"Los Alamos presents a series of photographs that has never before been shown, yet it contains a blueprint of Eggleston's aesthetics, his subtle use of subdued color hues, the casual elegance of his trenchant observations of the mysteries of the mundane. The photographs in Los Alamos were shot in Eggleston's native Memphis and on countless road trips across the American South from 1964 to 1968 and from 1972 to 1974."

William Eggleston's Guide,
William Eggleston
2002, Distrinuted Art Publishers
9" x 9.7", 112 pp.
List price: 34.95

Reprint from the original 1976 edition.
Essay by John Szarkowski

"William Eggleston's Guide was the first one-man show of color photographs ever presented at The Museum of Modern Art, New York, and the Museum's first publication of color photography. The reception was divided and passionate. The book and show unabashedly forced the art world to deal with color photography, a medium scarcely taken seriously at the time, and with the vernacular content of a body of photographs that could have been but definitely weren't some average American's Instamatic pictures from the family album. These photographs heralded a new mastery of the use of color as an integral element of photographic composition. Bound in a textured cover inset with a photograph of a tricycle and stamped with yearbook-style gold lettering, the Guide contained 48 images edited down from 375 shot between 1969 and 1971 and displayed a deceptively casual, actually super-refined look at the surrounding world."

Born and raised in Mississippi and Tennessee, William Eggleston began taking pictures during the 1960s after seeing Henri Cartier-Bresson's The Decisive Moment. In 1966 he changed from black and white to color film, perhaps to make the medium more his own and less that of his esteemed predecessors. John Sarkowski, when he was curator of photography at the Museum of Modern Art, called Eggleston the "first color photographer," and certainly the world in which we consider a color photograph as art has changed because of Eggleston.

From 1966 to 1971, Eggleston would occasionally use a two and one quarter inch format for photographs. These are collected and published here for the first time, adding more classic Eggleston images to photography's color canon. - publisher

 William Eggleston,
William Eggleston
2002, Thames & Hudson
11.25" x 11.5", 180 pp.
(out of print, used copies available)

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Walker Evans: Photographs for the Farm Security Administration, 1935-1938,
Walker Evans
1998, DeCapo Press
10.39" x 7.53", 244 pgs.
List price: 22.00

 Walker Evans: Photographs for the Farm Security Administration, 1935-1938: A Catalog of Photographic Prints Available from the Farm Security Administration

It's a well-kept secret that the Library of Congress oversees a collection of photographs numbering in excess of three million, the bulk of which are in the public domain. Among the highlights of that collection are Evans' remarkable images of the Depression era--part of a larger photographic project that employed Dorothea Lange and others--documenting the effects of soil erosion in Mississippi, the plight of Arkansas flood victims and the day-to-day lives of Alabama sharecroppers. The mood of the period is evoked strongly by nearly 500 photographs, many reproduced here for the first time; others are memorable for their inclusion in Let Us Now Praise Famous Men.

Eassy by Andrei Codrescu

In Walker Evans: Cuba, from the collection at the Getty Museum, the 73 images of people, urban landscapes and Cuban business-as-usual seem influenced by Diego Rivera's politicized content, Hemingway's "stripped down, minimal style" and the "characteristic emptiness" of Eugene Atget's photography, says the Getty's Associate Curator Judith Keller in her introduction.

Walker Evans Polaroids
Walker Evans
2001, Scalo Verlag
10.28" x 8.37", 336 pgs.
List price: $45.00

 Essay by Gilles Mora
"This book brings together for the first time over 80 stunning images of pre-revolutionary Cuba, the core of Walker Evans' first great body of work. ..." - from the book jacket.

Signs,
Walker Evans
1998, J Paul Getty Museum Publications
7.88" x 9.41", 96 pgs.
List price: $19.95

"Walker Evans photographed signs throughout every phase of his career. From the 1920s to the time of his death in 1975, Evans was obsessed with the signage he found in modern America--from billboards to gas station pumps to street graffiti to handmade announcements of a Saturday-night dance. This book features fifty photographs of signs from the Getty Museum's collection, presented with a lively, provocative essay by Andrei Codrescu. ..."

"One of the leading photographers of his generation, Elliott Erwitt has been taking pictures since the late 1940s. A member of the prestigious Magnum agency since 1954, he has photographed all over the world and his images have been the subject of many books and exhibitions. Containing over 500 pictures, over half of which have never been published before, Elliott Erwitt Snaps is a unique and comprehensive survey of his work. From famous images like Nikita Khrushchev and Richard Nixon arguing in Moscow in 1959 and Marilyn Monroe with the cast of the movie The Misfits, to his many more personal images of places, things, people and animals, Erwitt's unmistakable, often witty, style gives us a snapshot of the famous and the ordinary, the strange and the mundane over a period of more than half a century, through the lens of one of the period's finest image-makers.

The book is arranged into nine chapters, each with a one-word title: Look, Move, Play, Read, Rest, Touch, Tell, Point, Stand. For Erwitt, whose photography is a study and celebration of life, these are the basic actions of life the things people do. The photographs are not intended to illustrate the words, but they act as a means of grouping and organizing; making broad connections and also playing a game of pun and ambiguity with the words and pictures in keeping with the visual games Erwitt plays." - Softbound editions available, 2003, Phaidon Press, List price: $49.95