The Contact Sheet
The Contact Sheet
Ammo Books, Hardcover, 9780978607692, 224pp.
Publication Date: November 1, 2009
Behind every great photograph is a story. For every noteworthy image there are many more images taken before and after "the moment" that are often left unseen to anyone but the photographer himself.
Featuring a diverse collection of original contact sheets from over forty international photographers, The Contact Sheet allows in-depth insight into the subject matter and the photographic process -- often revealing a deeper story that has not been told. From William Claxton to William Wegman the photographers in this collection are both well-known names as well as up-and-coming artists, making this an indespensable addition to the library of any serious lover of photography.
Featuring over forty international photographers, including: William Claxton, Chuck Close, Michel Comte, Anton Corbijn, Imogen Cunningham, David Doubilet, Elliot Erwitt, Nan Goldin, Nadav Kander, Art Kane, David Hume Kennerly, Dorothea Lange, Saul Leiter, Peter Lindbergh, Jerry McMillan, Joel Meyerowitz, Richard Misrach, Arnold Newman, Paul Outerbridge, Martin Parr, Ed Ruscha, Julius Shulman, Jeanloup Sieff, Jerry Uelsmann and William Wegman
Steve Crist has edited and created numerous art and photography books including The Polaroid Book, Marilyn by Andre de Dienes, Jazzlife and Steve McQueen by William Claxton, and The Curse of Lono by Hunter S. Thompson and Ralph Steadman. In 2006, he created and published the internationally successful Gonzo by Hunter S. Thompson. Steve is the Publisher of AMMO Books, and is currently in production with Todd Oldham on Charley Harper - An Illustrated Life, and Lulu by Lulu de Kwiatkowski. He lives in Los Angeles.
"Before the digital era, contact sheets preserved a photographer's thought process and were a graveyard for burying mistakes. The strips here reveal how and illustrious group—William Claxton, Nan Goldin, Dorothea Lange, Julius Schulman, William Wegman and others—went about their business. ... It's not always clear why the photographers chose one picture over another, which only adds to the value of this archival material." —Wall Street Journal
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