This book stands alone in the annals of art history. No other book gives such an intimate view into the day-to-day trials of a working artist. Weston, who from time to time fostered ambitions of becoming a writer, genrously shares his thoughts and his experiences over a 15 year period, culminating in a remarkable portrait of the artist as a human being. While literary critics may have occasion to fault his prose, which at times seems flowery and verbose, given his Victorian-age education this can be forgiven of him. Weston takes us through his decision to leave his family and travel to Mexico, where he chronicles not only his own work, but that of other artists. He writes of the bullfights, love affairs, the scenery, and of the many unforgettable characters he met along the way. Weston moved in many circles, and thoroughly enjoyed himself, whether his company be artists or revolutionaries. He shares with the reader his many instances of self doubt, of guilt, and of poverty. He also shares his many triumphs, as his original photography begins to garner commercial success. We see Weston as an art critic, giving unflinching opinions of the works of Diego Rivera, Carlos Orozco, Robinson Jeffers, and a host of others. He is no less honest in his evaluation of his own work. Included in the volume are 72 extremely well-reproduced photographs divided into the various periods of his photographic life. We are givin a behind-the-scenes look at how these photographs were made, from both the artistic and the technical point of veiw. Most importantly, the Daybooks is not just for photographers or Weston afficianodos, but for anyone who appreciates a well-written autobiography of a remarkable artist.

FLATIRON, by Peter Gwillim Kreitler, represents a first for the AIA. This book is the most important compilation of Flatiron Building photographs. And, as the AIA recognizes, the building was a landmark in architectural development. Thus, the AIA chose to devote an entire publication, for the first time, to a building and its photographic record, and not solely to its architect/builder. The reproductions of well-known as well as hard-to-find photos are exceedingly well done, portraying developments in both architecture AND the blossoming field of photography. Reverend Kreitler's personal collection is the basis for this pictorial monograph; he has been collecting for many years and is an accomplished photographer and author. Daniel Burnham's Flatiron is a watershed in American architecture, parallelling and following upon, but not mimicing, the work of Louis Sullivan in Chicago. Siting was key, and influenced the use of materials, as well as the aesthetic in which Burnham worked. The building remains an important landmark in New York City, and deserves a visit by all who appreciate early examples of integration and art in the modern architectural vernacular. If you can't visit in person, the early record of this remarkable structure displayed so artistically in this classic monograph will serve you very well.

Although this book is out of print, I've taken just a few moments and discovered that Amazon.com has several copies through their Z-shops. This is a definite find: a must-own, must-read for anyone interested in the history and art of Photography.

Newhall was the first curator of the Department of Photography in New York City's Museum of Modern Art and, finally, the founding curator at the International Museum of Photography at George Eastman House in Rochester, N.Y.

This book is a wonderful, charming, fact-filled, incident-filled volume of a life dedicated to creating an Art form, chock full of fascinating reminiscences of the likes of Ansel Adams, Henri Cartier-Bresson, Edward Weston, Walker Evans and so many others...certainly every important name in Photography during Newhall's lifetime. It is beautifully, gracefully, wittily written and includes letters, diary entries and many, many black & white photographs--some of them personal "snapshots."

Through my own ignorance, I had no idea who Newhall was before I picked up the book (I bought it simply because of the subtitle: "Memoirs of a Life in Photography") and now, because of Newhall's intimate writing style, I feel I "know" a very important adventurer and force in the 20th century art world.

Nancy Newhall was (and continues to be some 29 years after her accidental death) one of the best writers on photography I have read. She was a confidant of such luminaries as Alfred Stieglitz and Ansel Adams (she was his first biographer), the acting curator of the Department of Photography at New York's Museum of Modern Art in the 1940's, a driving force in the influential magazine and publishing concern Aperture, and an avid writer of photography books.

The writings collected in "From Adams to Stieglitz: Pioneers of Modern Photography" represent a wonderful cross-section of her work. Her knowledge of the history of photography is amazing as she writes about the motivation driving the development of the medium. Two of the pieces are remarkable:

"Controversy and the Creative Concepts," written in 1953, compares and contrasts the photographic style of the "Parisian School" as represented by Cartier-Bresson and the "Western School" represented by Group f/64, Alfred Eisenstaedt, and Helen Bourke-White. Worlds diametrically opposed, each equally valid. The article presents an important overview of 20th century photography.

"The Caption: The Mutual Relation of Words/Photographs," written in 1952 for the first issue of Aperture, looks at the different types of captions that can be attached to a photograph (if any: Stieglitz refused to put caption on his work) and how one should write them. This essay provides nice insight into the practice of photographic writing.

Anyone with an interest in 20th century photography will find this book an essential part of their library. Her writing style is unique and wonderful, an absolute joy to read.