- Hardcover: 131 pages
- Publisher: Little, Brown; 1st edition (January 1, 1993)
- Language: English
- ISBN-10: 0821219804
- ISBN-13: 978-0821219805
- Product Dimensions: 10.2 x 0.8 x 11.2 inches
- Shipping Weight: 2.8 pounds (View shipping rates and policies)
- Average Customer Review: 40 customer reviews
- Amazon Best Sellers Rank: #626,744 in Books (See Top 100 in Books)
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Ansel Adams in Color Hardcover – January 1, 1993
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From Library Journal
Although he claimed he did not like color photography, Ansel Adams nonetheless produced a highly accomplished if relatively small body of color work, selections of which are gathered here. These scintillating images embody the same refined detail and delicacy of light seen in Adams's black-and-white photographs. In fact, the subtleties of light so often overwhelmed in color photography are clearly evident here. Characterized by restrained, at times understated hues, the photographs are consistently remarkable. They have been ably selected and arranged by editor Callahan and are further enhanced by an informative introduction by James L. Enyeart. This beautifully designed and printed work, which is well worth its price, should be considered a standard title in all public and academic library collections. Highly recommended.
- Raymond Bial, Parkland Coll. Lib., Champaign, Ill.
Copyright 1993 Reed Business Information, Inc.
Adams died in 1984, still planning a book on color photography, a topic that he had wrestled with since the 1950s and that gave him profound discomfort. He allowed that were he a young photographer in the 1980s, he'd work in color, yet in the last letter quoted herein he confessed, "I don't like photographic color. . . . It is not my dish of tea!" In other remarks, he was more analytic about color's challenges. Mostly, he regretted lack of control over intensity and hue, which afforded him no way to transform color as he transformed and exaggerated tonal values in black-and-white. For Adams, black-and-white was an abstract medium and color was inseparable from banal realism. He also sensed in himself a lack of "color imagination," the quality that distinguished the work of his colleague and friend Eliot Porter. He was right, yet he produced 3,000 color transparencies, most as tests for Kodak or for 1940s and 1950s commercial jobs. Eminent color photographer Harry Callahan culled 59 landscapes from this work for this album, which thoroughgoing photography collections will want in order to document Adams' beliefs about color photography and as testimony to the problems color has presented as a creative medium. Gretchen Garner
Top customer reviews
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Those familiar with Ansel's monochrome work may be surprised to find a few of their polychrome equivalents. Color reproduction here is excellent. You may be tempted to frame some of these but that would mean taking the book apart.
The book is well written, very informative, nicely designed, well printed, and Ansel Adams. Who could ask for more?
Book quality is high. Good reproduction of the photos. Nice subject variety and an enjoyable addition to my collection.
Black and white photography has its place, but that place is not landscapes or nature. The essence of nature is color and no amount of skilled composition or talent in the darkroom can resurrect the sterile, bleak, desolate, and lifeless black and white landscapes normally associated with Adams. The images in this book leap off the page with dimensions of complexity and beauty completely lacking from Adam's typical work. The tonal rendering may seem a bit dark or retro to those used to more modern processes, but it is very faithful to Kodachrome's look.