No comments about The Roy Stuart Collection.

4 comments about Cowboy Kate and Other Stories: Director's Cut.

1. Years ago, I caught an article about Sam Haskins in Photo magazine. It talked much about the man and his work, and since reading that article I was dead set on finding a copy of "Cowboy Kate" Unfortunately, the book was out of print and the cost of obtaining a copy was substantially high for my budget. So there it remained on my wish list for years. Fortunately, I occasionally checked amazon to see if maybe the price would go down. And it did, and I bought.
   
   This book is filled with vintage erotic photography. By vintage I mean the 60's and by erotic, I don't really mean erotic at all. The images are all black and white, usually very high contrast and grain... a style that I have always loved. The images will undoubtedly come off as alluring and sexual because of the beautiful women and nudity. It comes off very sexual at times, but I believe that it was done in such a way that it can't even really be deemed "erotic" Haskins approached the subjects in such a noble way, it dodges the overly graphic, and often blatantly pornographic erotic books that many of us are used to seeing in the art books section. They are simply beautiful images that deserve long, appreciative looks. The photographs for me are absolutely timeless. Many can probably conclude the general time period in which they were photographed, but it still remains (to me) as fresh as anything that might have been photographed yesterday without the addition of the sex drive requirements that seem to be the standard these days.
   
   There are a few different bodies of work included in this book. My favorite is probably Cowboy Kate (cover image) but the other images also show for themselves. In a way, the bodies of work speak as a narrative... not so much frame to frame, but it tells a story as a whole. The girls are obviously comfortable in front of the camera, often playful and extroverted. Everything feels very natural and nothing seems forced. It doesn't feel like a photo shoot captured and laid out in a book for consumers.
   
   Unfortunately a few of my favorite Haskins photographs are not included in this book, but there are many others that make up for it. A great book to own. Get it before it goes out of print (again).



2. I'll never forget being knocked off my feet in the sixties by the freshness, frankness, imagination, lack of inhibition and striking beauty of Cowboy Kate. I still take it as a homage to our loveliest fantasies of women. It was an absolute breath of fresh air in comparison to 'artistic' i.e. expressionless and uninvolved women and stereotyped and jaded 'pinups.' What amazes me is that no one has yet done it any better. Haskin's women are both the girl next door and goddesses of unmatched grace, yet approachable. If you're a photographer, like me, Cowboy Kate is a source of fun, beauty and inspiration. If you're not, unrivaled fun and beauty isn't such a bad deal.



3. The book was very well put together. However, I am not familiar with the original, so I cannot proclaim any differences. I bought this book because I am a fan of photography and thought it would be artistically fun and sexy, and it is! It's a lot more blatently erotic than I expected. Something I didn't expect to discover from this book is that I don't really like the twiggy beauty from the 60s. But for those who do, this book is what you're looking for. There are some great artistic efforts with lighting and composition. Very impressive black and whites.



4. Buy this book now, It's going to be devoured by those in the know and it will cost you a fortune! Ethereal and magical are one way to describe Sam Haskins photos, also sexy and fabulous are good adjectives. It would be hard to choose. I ordered this book knowing that it was, and is, a classic, but had no idea of the impact these photos would have. You can tell by the cover that you are in for an emotionally charged ride that you will never forget. There is a slim narrative running throughout these photos, but you as the viewer are allowed to create your own story , and what a story it is. Kate and her cohorts are iconic babes that transcend the 60's. The girl's sheer beauty and playfulness will make you gasp, and even chuckle at their bodaciousness. I won't give away any secrets, but the photo's are remastered and gloriously beautiful. You..must...order...now!

5 comments about Body Type: Intimate Messages Etched in Flesh.

1. Ina Saltz, Body Type: Intimate Messages Etched in Flesh (Abrams Image, 2006)
   
   The idea of an all-text tattoo is brilliant. I can't believe I never thought of it. A lot of people, however, have, and Ina Saltz has made a project out of documenting these tattoos. The result (at least, up till now) is Body Type, a fine book of photography depicting these tattoos, with the expected short captions containing explanations by the owners of the tattoos about their reasons for getting them. (These are, at times, unintentionally hilarious.)
   
   As enamored as I am of the idea behind the book, I'm not as much so where some of the actual photographs are concerned. Many of them are nicely done, but there are a few that just don't work; too dark, too light, too washed out, too something, depending on the photograph. Not a good thing in a book of photography, one thinks. Still, there are enough good photographs here depicting such an excellent idea that it's still worth your time. *** ½



2. This book has thousands of clearly photographed tattoos for inspiration, they may also serve as a "What not to get" sample.



3. If you are into typography, the personal meanings of words, or tattoos, this is an excellent book. The photos focus on the words, not the people wearing them, but the descriptions of the tattoos from the owners bring it back to the people. There are also a few discussions about typeface choices that show that at least some of the owners really thought about it.



4. Although this charming little book is a quick read, it deserves to be returned to many times, to really admire and appreciate all of the unique, amazing, and well-done tattoos on display therein. In recent years, the old stereotypes of body modifications and the people who get them have been changing for the better. This book can only help in that endeavor. Far from displaying a bunch of bikers, criminals, delinquents, soldiers, and sailors, the type of people who are stereotypically associated with tattoos, these are people from a wide range of walks of life. Many of them are professionals and educated, and all put a lot of thought into these tattoos. And far from being the stereotypical fare of skulls, hearts, roses, and pin-ups girls, the tattoos themselves are also from a very diverse sampling.
   
   The book was inspired by a typographic tattoo which Ms. Saltz saw on the subway one day, and after that discovery (which her subject happily let her photograph), she began seeing more and more tattoos that contained words, letters, and typographical symbols instead of the more standard traditional pictorial images. These people used a wide variety of typefaces for these tattoos, and sometimes even designed their own typefaces. I loved the ambiagram tattoos, the ones designed in a typeface that lets the word be read the same upside-down as it is when viewed rightside-up. People have gotten tattoos containing loved ones' names (very unique was the woman who got her blind lover's name tattooed in Braille on the top of the back of her neck), quotations from Shakespeare, the Bible, movies, songs (the story behind the 33 people who had the first 33 words of Holland's national anthem tattooed on them was a very interesting one, reflecting not only the diversity of the nation but also how much the Dutch love their country), popular quotations, works of literature, and other things which inspire them. One of my favorite word tattoos was the one containing the opening line of 'The Divine Comedy,' in the original Middle Italian, since I also find the opening lines of that long epic poem to be very beautiful, moving, and inspiring. The tattoos are also categorised into such divisons as love, self-love, self-expression, politics, religion, and personal beliefs.
   
   Overall, this is a great small-sized coffeetable book full of great photography of a very unique subject. One doesn't need to have a tattoo or tattoos oneself to appreciate the photographs; I can't get a tattoo due to my religious beliefs, but I greatly admired all of the workpersonship and personal meaning that went into thinking up, designing, and executing these amazing tattoos, and even saw some I'd like to have myself if I were allowed to have a tattoo. I'd love for there to be a second volume, particularly because this one didn't include my own favoritest typefaces, Palatino and Bookman!



5. This book is fabulous for all the reasons Ina outlines in her introduction. I was not prepared for it to be both philosophical and intimate. I love it. It is inspirational. And I abhor tattoos.

5 comments about Script Supervising and Film Continuity, Third Edition.

1. This book is the BIBLE of the Script Supervisors book to purchase. If you are looking for a Internet class to take on Script Supervising you can use this book in the class! Internet classes are available at Riverside Community College and also Saddleback College for those interested in learning Script Supervising taught on your own home PC or laptop and classes run 8 or 16 weeks depending on what semester you sign up.



2. I'm new to Script supervising and I've learned a wealth of information. I highly recommend this book.



3. Miller's book provides the necessary foundational data one will need before getting into script supervising. Her writing doesn't exactly scintillate with humor like some of the new "guerilla filmmaking" books out there today -- she tends to write like a 1950s schoolteacher, precise and methodical -- but in an admittedly esoteric specialization of the industry where there are only a few books on the topic available, you really don't have a lot of options and you'll need this book. It's NOT sufficient for giving one the complete training needed to actually work as a script supervisor, however. Whoever wrote that you can learn what you need to know "on set" is just asking for trouble -- it's like thinking you can read a book on piloting an airplane and just get behind the yoke and learn "what you need to know" in the air. On a "real" film set (not some zero-budget digicam or student project that no one will ever see) mistakes are EXPENSIVE. Mistakes by a poorly trained s.s. can cost thousands of dollars (not including the cost of therapy when the director and editor go bonkers trying to cut the film from the scripty's notes.) Trying to learn on a "real" set could make it the first and the last real movie set you'll ever work on. I value Miller's book but it must be combined with a good course of study with a real-life teacher who can answer your questions. A course that includes on-the-job training and followup and information on how to research and obtain real jobs doing script supervising is critical -- obviously no book can contain all this. I found Jim Kelly Durgin's course to be helpful in this regard, and there may be others out there too if you look for them. BTW, I don't feel that the 3rd edition of the Miller book is substantially different or better than the 2nd, so if you need to save some money, you'll do just fine with the 2nd edition. I agree that she is old-fashioned (she doesn't deal _at all_ with the new continuity software on the market, a huge omission) but, again, there aren't that many books about this subject readily available.



4. Hi everyone:
   
   I am based in Toronto, Canada and have been script supervising feature films and television series internationally for 12 years now (read my imdb profile if you're interested in my "street cred"). During that time I have had the pleasure of training dozens of working script supervisors in the classroom as well as on set.
   
   I would like to say that I do recommend this book to all my students as a basic starting point - especially for those who never went to film school - mainly because nothing exists out there that is as clearly written and includes much of the basics (thus, the necessity of my Script Supervision 101 and more advanced seminars, and other in-depth courses available in different cities out there). As another user commented, most of what can be learned about script happens either on a film set or in the editing room, not by reading a book.
   
   Further, the limitations of this particular book are that she deals mainly with the old Hollywood studio system and does not account for the present-day realities of technological advances, the more recent varieties of on-set politics and settiquette, and alternative/maverick directing and coverage styles. If this book is all you know about script, you're going to get fairly frustrated fairly quickly.
   
   The complexities of the job do require a certain knowledge base, and learning as much as you can from a working pro before stepping out onto a film set will save you months or years of trial and error down the line.
   
   However, that being said, do give this book a read and augment your learning with great books on the art of coverage and directing (for example, Daniel Arijon's classic "The Grammar of the Film Language" can be very useful to the new script supervisor) - then get out there and shadow a script supervisor directly, or edit a few films for yourself or take an intensive course then jump right into the fire.
   
   I wish you all well in your burgeoning careers!
   
   ciao :)
   daniela
   mondocinema@ca.inter.net



5. I just want to toss my hat in here about the Pat Miller's book on script continuity.
   
   This book was recommended to me last summer when I was on a film shoot. I was cautioned that the book was very old but it was basically the "Bible" for script supervisors. Hey it was published 1998, written maybe 2 years earlier so given it's 2005, that's almost 8 or 9 years ago. I was told to read the book and to use what I wanted from it. The script supervisor who recommended the book was also nice enough to give me her forms that she uses on set.
   
   The problem with reviews by Larry D. Madill Jr. and "a reader" about courses by Jim Kelly Durgin and Mark Thomas is that (1) I don't live in LA (2) I need to come up to speed reasonably fast for 2 small films I am working on (3) if Durgin or Thomas are such 'experts' why haven't they written books on the topic (4) script supervision is something that you learn on the job and not from a course (although a course is sure better than a book and a book better than nothing at all).

3 comments about French Country Hideaways: Vacationing At Private Chateaus & Manors in Rural France.

1. This is a great book for someone who is thinking of staying at a private French chateau or at a country manor. The book is divided into different regions of France, beautifully illustrating both the exteriors with their stunning views as well as the interiors of these places. One learns some information about the current owners of these charming dwellings. For each residence, there is a list of places to visit recommended by the owners. At the back of the book there is useful information on each chateau or manor such as the address, phone number, fax number, and often email address and website. This is a great travel aid for someone who planning a special vacation in rural France. Great decorating ideas too!



2. I can only comment on the pictures in this book because I haven't had time to read the text lately. The pictures of the exteriors of the chateaus and manors are very well done. There are some nice photos of the interiors - what one would typically expect in a book of this title. Nothing was surprising and I wouldn't exactly call the interiors fabulous. For truly fabulous interiors I would suggest: The French Chateau by Christiane de Nicolay-Mazery & The French Country House, also by Christiane de Nicolay-Mazery.



3. Do you like to dream of travel? Or do you really go to France, leaving the beaten track to experience the very best countryside, cuisine, elegance and hospitality? Either way, this stunning book is perfect for you!
   
   Casey O'Brien Blondes has found, meticulously researched, and visited 36 authentic chateaux and manor houses that welcome travelers. More than that, she describes the spirit and character of each place so vividly that you can practically smell the pungent rosemary in the kitchen or the antique roses you might find on your bedside table. While soaking up the history of the place or meeting the family, you will revel in the beauty of Stephanie Cardon's incandescent photographs. This is also an unusual and glorious resource for interior designers, filled with color and charm from austere to cozy.

5 comments about Rolando Gomez's Glamour Photography: Professional Techniques and Images.

1. Rolando produces in classic style. He delivers as I have come to expect him to! He is very easy to understand and very informational. I recommend his books and seminars as they have help me produce some fantastic images!
   
   His books and workshops have been very educational and inspiring! I can't wait for the DVD which is supposed to come out soon. Way to go Rolando!



2. I got this book and was kind of shocked to see so much exposed skin on this book. None mentioned anywhere on the review page so here it is. It is a good book but just too much skin all over the place!



3. Bought this book a few months ago and had a hard time putting it down. Its easy to understand with some great tips. I have taken a lot from the book and hope that anyone getting into glamour photography would consider purchasing this book for ideas and inspiration.



4. I'm a fan of Rolando Gomez' website www.glamour1.com (formerly garage glamour) and of the articles on it written by him. However I was disappointed when I purchased this book together with his previous 'Garage Glamour' book at the same time from Amazon, sight unseen. I would recommend against purchasing both books as he has repeated alot of the same information in both which I found very disappointing as I was hoping he could have come up with new material. For this reason I definitely wouldn't purchase any future books from this author as he would probably rehash the same stuff again. The photos in these books weren't particularly great or inspiring either.
   
   Also if you are a fan of his website you will probably have seen a lot of this information before. Having said all that, there is some useful information and I particularly liked the info on white balance and gels. There's nothing too in depth, but would be a good read for a beginner in glamour photography. Because I've enjoyed his free articles I didn't mind having spent money on his book - but if I had my time again I just wouldn't have bought both!



5. Both books make for excellent reference. Outstanding photos and written in an easy to follow style, like your talking to the author directly. If your lookoing for a step by step, set your light this distance, expose at this stop, spend some more time shooting.
   
   Camera settings are provided for 99% of photos.
   These are not "quick reference books", more of a reading experience intended to get you in the proper mind set and get those creative impulses going. A++
   
   When's the next SA workshop for poor guys? LOL

5 comments about George DeWolfe's Digital Photography Fine Print Workshop.

1. I recommend this book for advanced photoshop users and photographers. It lacks a lot of in between information, but I still enjoy the book and have learned a lot. George DeWolfe is an outstanding photographer and we can learn so much from ones like him. If your new at photoshop and want to learn photographic work flow easily, the book I recommend is "Photoshop Artistry for photographers using CS2 and Beyond" By Barry Haynes. This book is based on his workshops and explains things in real simple terms. Barry Haynes writes articles for Photo Techniques Magazine, this is where I learned about his books and workshop.



2. Essential, hugely informed, lucid guide to fine-art photography by a master dedicated to his craft. Vital.



3. Firstly, I never write reviews, but I felt I had to for this one. Before I start I feel I should give my credentials. I have spent the last three years working as an assistant to a fine art printer working on traditional print projects for numerous big name photographers.
   
   I bought this book after seeing that Mr Dewolfe teaches up at the Cone Workshops and after reading the good reviews on Amazon. That was a big mistake!! This is the reason why it is good to check books out in a store before you purchase.
   
   The book is very weak. I had read "Real World Photoshop CS2" prior to this, so I had a very good benchmark. RWP CS2 is a truly excellent book on using photoshop. Dewolfe's book is poorly laid out, repetitious (very), contradictory and gives limited examples of valuable technique. I gained nothing from reading the book and bored quickly of his preachy style. Here is an example:
   
   "The print has another dimension that I call presence. It has almost nothing to do with the technical side, but it is a matter of craft, that careful blend of aesthetic judgment and technical skill."
   
   Now tell me if that is not a contradiction. Who edited this?
   
   Another thing that bugged me is that the book feels like an advert for the line of Optipix plug-ins that he is associated with. He mentions them almost constantly (there is an advert on the last page if you missed the hundreds of references throughout the book).
   
   Please, please, check this out in a bookstore before you make up your mind.



4. Reviewed by Bruce Herman
   Member of the Alaskan Apple User's Group
   Anchorage, Alaska
   
   George DeWolfe's Digital Photography Fine Print Workshop is a significant departure from any of the other digital darkroom books that I've read. It was easily the most challenging because it presented so many new ideas in such a short book (255 pp.). Most other books rely heavily on global corrections that emphasize curves whereas DeWolfe relies more on levels, even for color corrections. Other authors apply local corrections with masks, but DeWolfe prefers to brush on corrections using the History Brush. Digital Fine Print Workshop was one of the most rewarding books about print making because it made me think about my photographs in new ways. This book grew out of the workshop that DeWolfe teaches
   
   DeWolfe begins with an overview of what constitutes a digital fine print. He defines the terms brightness, color, contrast and so on, and then introduces the workflow that will be the central focus of the book. He gives a series of examples that provide the reader with a basis of distinguishing the good from the not so good for each of the qualities just defined. DeWolfe says that he has had a lifetime of developing his own appreciation of these characteristics. So it's a bit of a leap for a reader to expect to come up to speed by viewing a handful of photographs reproduced in a book. Here DeWolfe might have referenced some photographs on the Internet to give the student a bit more background.
   
   Two aspects of DeWolfe's overall approach that set his book apart from most other digital print making books are his emphasis on separating the mid-tones and his concern for the quality of light in the print. I think that understanding these factors alone are likely to lead to vastly improved prints.
   
   The second part of the book, titled "The Workshop," constitutes the core of the book. It is in this section that DeWolfe explains and illustrates in detail his personal vision of achieving the fine art print from a digital photograph. The workshop focuses on digital photography beginning with bringing the digital files from the camera into the computer and ends with making the print. DeWolfe covers techniques for dealing with both RAW and jpeg image files as they come off the camera. He does not mention scanning, although one could reasonably follow the workflow for jpeg images. In any case, he works with 16 bit files, which he claims allows him to use levels in Photoshop without encountering the gaps that arise when working with 8 bit files. My personal experience was that 16 bit files did not entirely preclude gapping, but it was not as bad as it would be with 8 bit files.
   
   DeWolfe performs his artistry in two phases. He begins with global changes and then fine tunes the resulting photograph with local changes. One of the tools that DeWolfe uses is a plugin called Optipix. Although he discusses some techniques that substitute for Optipix, I found that using Optipix often made a step more likely to work as described. I would recommend purchase of this plugin ($139) if you wish to carefully follow DeWolfe's workflow.
   
   It was in the application of the local corrections that I found the most difficulty in DeWolfe's approach. DeWolfe uses the history brush to make local corrections to almost all parameters of the photograph. He eschews masks as tools for graphic artists, preferring the history brush because it forces an artist to commit in order to move forward. Each reader of this book will have to make his or her own assessment of this view.
   
   The Fine Print Workshop concludes with a brief description of what is required for a digital darkroom, including setting the preferences in Photoshop. This part of the book seems to be an attempt to broaden the appeal of the book to beginning digital photographers. Considering the level of complexity in executing the steps in the workshop, this almost seems out of place. That portion that deals with the software and hardware will be out of date long before the techniques described in the workshop pass into irrelevance.
   
   DeWolfe's book grew out of the week long workshop by the same name that he teaches. Reading the book is not likely to be as good as taking the workshop, but it's far, far better than just reading the generic Photoshop how-to book. Despite the fact that I don't necessarily agree with all aspects of DeWolfe's workflow, I highly recommend this book. Just be sure to leave a reasonable amount of time to absorb the material and give it a fair appraisal.



5. Before you waste one more sheet of printing paper, before you waste another minute with scanning and color management, before you waste another second with a bad workflow ... get this book. You will save the price of it in one week just in paper and ink alone. And maybe you will keep your sanity. This is bedtime reading, coffee shop reading, and "lightroom" reading. It is well written, well printed, and straightforward. I have followed George DeWolfe's suggested workflow to the letter, and it works! Don't buy another book until you have this one, and have read it two or three times.

5 comments about The Darkroom Handbook.

1. Michael Langford's Darkroom Handbook has it all -- in clear, easy-to-read text and excellent photo examples. This is the book for someone serious about setting up a darkroom and starting to develop and print either B&W or color film, negative or transparency. In addition, a wide range of printing techniques and specialty methods are discussed and described, as well. Lots of good refresher information on techniques and methods for the experienced print-maker, too.



2. Quite simply the definitive darkroom handbook. You have to appreciate that some of the chemicals and products referred to are 20 years out of date, but the principles and basic techniques haven't changed one iota. If you're looking at processing your own films, transparancies and prints, both colour and black and white, you need this book.



3. I have found it practical to use older textbooks on analog photography techniques to sharpen skills and enhance creativity in the digital realm. While newer books are being written on such topics they tend to skip along and trivialize important concepts. Good pictures only enhances one's ability to approach such hybidization attempts. Digital photography has enhanced my appreciation of all forms of photography and this book, and others like it, further fuel this love. Read, reread, and refer to this book.



4. I've had this book for 10 years and would be heart-broken if I ever lost it. It's a wonderful source for the photographer who is ready to go beyond the basics and try more adventerous and experimental techniques in the darkroom. It's the only book I've ever found that has so many ways to jazz up your photographs beyond the 'same old.' If you like having fun in the darkroom, this is the book for you.



5. When i first began learning photography in high school this was my first textbook. With its easy to follow diagrams it really opened my eyes, with out intimidating me, to what there is to be done with photography. This book inspired me to continue my education into a college major. This is a great book for anyone interested in photography. It is full of great examples of the techniques used to creat this wonderfull art.

5 comments about Photographing Children and Babies: How to Take Great Pictures.

1. Probably not the book for a professional photographer, however, I'm not a professional and Michael Herron didn't write this book for professionals. I just want to take great looking shots of my toddler and this book is fantastic in telling me how. I now understand about aperture, f/stops, shutter speed, light and the relevance of ISO. I have enjoyed reading this book and found a lot of my beliefs about photography were false, I never realised the pros took a heap of shots until they got that one they wanted! This book has taught me all the basics I need to know and helped to build my confidence to be able to take great shots. Thanks for such a wonderful book Michael Herron!



2. I found this book to be helpful in some areas and lacking in other but I did learn quiet a few helful tips on photographing children. The most important thing and it is covered throughout the book is lighting.It talks about where to take pictures and at what time of day is best.This book focuses mainly on outdoor or inside pictures with natural light and touches here and there on artificial,it would have been nice to have a little more on artificial lighting though. There are so many examples of pictures the author has taken so you will know exactly what she is talking about and gives you lots of ideas for portraits and what type of angle/frame is best for different age groups,everything is explained very clearly. I really enjoyed reading this book and I feel that it has truly helped to improve my photography skills.



3. I bought this book expecting more than what it was. Perhaps it was my fault for not spending more time researching before I bought a book, but whatever the case, I still think this book was slightly lacking. It was a very quick read with many common sense ideas which could be found easily by reading articles on the internet.
   
   If you're just starting out with any type of photography, this may be helpful to you. If you've been taking informal pictures for awhile, you will likely already know most of this information.



4. This book has been very informative and the images help explain what the author is saying. I'm very much a visual learner and this book has been enjoyable to read and I think it's improved my photography skills. Wish I'd had it with my first baby instead of 5th but I guess it's never too late to learn new things.



5. This is truly a great book that gives you a ton of good advice without overwhelming you with all the terminology! Be sure you buy this book before you expect to photograph children, if possible (when you're still expecting a baby, for example). I bought this book when my baby turned 10 months, so two things happened:
   1. By now, I've been trying to figure out how to take better pictures for so long that I stumbled upon some solutions on my own, and found some advice in shorter guides available online. I could have learned as much and more from this book in just 3 days had I purchased it earlier. Now, some of the stuff in the book seems repetitive to me, but I'm hoping to have my husband read it and start taking better pictures as well, so that it's not always Daddy and the baby in all the pictures.
   2. While I was learning all the tricks on my own, I missed dozens of golden opportunities. It might sound funny coming from someone who shot thousands of pictures already, but I get very upset looking at my baby's first weeks and seeing all the mistakes I made and chances I missed.
   So, once again - great book, get it early!

2 comments about Arizona.

1. David Muench the Grandseigneur of landscape photography shows us his latest book in this edition. He divided it into five sections, north, north central, central south and west. What can you expect ? It's an collection of color fotos over the last five decades most of them never published before. Some are really impressing but a lot of them like you and I would have done in comparabel manner. The colors of the older photos are a little bit unsatturated. O-K- they have a historical value, especially the photos of Glen Canyon now laying under lake powell's surface.
   But I think the reasen so many photos are not published before is simply, David have done better ones.
   My conclusion is this book is a book for David Muench lovers and accomplished his work with some great photos and a lot of photos in the middle range. But there is no need to buy this book when you are starting to sample coffee table books about Arizona. I can recommended Jack Dykinga's "ARIZONA" or David Muench's first "ARIZONA" book.



2. This book is beautiful and makes me want to leave Alaska and move to Arizona even more than I already do.