The photography and the text of this book has been described in other reviews, but I want to add that this is now one of the most beautiful books that I own. The typesetting is flawless, the paper is of a much higher weight than I have seen in other monographs, and, of course, the reproductions are class. These points are magnified by the sheer size of the book-- check the dimensions given in the details above. The book is a work of art.

This book clearly deserves many more than five stars. It is one of the most remarkable expressions about and by an artist in any genre that I have ever seen.

Before going further, let me caution those who are offended by all forms of nudity that this book contains many female nudes. These are all tastefully done, and will not offend those who look with a desire to see the essence of beauty.

Alfred Stieglitz was a seminal figure in 20th century art. One of the foremost photographers in the century, he also helped other photographers define what the aesthetic means in photography. He also was a champion for many of the best known photographers, and seriously boosted their careers. In painting, he was an early advocate of important 20th century artists like Arthur Dove and Georgia O'Keeffe. In addition, he published two influential journals about photography, and exhibited art in his famous gallery in New York. Clearly, though, photography was his first love. "I have all but killed myself for Photography."

This book focuses on his central vision of photography ("search for objective truth and pure form") which increasingly was about "antiphotographs" or images that move beyond simple representation. This concept is examined both in 73 of his best images and through numerous excerpts from his voluminous writings on the subject (over 200 essays).

This book is based on the famous 1983 show of Stieglitz's work, and has been reproduced with amazing care and quality. The images are produced in tritone to give more texture and detail. The paper is of archival quality. Most people's diplomas are not on paper this good or this thick. There is a luxurious feeling to just hold the pages.

The 73 images were selected by Ms. O'Keeffe, Juan Hamilton (her friend and assistant), and curator Sarah Grenough from approximately 1600 images in the collection of the National Gallery of Art. Ms. Grenough selected the writings to be used, and wrote the wonderful introduction.

From looking at these remarkable images, I came away with the impression that Stieglitz was at his best (for my taste) when he was doing portraits, abstractions, and cityscapes. Those subjects seemed to allow him to strip away the unessential better than the others he used. My favorite images in the book are:

Sun Rays -- Paula, Berlin, 1889

From the Back-Window -- 291, 1915 Self-Portrait, 1907

Marie Rapp, 1916

Arthur G. Dove, 1911-1912

Charles Demuth, 1915

Hodge Kirnon, 1917

Marcel Duchamp, 1923

Georgia O'Keeffe, 1918 (3)

Margaret Treadwell, 1921

Waldo Frank, 1920

Dancing Trees, 1922

Music -- A Sequence of Ten Cloud Photographs, VIII, 1922

Equivalent, 1931

His writings are as rewarding as his photographs. I was particularly interested in his ideas about how humans make progress. "Progress has been accomplished only by reason of the fanatical enthusiasm of the revolutionist . . . ." "Experts . . . are the result of hard work."

After you have finished enjoying this astonishingly revealing volume, I suggest that you think about how you like to express truth and beauty in your life. How can you be more direct and simple in this expression?

Be sure to live a life of "constant experimenting" like Stieglitz did!

This is far more than a picture book; it contains 73 high-quality plates and its real treasures can be found is the twenty page introduction and the fifty pages of selections from his writings about his work and views on photography. As a full time artist, I found this book to be both rich and inspiring. If you have lost sight of why you shoot pictures, try this as a reminder of clearer moments.

This perhaps the best latin grammar out there today. Everything you ever wanted to know about this complex language is here. The grammatical points are clearly explained and numerous examples help clarify these points. The book also contains several sections on syntax as well. In fact the book is half grammar and the other half is syntax. Every serious student should own a copy, it is that good !

My 5-star review is for content only. The paperback copy I have gets a 1-star, because it is in pieces. I am tired of these expensive paperbacks falling apart. This book should come in a clothbound edition. Reference works should ALWAYS be available in a hardcover or clothbound edition - because they get such heavy use ! Publishers wakeup !

Dear latin students in the U.S., this may be one of the best latin grammars ever written and now put into the Internet.During last decades, latin teaching has become more difficult, even in a french-speaking culture, as the quality of grammars has decreased. What's more, is that the prices of these bad grammars have climbed and have to be paid by students without a proper income. It is only by Internet that one can prevent such inadequacy. For those who have therefore given up studying one of the most amazing languages ever spoken, I only recommand to visit the Allen & Greenough Latin Grammar Site.

Marc WILMES Luxembourg

Contains all forms, usages, and syntax. Every archaic form and all odd uses for all tenses, declensions, and conjugations. A great resource for any Latin student, including the most advanced of Latin scholars.

Harry Callahan was the most influential and important figure in photography throughout the last half of the 20th century. This edition of his work shows chronologically how Callahan's approach to the medium evolved and changed, while his vision remained ever faithful to modernity. The book begins in Detroit, where Callahan worked for Chrysler while pursuing photography as a serious hobby. It was also during this time that he married Eleanor Knapp, who would later become the subject for many of his strongest images. The accompanying essay by Sarah Greenough is succinctly written, blending biographical information to the photographs Callahan took throughout his long, photographic journey (Callahan died in 1999). Callahan's outlook on photography changed dramatically after having met Ansel Adams, at a photography workshop in Detroit. Taking some of Adams' philosophy and refining it, Callahan created his own style of photographing/printing, made apparent by such images as 'Weeds in Snow' and 'Detroit, 1942'. In these images and throughout the rest of his life, Callahan easily turned the simplest subject matter into monumental works of photographic art. The book provides powerful examples of this, in both black & white and color. After leaving his job to pursue photography full time, Callahan moved to Chicago and taught at the Institute of Design. Continuing the experimentation he began in Detroit, Callahan worked and refined his style during his Chicago years, utilizing double exposure, collage, close-ups, and the use of positive and negative space. The book then turns to Callahan's New England period. It was during this time that Callahan taught at the Rhode Island School of Design, in Providence. The book captures this period vividly, with images of varying contrast and mood. Here we see Callahan's ability at adapting to his environment by producing increasingly poetic images of nature, as well as urban and suburban street scenes. In his later work from 1972-1992, the photographs in "Harry Callahan" document the photographer's travels in other countries, with an increased attention on color. It remains clear by the images shown in his later years, that Callahan continued to explore photography by constantly challenging himself and the medium. Where most photographers are known for one particular style or body of work (Cartier-Bresson's 'decisive moment' or Robert Frank's publication of The Americans), Callahan is known for many different styles and bodies of work. The photographs in "Harry Callahan" prove this with each turn of the page. Callahan was a photographic artist in the truest sense, if we choose to believe an artists' goal is not only to create but to constantly evolve. Callahan was, continues to be, and always will be an influence to those photographers who seek not only perfection in the creation of their photographic art, but also change.

This is a beautifully produced book geared for the veterinarian. It is a multi author production which represents international opinion and current state of the art. Covers everything from economics to surgery.

A good book on an important subject! - historic photographs

This book really is a wonderful resource for physicians interested in a statistical basis for their practice. I had been seeking for a book with hard numbers on the frequency with which symptoms and signs are found. This book really does an outstanding job

Alfred Stieglitz is legendary in the annals of American photography. In Stieglitz On Photography: His Selected Essays And Notes, Richard Whelan has compiled and annotated the best of Stieglitz's commentaries regarding the power and beauty of the photograph as an artistic and interpretative medium. Drawing from Stieglitz's exhibition reviews, travel pieces, technical articles, and various diatribes on Pictorialism and the founding of the Photo-Secession, Stieglitz On Photography is "must" reading for all serious students of the developmental history and cultural relevance of American photography.

A must for anyone from a small plains town or for those who just visit and wonder what it's all about. As a HS graduate of the book's time frame and the actual town portrayed (Toulon), the book brought full-color memories back on every page. The only complaint I have is that the character's could have been developed more thoroughly and perhaps several plots could have been woven together to create a book with more depth. I am looking forward to a sequel -- it is obvious that the author did not put all of his eggs in this one basket.

The Itinerant is the Midwest before Wal-Mart and the "Net", when the Midwest was the heartland of America. This book is like "The Bridges of Madison County", only better written and more suspenseful. You will learn about politics from this book. Nowlan writes with accuracy and knowledge; there is "ink", Printers and Political, in his veins. The strength of small town America is reflected in this book, and, what a great ending! You can smell the hot lead, cheap cigars, and beer.

The Itinerant rides into your head and the characters into your heart! A wonderful mix of love and the search for the truth. It brings to mind The Bridges of Madison County and the dilemna of should she leave or go with the photographer; but with more depth and detail of small town folks and the era. Canoe sales should go up around the Spoon River and possibly a run on Rhubarb wine!

if you do or dont know robert frank, you should still pick up this book. if you own a copy, buy another for a friend, its that good. not only does it show us all the goodies, it shows a lot of the baddies, too. the stuff from the end of the mans life doesnt strike my fancy, but it shows how he evolved.

i guess this reads like a biography if your not into page turning and picture glimpsing. but thats allright.

things to recommend for fans of this book: pull my daisy the movie by frank mention numerous times the lines of my hands published beforehand but includes plenty more goodies not included in this package

for fans of the above listed, check out this veritable omnibus, you wont be disappointed.

ryan maclean, 99

This book was great I thought! I just love the use of Black and White and color photography within the same space...I think Frank has done this with much beauty.

I am actually doing a project at the moment on photography and painting and the two concepts combined. If anyone out there can suggest more books and artists - please e-mail me!

I find it much more difficult to navigate this book than, say, Moreland and Fleisher's book of Latin grammar. Furthermore, it's verbosity is frequently difficult to penetrate. The author seems to have an aversion to synthetic explanation, relying instead on an overabundance of examples that serve to clarify little of the readers confusion.

This book's low average rating is, unfortunately, a reflection not of its quality, but of the error of a previous reviewer whose mistake was to expect the book to be a basic grammar rather than a reference grammar for more advanced students. Put simply, there is no better Latin reference grammar available in English. If there is, I am not aware of it. This is the only Latin grammar that rivals Smyth's Greek Grammar in its depth and clarity. That said, students should note that this is a thorough descriptive reference grammar, not a grammar meant to teach Latin or to provide the intermediate student with a basic reference. Those seeking a simpler reference more suitable to the intermediate level may benefit from Bennet's grammar of the same title.

This is one of the great Latin reference grammars. Where most people fail is in expecting a grammar to be a textbook; case in point, another reviewer compared this to Moreland and Fleischer's _Intensive Latin Course_, which is a fine textbook, but not a reference grammar. This and similar grammars by Hale & Buck or Gildersleeve are essential for the advancing student, but should never be approached like a lesson book or be read straight through. They're called "reference" grammars because you're meant to "refer" to them on specific questions of grammar. Get it? For the beginning student or for a simpler (albeit less authoritative) treatment, I recommend Bennett's grammar. But Allen & Greenough is an excellent, excellent grammar. When you've gotten a bit further along you may consider adding Woodcock's _New Latin Syntax_.