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Ansel Adams at 100 [Englisch] [Taschenbuch]

Ansel Adams , John Szarkowski
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Kurzbeschreibung

29. Oktober 2003
In commemoration of the one-hundredth anniversary of his birth, Ansel Adams at 100 presents an intriguing new look at this distinguished photographer's work. The legendary curator John Szarkowski, director emeritus of the Department of Photography at New York's Museum of Modern Art, has painstakingly selected what he considers Adams' finest work and has attempted to find the single best photographic print of each. Szarkowski writes that "Ansel Adams at 100 is the product of a thorough review of work that Adams, at various times in his career, considered important. It includes many photographs that will be unfamiliar to lovers of Adams' work, and a substantial number that will be new to Adams scholars. The book is an attempt to identify that work on which Adams' claim as an important modern artist must rest." Ansel Adams at 100-the highly acclaimed international exhibition and the book, with Szarkowski's incisive critical essay-is the first serious effort since Adams' death in 1984 to reevaluate his achievement as an artist. The exhibition prints, drawn from important public and private collections, have been meticulously reproduced in tritone to create the splendid plates in this edition, faithfully rendering the nuances of the original prints. Ansel Adams at 100 is destined to be the definitive book on this great American artist. John Szarkowski is director emeritus of the Department of Photography, The Museum of Modern Art, New York. He is the author of such classic works as Looking at Photographs, The Photographer's Eye, Photography Until Now, and Atget, as well as several books of his own photographs, including the recently reissued The Idea of Louis Sullivan.

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Produktinformation

  • Taschenbuch: 192 Seiten
  • Verlag: Ansel Adams; Auflage: 1 Reprint (29. Oktober 2003)
  • Sprache: Englisch
  • ISBN-10: 082122865X
  • ISBN-13: 978-0821228654
  • Größe und/oder Gewicht: 25 x 28 x 2 cm
  • Durchschnittliche Kundenbewertung: 5.0 von 5 Sternen  Alle Rezensionen anzeigen (1 Kundenrezension)
  • Amazon Bestseller-Rang: Nr. 388.604 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)

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Ansel Adams at 100 celebrates the centenary of one of America's best-loved photographers. This superlative catalog of an exhibition organized by San Francisco Museum of Modern Art presents the most dramatic and the most delicate of Adams's formal compositions, from spectacular mountainscapes to grasses on a pond, all reflecting his avowedly religious relationship to nature. Previously unpublished examples of Adams's early images show how he worked through the day, using changing light and different vantage points to interpret a subject. A fascinating comparison of his darkroom techniques is given in two printings of a 1948 negative of Mount McKinley, made in 1949 and 1978 to very different effects, one brooding and luminous, the other crisp and monumental. (The conventional wisdom is to prefer the earlier, but this reviewer loves them both.) The text by John Szarkowski, director emeritus of New York MoMA's photography department, gives biographical details and gracefully places Adams in the history of 20th-century photography and the conservation movement. Impeccable technical standards were a hallmark of Adams's work, and this book follows his tradition. Each black-and-white image is a tritone, meaning that it was printed from three different plates corresponding to different parts of the original photograph's gray scale, resulting in an extremely rich chromatic range. Light really does appear to glisten off a wet rock, and white aspens to glow. The images have been very carefully chosen, each page of a double spread complementing the other. The book's paper is custom-made, it is bound in linen and presented in a linen slipcase, and a complimentary facsimile of one of Adams's icons is included. The whole adds up to a most unusual and pleasing artifact: Ansel Adams at 100 consciously sets out to be the definitive study of a master, and it succeeds. --John Stevenson -- Dieser Text bezieht sich auf eine andere Ausgabe: Gebundene Ausgabe .

Pressestimmen

"A book that's also art."—The New York Times, Publishers Weekly

"Long after the museum tour of Ansel Adams at 100 ends, this book will endure as a vital document of his vast contribution to the art of landscape."—San Diego Union Tribune

"[Szarkowski's] incisive biographical essay and reproductions worthy of Adams' exacting standards make [the book] a fitting monument to an American visionary."—Artnews

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Von Donald Mitchell TOP 500 REZENSENT
Format:Gebundene Ausgabe
This book is the official catalog for the traveling show in honor of Ansel Adams' birth in 1902 that opened in San Francisco and traveled through Chicago, London, Berlin, and Los Angeles before closing in New York late in 2003. I cannot remember a finer catalog for a photography show.

The show's images were selected by John Szarkowski who is the director emeritus of the Department of Photography at the Museum of Modern Art. In selecting images for the show, he emphasized both what he thought was Ansel Adams' finest work, and his work that looked best in printed form. So the images provide room for an outstanding reproduction, and that's just what the book's publishers have provided.

The edition itself comes linen bound and in a matching linen slip cover. The pages are all of the highest quality heavy cover stock. The tritone printing is exquisite, limited only by the negatives and the current state-of-the art in printing. There is also a superb design. The works are sized to be in proportion to each others' negatives. Where images play off of each other, they are placed next to one another or on facing pages. Where that sort of conversation isn't possible, you see one image per two open pages. Unlike most of Ansel Adams' books, this one is on oversized pages so that there is the possibility of seeing the details as Mr. Adams intended them to be seen.

A nice bonus is that each book comes with a frameable tritone 13" X 11" print on heavy cover stock with fascimile signature by Ansel Adams and a blind embossed seal of the Ansel Adams Trust of Aspens, Dawn, Dolores River Canyon, Colorado, 1937 . . . which is also reproduced in the book. It is the image of aspens that you probably know best from Mr. Adams' work.
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54 von 57 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Quality Show Catalog of Adams' Nature and Landscape Images 10. August 2001
Von Donald Mitchell - Veröffentlicht auf Amazon.com
Format:Gebundene Ausgabe
This book is the official catalog for the traveling show in honor of Ansel Adams' birth in 1902 that just opened in San Francisco and will travel through Chicago, London, Berlin, and Los Angeles before closing in New York late in 2003. I cannot remember a finer catalog for a photography show.
The show's images were selected by John Szarkowski who is the director emeritus of the Department of Photography at the Museum of Modern Art. In selecting images for the show, he emphasized both what he thought was Ansel Adams' finest work, and his work that looked best in printed form. So the images provide room for an outstanding reproduction, and that's just what the book's publishers have provided.
The edition itself comes linen bound and in a matching linen slip cover. The pages are all of the highest quality heavy cover stock. The tritone printing is exquisite, limited only by the negatives and the current state-of-the art in printing. There is also a superb design. The works are sized to be in proportion to each others' negatives. Where images play off of each other, they are placed next to one another or on facing pages. Where that sort of conversation isn't possible, you see one image per two open pages. Unlike most of Ansel Adams' books, this one is on oversized pages so that there is the possibility of seeing the details as Mr. Adams intended them to be seen.
A nice bonus is that each book comes with a frameable tritone 13" X 11" print on heavy cover stock with fascimile signature by Ansel Adams and a blind embossed seal of the Ansel Adams Trust of Aspens, Dawn, Dolores River Canyon, Colorado, 1937 . . . which is also reproduced in the book. It is the image of aspens that you probably know best from Mr. Adams' work.
The essay focuses on two things: (1) The question of whether the photographer brings order to nature (as Edward Weston suggested) or simply sift its out (like gold dust from gravel in a stream) as Ansel Adams seems to have done. (2) A brief biography of Ansel Adams emphasizes his life as an art photographer and his early parallel interest in piano. Since the book is for a show, it would be inappropriate to try to cover much more. I was disappointed, however, that more of Mr. Adams' many letters were not included.
The main drawbacks of this book for most people will be that it is selective and narrow in focus. Many people will mistakenly think that this book is intended to be the ultimate biography and reproduction of his photographs. That work remains to be done. I shiver to think what that will cost us to purchase! You will get a taste of his many different nature and landscape shots, but not all of your old favorites or as many of any type as you would probably like. You will also yearn, if you are like me, for an essay that paid more attention to his efforts in conservation.
Of the 114 plates in the book, I found 27 to be outstanding to an extraordinary degree for my taste. Not surprisingly, seven were from Yosemite, and six from the Sierra Nevadas. A number of others were of mountain scenes. To me, Mr. Adams captures the spiritual connection of mountains, sky, and water in an unusually transcendant way. But his focused works of grass and leaves on water, dead trees, solitary trees, rocks, and sections of rock formations are equally intriguing and spiritual, just in a different way. Space does not permit me to cite all of these images by name. I was pleasantly surprised to see how many of my favorites in the book were new to me, even though I have read every Ansel Adams book I can find.
The exquisite details in these works overwhelm you with the sense of how much complexity is woven together into our natural world, and how seldom we take a moment to absorb every iota of it.
After you finish enjoying this fine work, I suggest that you think about where you find spirituality in your life. What places? What times? How do you capture and keep that feeling with you?
Touch God in new ways . . . all the time.
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2.0 von 5 Sternen Great Photographer, poor presentation 8. Februar 2002
Von Ein Kunde - Veröffentlicht auf Amazon.com
Format:Gebundene Ausgabe
Please consider this advice--If you plan on purchasing this book, please take the time to see it at a local library or bookstore before ordering it.
I was amazed to see a relatively poor review here at Amazon reviews while I was searching for this book. A review in a photography magazine deemed it a must-have for any library. The promise of high quality reproductions on heavy paper and rare photos not seen outside of large showings was promising. I also felt that for the price, one couldn't go wrong....after all, the more expensive, the less likely to be a bust, right?
Well, I am sad to say that the book is quite a disappointment for me, too. It is a heavy work, good stock. Many of the photos, despite the promise of being wonderfuly printed, are of low contrast, and detail that I know is there on some of the original prints which I've seen, is not present. The notes on photos indicate some are reproduced at life size, yet appear to be little more than thumbnails, lost on the huge background. Perhaps this is the haute presentation, but not satisfying for my expectation.
Some of the prints are quite good. "Moonrise" does not disappoint, but several of the Yosemite favorites are fuzzy, and as mentioned earlier, seem to be of low contrast. This, in a book celebrating the man who championed the Zone system to give life to the print, seems a bit out of whack. Perhaps the graphics designers and the technicians doing the transfers did their best, but having seen several original prints done by Adams (and having spent way too much time in front of them marvelling at the detail, shadows, and contrast) I can say that the flavor and excitement that I remember getting from just seeing an original Adams has not been transferred to me in this book. I've viewed it in several different lights, on different days, and it just comes up short.
I was hoping for a classic. What I got was a heavy oversized book with a few keepers. I don't think I'm stretching it too far to say that I've seen better presentation of the quality of Adams' prints in some of the popular photography magazines than in a few here, especially the early prints.
As I said initially, it is a good book to page through, but make sure you take a look at a library or bookstore first to make sure it is something you must have for your own.
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5.0 von 5 Sternen A masterful restrospective 10. September 2001
Von George Beahm - Veröffentlicht auf Amazon.com
Format:Gebundene Ausgabe|Verifizierter Kauf
If you can only afford to buy one photo book / coffee table book this year . . . this is the book to buy. Period. This oversized book is beautifully reproduced and lovingly bound to last for ages; a commemorative print, not available elsewhere, is reproduced as a separate plate -- suitable for framing, which is a nice touch: Who among us can afford an original Ansel Adams photograph? As beautiful as this is as an example of book-making, its real value lies in the selection of photos.
Of course, no two photographers will ever agree as to what photos should have been included in this massive retrospective -- outside of the obvious ones like "Moonrise Over Hernandez County" -- but every photographer who looks at this book should find inspiration in Ansel's inimitable "eye" that saw, and captured on film, the ordinary and transformed it into the extraordinary; a photographer who saw the extraordinary and transformed it into the sublime.
As for the text: I think an academic perspective is certainly appropriate for such a retrospective, but I would dearly have loved to see a piece by, say, Joseph Holmes (NATURAL LIGHT--a gorgeous collection of photos) or another photographer to give it, so to speak, a "through the lens" perspective.
Although there are other coffee-table sized books published of Ansel Adams's work, this one sets a high watermark and, as such, should find a permanent place in the library of every serious photographer, aspiring photographer, or anyone with a sense of beauty who can appreciate the rare and wonderful talent that is Ansel Adams.
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4.0 von 5 Sternen Not the Greatest Works, but A Must for Ansel Adams Admirers 2. März 2003
Von mirasreviews - Veröffentlicht auf Amazon.com
Format:Gebundene Ausgabe
Ansel Adams at 100 is the catalog for the museum exhibition of the same name that has been traveling the United States and Europe from 2001-2003. Unfortunately, the exhibit did not come to a city near me, so I cannot comment on how well it is represented in the book. Since I did not see the museum exhibit from which the photographs were taken, I will be commenting on how this book fares as a stand-alone "coffee table"-type book of Ansel Adams' photographs.
The book has 191 pages, is 14 1/4x12 3/4 inches in size, and is hardbound with an oatmeal-colored linen cover and slipcase. Also included with the book is a 13x11 inch reproduction print of Aspens, Dawn (1937), which is suitable for framing. The book begins with a 42-page essay on Ansel Adams' life and career (don't worry, big print) by John Szarkowski, the book's editor and the director emeritus of the Department of Photography at the Museum of Modern Art. The essay is followed by 114 tritone plates of Ansel Adams' photographs, all black-and-white.
I think the most helpful point that I can make about this book is that it is not a book of Ansel Adams' "greatest hits" or of his best photographs. I have yet to find a complete collection of either of those things. This is a very abridged version of the Ansel Adams at 100 museum exhibition which, as far as I can ascertain from the photographs in this book, sought to give the viewer a broad perspective of Ansel Adams' relationship with photography and with nature over the course of his life. Some of the photographs are great and some quite mediocre. But you will find photographs in this book that you have never seen before (unless, of course, you saw the exhibition). This includes a few very early photographs from the 1920's which are not very good, but are significant when contemplating Ansel Adams' whole career and the photographic history of that period. My favorite part of the book are some plates which have two versions: one that was printed in the 1940's or 1950's and a later print of the same image made in the 1970's. These plates are on facing pages so it is easy and interesting to see how Adams' perspective changed over the course of his life. I was reminded of some of my own work from long ago which I recently looked at and thought how differently I would print it now. (Adams' earlier prints are better, and so are mine. So much for improving with age.)
In conclusion, if you are looking for a comprehensive book of Ansel Adams' best work, this is not it. If you are a fan of Ansel Adams and would like to learn more about how Adams' work and nature photography as an art progressed and changed over the course of decades, this would be a great book to have. Ansel Adams at 100 is a must-have for hard-core Ansel Adams' fans and those interested in the evolution of nature photography in the 20th century.
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3.0 von 5 Sternen The hardcover is good but the softcover is much better! 15. Februar 2006
Von Michael Wu - Veröffentlicht auf Amazon.com
Format:Gebundene Ausgabe
Hardcover - 3 stars

Softcover - 5 stars

I am a little dissapointed in the hardcover version. Some prints seem vague and a few with ink offset problems. Overall, the prints look quite low in contrast. I've seen AA's original prints, including the exact AA at 100 exhibit, and find the low contrast hard to accept. If you are interested in this book, the softcover version is a lot better, almost flawless - a true must-have for AA fans. Yes the print size is smaller than those in the hardcover, but the price is also smaller. It's interesting to notice that the softcover is printed in Germany while the hardcover I saw is in the US.
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