Three Styles by Runnan

Lee Friedlander Self Portrait

These self portraits span a period of six years and were not done as a specific preoccupation, but rather, they happened as a peripheral extension of Lee Friedlander's work. Those photos began as straight portraits but later Lee found himself at times in the landscape of his photography. He thought himself as an intruder at the beginning then he realized that those photos came about slowly without plan but more as another discovery each time.

He began to see himself as an element or a character that would shift his work direction. He said:"At first, my presence in my photos was fascinating and disturbing; but as time passed and I was more a part of other ideas in my photo, I was able to add a giggle to those feelings.

A lot self portrait photographs in the book are the shadow reflection of himself either from crystal glasses or a straight portrait with a mirror  in it. There are also sometime when he photographed the landscape under the Sun, making his shadow be a part of the landscape perfectly.

His style of self portrait has a beauty of casualness and the artistic style without a plan. Six years' photographing life contributed this delicate small book. Every photograph in it was selected carefully.

Thomas Miller Dessert Skin

The photographs in Desert Skin all are photos of the canyon country of southern Utah and northern Arizona-Colorado Plateau. People think it's strange, marvelous and full of wonders. Nowhere else has this lucky combination of vast sedimentary rock formations exposed to a desert climate, a great plateau carved by major rivers into a land of form and color.

The surface of this place is so clear, naked and revealed; there remains somrthing spiritual that cannor be fully assimilated by human imagination. However, the land in this book invites approaches toward comprehension on many levels, from all directions.

The photographs appears  barren, hostile, repellent. It's a fearsome land of rock and heat, sand dunes and quicksand, rattlesnake and agoraphobic distances.

From his photographs we can find the elemental freedom to breathe deep of unpoisoned air, to experiment with solitude and stillness, to gaze through a hundred miles of untrammeled atmosphere, across redrock canyons, beyond blue mesas, toward rge snow-covered peaks of the most distant mountains-to make the discovery of the self in its proud sufficiency which is not isolation but an irreplaceable part of the mystery of the whole.

End this by quoting Edward, who wrote the foreword for the book, "Come on in. The Earth, like the Sun, like the air, belongs to everyone- and no one."

Paolo Rosselli Architecture in Photography

This book is like a journey through the modern architecture of the 20th century and at the same time an aesthetic and conceptual reflection on photographic vision. Paolo thinks the modern photographer is the architecture's greatest publicist. Almost all the initial judgements made about the work of an architecture are made on the basis of images. It's the photographer's own experience of the work of the architecture that produces the significant images which convey its essence.

During the development of the Modern Movement in architecture, architects relied on black and white photographs to convey the impression of their buildings. Paolo Rosselli here is developing his own art form.

As a professional photographer Rosselli looks very carefully at what he sees. He is not taking images but rather building with light. The architect of a building uses light ad shadow creating similar contrasts in the early stages of a design to those pursued by the photographer observing the final result in a play of light.

Unlike other architectural photographers who are keen to get up close to their objects, Rosselli used distance to impact the horizon on the building or group of buildings. He likes to use wide-angle and he enlarges the scope of his picture to give t an extra qualitative dimension.