{"product_id":"16h","title":"Annuals. U.S. Camera Annual 1971. Josef Sudek, Elliott Erwitt, et al.","description":"\u003cp\u003eEdited by David Vestal. U.S. Camera Publishing Co., 1970. Featuring Josef Sudek; Elliott Erwitt; Sonja Bullaty and Angelo Lomeo; Edward Steichen; Michael Semak; Solomon D. Butcher; The Circus by Charles Reynolds; Molly Maguires by George Harvan; Brett Weston; Nell Dorr; Famous Photographers School: Student Photographs; Minor White; One by Ken Ohara; and Caulfield \u0026amp; Shook of Louisville, Kentucky. Also photos by William Barksdale, Lou Bernstein, Richard Blinkoff, Robert Bolton, Walter Bredel, Herb Breuer (cover), Dan Budnik, Helen Buttfield, Mark Cohen, Martin Dall, Edward F. D'Arms, Jr., Liliane De Cock, Sandy Dewing, P. Doele, Robert Doisneau, Mrs. Fred M. Dole, Rev. Fred M. Dole, Jerome Ducrot, Maury Englander, Will Faller, Antonio A. Fernandez, Laurence Fink, Bob Fletcher, Leonard Freed, Benno Friedman, Don Getsug, Mario Giacomelli, Ralph Gibson, Ronnie Ginnever, John Gossage, Emmet Gowin, M.J. Guariglia, Charles Harbutt, Kay Harris, Howard Harrison, Rosmarie Hausherr, James B. Johnson, Dorothea Kehaya, Sean Kernan, Russ Kinne, Alan Klotz, George Krause, Les Krims, Paul Kwilecki, Helen Levitt, Ricahrd Makino, Frank Maresca, Bard Martin, Dan McCoy, Fred McDarrah, Marlis Muller, Anne Noggle, Catherine Noren, Hal Okun, Michael Putnam, Herb Quick, Lilo Raymond, Ronald Rose, Steven Schoen, Michael Semak, Ann Zane Shanks, Jerry Siegel, Byron Stone, Richared Ustinich, Ed Van Der Elsken, Winston Vargas, Sam Wang, and Robert Weiss. Summary:\u003c\/p\u003e\n\u003cp data-path-to-node=\"0\"\u003e\u003cb data-path-to-node=\"0\" data-index-in-node=\"0\"\u003eU.S. Camera Annual 1971\u003c\/b\u003e, edited by Tom Maloney, serves as a high-water mark for the long-running series, capturing a distinct shift from traditional photojournalism toward deeply personal, conceptual, and \"New Topographic\" styles. This volume is particularly noted for its wide aesthetic range, juxtaposing the romanticism of the \"old masters\" with the gritty, experimental energy of the 1970s avant-garde.\u003c\/p\u003e\n\u003ch3 data-path-to-node=\"1\"\u003eMajor Features and Portfolios\u003c\/h3\u003e\n\u003cul data-path-to-node=\"2\"\u003e\n\u003cli\u003e\n\u003cp data-path-to-node=\"2,0,0\"\u003e\u003cb data-path-to-node=\"2,0,0\" data-index-in-node=\"0\"\u003eThe Masters:\u003c\/b\u003e The annual pays homage to the legendary \u003cb data-path-to-node=\"2,0,0\" data-index-in-node=\"53\"\u003eEdward Steichen\u003c\/b\u003e and \u003cb data-path-to-node=\"2,0,0\" data-index-in-node=\"73\"\u003eJosef Sudek\u003c\/b\u003e. Sudek’s \"The Magic Garden\" sequence showcases his unparalleled ability to capture the poetic, atmospheric light of Prague, while Steichen's inclusion reinforces the historical lineage of the medium.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp data-path-to-node=\"2,1,0\"\u003e\u003cb data-path-to-node=\"2,1,0\" data-index-in-node=\"0\"\u003eThe Westons and Minor White:\u003c\/b\u003e \u003cb data-path-to-node=\"2,1,0\" data-index-in-node=\"29\"\u003eBrett Weston\u003c\/b\u003e contributes his signature high-contrast architectural and natural abstractions, while \u003cb data-path-to-node=\"2,1,0\" data-index-in-node=\"128\"\u003eMinor White\u003c\/b\u003e represents the \"spiritual\" wing of photography, emphasizing the photograph as a metaphor.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp data-path-to-node=\"2,2,0\"\u003e\u003cb data-path-to-node=\"2,2,0\" data-index-in-node=\"0\"\u003eKen Ohara (\"One\"):\u003c\/b\u003e One of the book's most striking contemporary features is a selection from Ken Ohara’s \u003ci data-path-to-node=\"2,2,0\" data-index-in-node=\"105\"\u003eOne\u003c\/i\u003e, consisting of tight, anonymous, full-face portraits that strip away social context to find a raw, universal humanity.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp data-path-to-node=\"2,3,0\"\u003e\u003cb data-path-to-node=\"2,3,0\" data-index-in-node=\"0\"\u003eElliott Erwitt:\u003c\/b\u003e Representing the humanist\/wit tradition, Erwitt’s portfolio provides a characteristic blend of irony and candid social observation.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp data-path-to-node=\"2,4,0\"\u003e\u003cb data-path-to-node=\"2,4,0\" data-index-in-node=\"0\"\u003eThe Circus (Charles Reynolds):\u003c\/b\u003e A major thematic essay that uses the spectacle of the circus to explore the intersection of fantasy and the reality of performance.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3 data-path-to-node=\"3\"\u003eSocial and Regional Documentation\u003c\/h3\u003e\n\u003cul data-path-to-node=\"4\"\u003e\n\u003cli\u003e\n\u003cp data-path-to-node=\"4,0,0\"\u003e\u003cb data-path-to-node=\"4,0,0\" data-index-in-node=\"0\"\u003eThe Molly Maguires (George Harvan):\u003c\/b\u003e A gritty, documentary-style look at the coal regions of Pennsylvania, capturing the stark lives and history of the miners.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp data-path-to-node=\"4,1,0\"\u003e\u003cb data-path-to-node=\"4,1,0\" data-index-in-node=\"0\"\u003eSolomon D. Butcher:\u003c\/b\u003e The annual includes a historical look at Butcher’s 19th-century frontier photography, providing a stark contrast to the modern urban work elsewhere in the volume.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp data-path-to-node=\"4,2,0\"\u003e\u003cb data-path-to-node=\"4,2,0\" data-index-in-node=\"0\"\u003eCaulfield \u0026amp; Shook:\u003c\/b\u003e A regional archive feature focusing on the industrial and social development of Louisville, Kentucky.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp data-path-to-node=\"4,3,0\"\u003e\u003cb data-path-to-node=\"4,3,0\" data-index-in-node=\"0\"\u003eThe New Generation:\u003c\/b\u003e The volume is packed with \"new\" talent that would soon become the establishment, including \u003cb data-path-to-node=\"4,3,0\" data-index-in-node=\"111\"\u003eEmmet Gowin\u003c\/b\u003e, \u003cb data-path-to-node=\"4,3,0\" data-index-in-node=\"124\"\u003eRalph Gibson\u003c\/b\u003e, \u003cb data-path-to-node=\"4,3,0\" data-index-in-node=\"138\"\u003eJohn Gossage\u003c\/b\u003e, \u003cb data-path-to-node=\"4,3,0\" data-index-in-node=\"152\"\u003eMark Cohen\u003c\/b\u003e, and \u003cb data-path-to-node=\"4,3,0\" data-index-in-node=\"168\"\u003eLeonard Freed\u003c\/b\u003e. Their work highlights a move toward fragmented, high-tension street photography and intimate domestic studies.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003ch3 data-path-to-node=\"5\"\u003eThemes and Technical Shifts\u003c\/h3\u003e\n\u003cp data-path-to-node=\"6\"\u003eThe 1971 edition reflects several key cultural and technical transitions:\u003c\/p\u003e\n\u003cul data-path-to-node=\"7\"\u003e\n\u003cli\u003e\n\u003cp data-path-to-node=\"7,0,0\"\u003e\u003cb data-path-to-node=\"7,0,0\" data-index-in-node=\"0\"\u003eThe Snapshot Aesthetic:\u003c\/b\u003e The work of \u003cb data-path-to-node=\"7,0,0\" data-index-in-node=\"36\"\u003eEmmet Gowin\u003c\/b\u003e and \u003cb data-path-to-node=\"7,0,0\" data-index-in-node=\"52\"\u003eMark Cohen\u003c\/b\u003e signals a move away from \"perfect\" composition toward a more jarring, immediate, and subjective way of seeing.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp data-path-to-node=\"7,1,0\"\u003e\u003cb data-path-to-node=\"7,1,0\" data-index-in-node=\"0\"\u003eGlobal Humanism:\u003c\/b\u003e While the \"Concerned Photographer\" movement remains strong in the work of \u003cb data-path-to-node=\"7,1,0\" data-index-in-node=\"91\"\u003eLeonard Freed\u003c\/b\u003e and \u003cb data-path-to-node=\"7,1,0\" data-index-in-node=\"109\"\u003eMario Giacomelli\u003c\/b\u003e, it is increasingly tempered by the formalist experiments of \u003cb data-path-to-node=\"7,1,0\" data-index-in-node=\"187\"\u003eRalph Gibson\u003c\/b\u003e and \u003cb data-path-to-node=\"7,1,0\" data-index-in-node=\"204\"\u003eBenno Friedman\u003c\/b\u003e.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp data-path-to-node=\"7,2,0\"\u003e\u003cb data-path-to-node=\"7,2,0\" data-index-in-node=\"0\"\u003eEducational Outreach:\u003c\/b\u003e The feature on the \u003cb data-path-to-node=\"7,2,0\" data-index-in-node=\"41\"\u003eFamous Photographers School\u003c\/b\u003e students offers a rare look at how the medium was being taught and consumed by the general public at the start of the decade.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003chr data-path-to-node=\"8\"\u003e\n\u003ch3 data-path-to-node=\"9\"\u003eSignificance\u003c\/h3\u003e\n\u003cp data-path-to-node=\"10\"\u003eU.S. Camera Annual 1971 is a vital archival document because it successfully bridged the gap between the mid-century \"Humanist\" era and the fragmented, postmodern 1970s. By placing \u003cb data-path-to-node=\"10\" data-index-in-node=\"181\"\u003eJosef Sudek\u003c\/b\u003e and \u003cb data-path-to-node=\"10\" data-index-in-node=\"197\"\u003eEmmet Gowin\u003c\/b\u003e in the same volume, the editors acknowledged that the definition of a \"great photograph\" was expanding to include both the sublime and the suburban.\u003c\/p\u003e\n\u003cp\u003eCopies available:\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eWraps, as issued. A couple of crimps in cover, otherwise fine.\u003c\/li\u003e\n\u003cli\u003eWraps, as issued. Rear cover creased, otherwise VG.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Gary Saretzky Photo Books","offers":[{"title":"Fine","offer_id":54316802998582,"sku":null,"price":18.53,"currency_code":"USD","in_stock":true},{"title":"Very Good","offer_id":54316803031350,"sku":null,"price":14.05,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0989\/4182\/9430\/files\/IMG_1089.jpg?v=1785031229","url":"https:\/\/enclothin.com\/products\/16h","provider":"enclothin","version":"1.0","type":"link"}