Chiaroscuro Photo.......2006-04-04
Eugene Smith was one of the greatest photographers of the Twentieth Century. He worked as a photojournalist from the 1930's until the 1970's. Smith was able to elevate his photographs from the realm of journalism into high art. His best photographs use the contrasting effect of light and dark in the chiaroscuro tradition of Spanish Master, Francisco Zurbaran.
This volume is part of Aperture Masters of Photography Series. At under ten dollars, there is no better introduction one can find on the life and work of Eugene Smith. The publisher of this volume is Koneman, a German company well known for the high quality of its productions. This book is a good value and is highly recommended.
Good introduction.......2003-11-06
If you are interested in photography and want to see a good introduction on an excellent photographer, buy this book. The Aperture edition has most of Smith's important pictures and discusses his personal/professional dilemma, which generally should be read very critically in art books, which informs us of the tension in the photographer, which is the important element of good photojournalism. In photojournalism, the tension should be the informing pointer as to what is going on in the picture.
Smith is one of the most important photographers from the 20th century. His influence was great and his work on the photo-essay is defining (e.g. his Life magazine essay on Dr. Ceriani in 1948). His most memorable photo was of Tomoko Uemura with her son in 1972).
Other 20th century photographers you may want to discover or learn from are: Eugene Atget (late-19th/early 20th C), who documented Paris for artists, but whose work influenced the existential air of 20th century photography; Alfred Eisenstadt (mid-late 20th C), who, in my opinion, was the father of modern photo-journalism; and Mary Ellen Mark (late-20th C), who captured the zeitgeist of late-20th century better than most photographers, who tended to project meaning onto their subjects, rather than receive them as Mark was and is so adept at doing.
Of the many photo books on the shelves, this one is worth your time and money.
great book.......2001-06-18
This is a great introduction to one of the most outstanding photographers of all time. The author obviously understands Smith's genious!!
Book Description
Photographs by W. Eugene Smith
Illustrated biography by Ben Maddow
Afterword by John G. Morris
Let Truth Be The Prejudice documents the life and work of W. Eugene Smith, a man whose work expanded the range and depth of photography, bringing new aesthetic and moral power to the photo essay. Smith was born in 1918 in Wichita, Kansas, and raised according to traditional American values, believing in the nobility of America and the injustice of war. He began taking pictures with his mother's camera while still a boy and continued this practice throughout his schooling. In 1937 his burning ambition took him to New York City, where his rise as a professional photographer was meteoric.
Before he was twenty-one, Smith had placed hundreds of photographs in the major picture magazines of the time. Dramatic composition, a hard-edged brilliance, and a mastery of lighting were evident even in this early work. But the moment of true ground-breaking would occur during World War II. It was when Smith went ashore with the Marines at Saipan, Guam, and Iwo Jima that his work and his sense of moral responsibility came together. He wrote: "Each time I pressed the shutter release it was a shouted condemnation hurled with the hope that they might echo through the minds of men in the future-- causing them caution and remembrance and realization." Breaking from the concerns of the mass media, his personal priorities were born. Smith's war photographs earned him repeated and justified comparisons to Mathew Brady. His coverage of American prisoner-of-war camps helped convince the Japanese that their fears were exaggerated, and stopped the suicide of thousands of terrified citizens upon the advance of American troops. This would not be the last time that Smith's work would change as well as document history.
After the war, Smith became a staff photographer at Life magazine, where he created many of his most famous photographs. The essays "Country Doctor" and "Nurse Midwife" influenced an entire generation. Smith moved from mine villages in Great Britain to Albert Schweitzer in French Equatorial Africa to a sweeping study of Spanish village life. At a meeting of the Ku Klux Klan he created haunting images of hatred, fear, and bigotry, which beautifully counterpoint the humanity of his great Life0 essays. Smith also showed his skill at portraiture, shooting many of the luminaries of the time.
His frustrations with commercial publishing finally led to a split with Life magazine in 1954, a true case of "artistic differences." He devoted his remaining twenty-four years to independent projects. It was a period of intense personal suffering and poverty. During these years he pushed one project, "Pittsburgh," virtually to the breaking point and along the way created photography's greatest urban landscape.
His last great essay, "Minamata," depicted both the human suffering caused by mercury poisoning in a Japanese industrial port, and helped put an end to that pollution. A severe beating by factory thugs aggravated his already failing health and on October 15, 1978, he died. Over the span of forty driven years, Smith dreamed on an epic scale and his accomplishments were heroic. He once wrote: "Never have I found the limits of the photographic potential. Every horizon, upon being reached, reveals another beckoning in the distance. Always, I am on the threshold."
Here is the definitive work on Smith's life and work, containing his major photo-essays, the portrait work, and spanning his brilliant career from his days aboard an aircraft carrier, through the breadth of Pittsburgh, to the human suffering explicit in his last great essay in Minamata. All these images have been painstakingly reproduced to insure the greatest quality in testament to Smith's genius.
Moral passion and photographic truth were inseparable to Gene Smith. He pursued both and the measure of his greatness is that he compromised neither. His achievements were realized at no small cost to himself and those around him. In the accompanying biography, "The Wounded Angel," author Ben Maddow takes the measure of the man and looks unflinchingly at the muses and demons that drove W. Eugene Smith to the fulfillment of his dream of greatness. Maddow's biography is the first published in-depth portrayal of Gene Smith's life. It is a dramatic saga made all the more vivid by Maddow's commitment to the facts and his subject.
Customer Reviews:
He didn't editorialize.......2000-06-11
In the mid-70's, I attended a slide lecture by Smith at Northern Michigan University in Marquette. I didn't know a thing about him, but the presentation haunts me still. He was helped onto the stage, a very old man, and quietly, he narrated the Minimata work in a slide show. The audience, a bunch of party school undergrads and townspeople, were completely silent the entire time. It was almost as if Smith knew that if the slightest emotion showed in his voice, his audience would be lost in sobs. He didn't editorialize, he just spoke, simply and quietly. At the end of the show, he put up one last slide. It was of a blackboard with the words in chalk, "Thank you, all you lovely people." It brings tears to my eyes almost 20 years later.
A brillantly sad and talented man.......1999-11-03
The life of W. Eugene Smith is none the less; inspiring yet depressingly so... A reflection of the truth in life, man and society.
He was probably a bastard, but I wish I'd met him.......1999-07-28
In the fall of 1985 I drove down from Northern New Jersey to the Philadelphia Museum of Art to see the retrospective show of W. Eugene Smith's work for which this book was the catalog. I walked through the rooms and people stood in front of his Minamata photographs, weeping. Smith paid for those pictures with his eyesight, probably the better part of his sanity. If he drank before, the stories are that after his return from Japan he plunged into the bottle full-bore. If one can talk of a man's life and work in religious terms, W. Eugene Smith's career was a prolonged and self-willed crucifixion, a sacrifice in the name of a Truth that I'm not sure we're ready for yet.
I haven't photographed seriously in quite a few years, but whenever I made a print, there in the darkroom I could feel Smith's presence saying two things to me: "You're lousy at this" and "Don't ever stop."
Book Description
Aperture Masters of Photography Six-Copy Collector's Set
Includes Wynn Bullock, Harry Callahan, Eikoh Hosoe, Tina Modotti, Barbara Morgan, and W. Eugene Smith
Aperture's expanded Masters of Photography series presents an engrossing introduction to the photographers whose work has incalculably affected the way we regard the world. Each volume begins with an essay by a leading critic or historian, offering an incisive look at the photographer's career and importance in the history of photography. Each hardcover, clothbound volume in this slipcased set features approximately forty duotone images.
Average customer rating:
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W.Eugene Smith
Manufacturer: Thames & Hudson Ltd
ProductGroup: Book
Binding: Hardcover
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W. Eugene Smith Photographs 1934-1975
ASIN: 0500542252 |
Customer Reviews:
W.Eugene Smith.......2007-08-10
An excellent book with very well printed photographs by one of the most gifted photographer. A real must!
Book Description
Legendary photographer W. Eugene Smith's epic study of Pittsburgh in the 1950s. In 1955, having just ended his high-profile but stormy career with Life magazine by resigning, W. Eugene Smith was commissioned to spend three weeks in Pittsburgh and produce one hundred photographs for noted journalist and author Stefan Lorant's book commemorating the city's bicentennial. Smith stayed a year, compiling nearly sixteen thousand photographs for what would be the most ambitious photographic essay of his life. But only a fragment of the work was ever seen, despite Smith's lifelong conviction that it was his greatest set of photographs. Now, in an astonishing, first-time assemblage, edited by Sam Stephenson, of the group of core pictures that Smith asserted were the "synthesis of the whole," we see a portrayal not just of Pittsburgh but also of America at mid-century by a master photojournalist. In his accompanying essay, Alan Trachtenberg provides a critical reading of Smith's photographs, assessing Smith's attempt to document visually an American city in the context of the time period. 175 duotone photographs.
Customer Reviews:
Very impressed.......2007-01-04
This book was bought for Christmas for my husband who just loves photography. He has had this on his must have list for some time so he was delighted with it.
An interesting perspective on Pgh of the past.......2006-06-24
I'm a Pittsburgh native, though I was born after the pictures were made. Still, I found Dream Street to be an interesting perspective on my hometown. Smith's special gift is looking beyond the typical "beauty shots"- the Pittsburgh skyline, the parks, etc., and capturing images that create a strong feeling of the local neighborhoods and their residents. While the topology of Pittsburgh creates strong local neighborhoods, it's the mix of residents that really gives it character. Local restaurants, the alleys and streets of some of the less glamourous sections of the city, and the sense of history and grandeur of Mellon Bank downtown. This book is a great opportunity to step into the past and feel the grit of a true industrial city. Smith's personal genius - and his demons- heavily influnce the project. We're fortunate to be able to benefit from his views after the fact. Special credit has to go to the editors for wading through the 17,000 images Smith shot to get down to the highlights for this book.
A must have for American art lovers.......2006-02-28
This book does a great job in documenting not only W. Eugene Smith's four years of extensive research and photographing Pittsburgh, PA but it also reveals a torment man's struggle in trying to capture something that we will never understand since his 6000 photographs of Pittsburgh set a standard for not only documenting a city but he also raise the bar in the artistic expression of black & white photography. The prints of Smith's work in this book are very good and edited quite nicely, included are some of the photograper's letters to his friend and relatives revealing the thoughts of a troubled genius in words that show he could have been a great writer, too.
the results of obsession.......2005-08-25
This book demonstrates how an obsession grew and produced some exceptionally fine photographic art. I gather that Smith was a difficult man to work with, but this is a great book full of great photographs and if you want an outstanding addition to your photography library, do not hesitate to buy your own copy. When I look for inspiration in my own photography, I take this book down and look and look and look.
A special piece of history.......2003-01-18
Dream Street will not win you over with its elegant aesthetics or even with "decisive moments," as might the work of other famous photographers. This is more like the kind of photography that Robert Penn Warren or Edgar Lee Masters might have created if they took pictures. Smith is a humanist whose pictures reveal the fabric of the lives of everyday people. My favorite pictures include the grimacing zoning commissioners and the hopeful faces of young veterans. Smith complements his photographs of people with compelling landscapes that show how people and machines interacted in this unique industrial ecosystem.
The pictures come with a text that explains the unusual story behind the creation of this essay. Like a few other geniuses, Smith was not adept at meeting the demands of his mortal peers. The original impetus for this work came from Life Magazine, who asked for a short term assignment about the region. Smith missed his deadline and ended up staying on to make pictures for several years! A set of galley layouts reveal the way that Smith conceptualized the important parts of his work, from sections such as "money and commerce" to "alone in the city." The text explains how his vision was compromised by the format of magazines. Even when more than 80 images were finally published with Smith's edit in Popular Photography, the photographer still viewed the result as a failure. The reader of this book will see that Smith was wrong about his efforts. Instead, this pictures make a great historical document about the life of a city.
Customer Reviews:
One of the 20th century's most important photographic works.......2001-05-23
There's only one word to describe this book, and that is incredible. In many ways the culmination of the brilliant career of photojournalist W. Eugene Smith, it's a two-year study of the effects and repercussions from mercury poisoning on a small fishing village in Japan via toxic waste being dumped into the sea. As searing as it is respectful, Smith (with text by his wife Aileen) takes us into their world and follows the story from the victims to the court battles over culpability.
As his last major work, and one that arguably cost him his life (he was severely beaten by corporate goons while working on Minamata, an attack from which he never really recovered), it's astonishing that this book hasn't been reprinted. But even if it is, it will be interesting to see how a new edition is handled - the family of the subjects in Smith's famous "mother bathing girl" image has requested it no longer be published anywhere, and his estate is complying with their wishes.
It's out of print for now, but track a copy down. You won't be sorry.
Minamata.......2001-03-09
This was a really interseting book. I liked it very much. I would reccoment this book to anybody.
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