5 comments about A Digital Photographer's Guide to Model Releases: Making the Best Business Decisions with Your Photos of People, Places and Things.

1. Since my book on Model Releases has been published, I've been getting
   lots of email asking whether the book applies to non-US photographers,
   since I'm American and I cite many US laws.
   
   First, I must point out that, while the book does cite a few laws,
   this is not a legal book--it's a business book. Making smart business
   decisions (such as whether to make money or to avoid risk) requires
   more than just the knowledge of "law." This is especially the case
   for all of the laws that apply when model releases would be applied,
   regardless of whose laws or what country. What's more important is that
   you understand the principles and concepts behind what the various laws
   are intended to protect. Never are there conditions so cut and dried that
   all you needed to know is the letter of the law and your decision-making
   is done. That's why this is a business book--I examine (and explain) the
   legal analysis and intent behind the scenes so you can make appropriate
   financial risk-assessment decisions on a case-by-case basis.
   
   Now, as for why US laws are so critical here, let's begin by understanding
   the role of international trade and globalization. Whether intentional
   or not, many more marketing materials companies use end up "landing" in
   the US somewhere, somehow, in such a way that US laws could be triggered.
   For example, say your local Canadian bank licenses one of your photos
   of a farmer in Alberta. If they use it for ads it places on google adwords,
   and the bank targets customers that also reside in the US, then that
   farmer could have a claim in US courts for the use of his photo without
   a release. This is because the bank is said to have "reach" into the
   US because it is considered to be conducting business there. Hence, that
   aspect of its business that it's doing (the ad) is subject to US laws. It
   is not uncommon for non-US entities to file claims in US courts under
   US laws, even though none of the parties involved may be US citizens.
   The book gets into details about how and why all this works.
   
   The larger point is that photographers that license images are more
   likely than not to be selling to clients who could have this very kind
   of exposure. Making matters worse is that the US has some of the most
   punitive laws, where damages are very high. This all adds up to very
   paranoid companies that want extra protection before they license any old
   picture of a farmer. Indeed, anyone that does any kind of international
   business at all will be very cognizant of US laws, and may only license
   images that have releases that satisfy US laws.
   
   Of course, it's true that a local German company that sells local beer
   to a limited geographic region is not going to get called into a US
   court just because they happen to have a website that has an unreleased
   photo of someone and that website can be seen in the US. It'd be hard to
   convince a judge that there's any real "presence" there. So, let's not
   get carried away with ourselves: not every use of any photo is suddenly
   subject to US laws or courts.
   
   But, again, let me remind you of your job as a photographer: to cast the
   widest net to catch as many buyers as possible. If you are knowledgeable
   of (and comply with) US laws in your photo business, you will not only get
   more potential US-based buyers of your imagery (not a small market by any
   measure), but you'll have a better reach for your local buyers as well.
   And that's really what this is all about.
   
   Besides, if you understand the principles behind US laws, you will have
   no problem doing analysis of your own laws, should they be any different.
   The purpose of this book is to teach you how to think smart in business
   terms, and analytically about law (insofar as you need to as a photographer).
   You will come away much better prepared to sell into the global market
   that you're already selling into.



2. Dan Heller's website presents a wealth of information for the digital photographer interested in making a business out of photography, and answers all sorts of questions, in an authoritative way, about model releases, what/where/when can one photo, and how can those images be used by whom. Dan is generous with his information on his website and in personal communications, which helped him perfect his product, in this case his book A Digital Photographer's Guide to Model Releases: Making the Best Business Decisions with Your Photos of People, Places and Things. In some sense I felt I already had all the answers I needed on this topic after reading Dan's material online. But to have it all re-purposed in a logical, complete, consistent vehicle illustrated with many beautiful photos, and crafted for fun reading with humor and post-it-note sidebars and anecdotes... this book is quite simply the definitive guide on the subject. Dan does not simply answer the questions, he explains the reasoning behind the questions and answers so that one can logically apply the "rules" to other situations with confidence. This is the best $20 bill I have parted with in my investment in photography. I would not trade this book for all the others in this category combined. This title will persist for years because its advice is timeless. Like reviewing the basics of any discipline will help any pro, I can't think of one expert in this field who would not benefit from reading this book. Kudos to Dan for a job well-done, from a dedicated fan, Mike Baird



3. No question that this is the most usable and understandable discussion of model releases as it relates to photographers.
   
   A couple of years ago I went to the library with questions about property releases and took out well over a dozen books on photography and the law and photography business. Almost all talked about model releases (for people) and several also had property release examples, but only ONE BOOK said anything at all about property releases and it was only about a sentence or two. All of my prior reading left me with more questions. This books explains the why so that you can more accurately make decisions regarding releases.



4. Although Mr. Heller describes his book as a "business book," not a "legal book," it should be noted that he is not a lawyer, has no professional liability for giving incorrect legal advice, and that relying upon the advice in this book (any disclaimers contained herein or therein notwithstanding) is no substitute for consulting an attorney licensed in your jurisdiction and familiar with the relevant law.



5. This book is good information, but it is very wishy washey and not straight forward in it's information. It seems that he says one thing and then later says the opposite. There is too much talking and not enough straight forward useful information. There is one model release example which is what I was after and it is not one I would sign. I do feel slightly more informed.

3 comments about The Seasons of Cumberland Island (A Wormsloe Foundation Nature Book).

1. I recently returned from a visit to Cumberland Island and I had already purchased and admired all of the photos in the book. When I returned from my trip I again looked at the book and it made the island come alive again in my mind. The photographer has captured the entire essence of Cumberland Island and brings it to life. The book gives a preview of all of the things the island has to offer: wildlife of every description and vegetation scenery that takes you back in geologic time before man set foot on the island. The photos in the book show the diverse creatures such as deer (including 2 white ones); alligators, racoons, wild turkeys, bobcats, birds, waterfowl, armadillos, pigs and wildhorses (not native to the island) etc. The diverse vegetation and wildlife is featured by seasons in the book. The photographer is a wildlife expert and also gives tours to the guests of the incredible and comfortable Greyfield Inn. Buy the book and then go see the island!



2. A gorgeous reflection of what the island excels in. Mr. Whitehead's photographs beautifully depict the nature of and on the island. When I can't be there, I fantasize through this book.



3. The photography of this naturalist, Fred Whitehead, capture the four season beauty of Cumberland Island. I met this author, who led a tour of the island one April morning, and actually asked him whether the island had 'seasons.' He humbly answered,'yes', without mentioning his book, his photography, or his experience. An hour later I found this book in the gift shop of the inn, and my question was answered in detail. Few can experience a long stay on this island, but no nature lover should fail to visit this place and see a nearly undeveloped barrier island larger than Manhattan. This book is a true souvenir of my visit, and the tour led by the author.

No comments about Counterpoint.

3 comments about Magic Lantern Guides: Pentax K200D (Magic Lantern Guides).

1. I was unsure about buying this book. I've found the K200D manual somewhat readable and have gleaned other info, such as using manual lenses, from the internet. I have never read a Magic Lantern Guide, and the reviews for other camera guides are generally positive but also sometimes mixed.
   
   That said, I am extremely pleased with this book. It is exactly what I was looking for. To start with, the photos are all black and white, but they are very effective at demonstrating the point--much better than Pentax's drawings and photos. I don't know how much of the book is boilerplate with other guides, but it definitely seems to be tailored to the K200D.
   
   I haven't read this book in detail yet, but I've already learned about the different Pentax series lenses as well as filter types. In addition, I've learned about its dedicated flash (AF-360FGZ). The instruction manual for the flash is full of tables and cryptic modes. This book makes it easier for me to understand and apply.
   
   One thing that may be missing is information on using older Pentax lenses, specifically manual lenses. It's mentioned briefly in the aperture ring section, but that probably isn't sufficient information by itself. For me this is important because one of the reasons I went with this camera is the huge lens availability. Other than that, it's a great book that I'm glad I bought.



2. I recently purchased the book Pentax K200D by Magic Lantern Guides and it is an excellent publication. The user manual that came with the camera is good but basically gives one the bare facts about the camera. The Guide goes into much more detail plus it is in a language that is easy to follow. I recommend this book to anyone who has a Pentax K200D as it will help them in getting the best out of a great camera.



3. I recently purchased the Pentax K200D, my first foray into digital photography. The camera is great. The manual was as expected. I was after a book that would take me through getting the most out of the camera and how to best set it up for different photographic scenarios, e.g. low light, landscape, portraiture, etc. This book fell a little short.
   
   However, it does work on expanding from the manual. It covers all settings and functions of the camera, expanding on them, and explaining their affect or purpose in very easy to understand language. This would be great for someone new to photography who is a little bewildered by the jargon and too-the-point manner of the manual.
   
   The photos are black and white but they serve their purpose.
   
   In that respect, I give it four stars. It does achieve what it was intending, just not what I was wanting.

5 comments about Africa.

1. After a recent trip to Tanzania & Kenya, I wanted to find some way to keep the images of the animal life I saw in those places fresh in my mind's eye. Michael Poliza's photography captures the colorful, raw elegance that is Africa in purest form. This large book is for anyone of any age who appreciates beautiful photography, and also for animal lovers everywhere who want to witness up-close the delicate balance of animal life at it's most majestic. A stunning addition to any collection.



2. Of all the many great African wildlife photographers, there are a select few whose images stand out from the rest and transcend beyond photography to art - - Nick Brandt's "On This Earth", Anup & Manoj Shah's "The Circle of Life", Robert Haas' "through the eyes of the gods" and now Michael Poliza's "Africa".
   
   As a wildlife photographer myself (I had the opportunity to meet Michael Poliza and observe him at work in the Linynati region of Botswana in 2002), beyond enjoying other photographers' images, I instinctively compare their work to mine. While anyone can take an occasional excellent photo, it is the collective body of work that defines the truly great photographers. Poliza's African wildlife portfolio demonstrates that he is one of those on a different artistic level than the rest of us, including much more widely known and acclaimed photographers like Beverly & Derek Joubert and Mitsuaki Iwago.
   
   If you're going to invest in a single African wildlife coffee table book, you won't regret making it "Africa".



3. Worth buying and having one of your own. The other reviews say it all. I add that it is one of my favorite books --- there are over 1200 books in my library.



4. Having recently returned from Africa - my "long-time dream vacation" alas come true, I wanted to savor memories of its beauty and wildlife so I purchased Michael Poliza's book, AFRICA. If I was captivated by the sights I beheld in person during many game drives, I am completely spellbound now after laying eyes on Poliza's incredible, oversized photographs! I am pleased to have this coffee table book so readily available, to take me back to a place that will forever live in my heart. Thank you to Michael Poliza for expressing so beautifully in pictures what I can barely even explain in words! He has touched the core of my soul. His AFRICA photographs are phenomenal and truly inspiring! I know I will one day return to Africa but, until then, this book takes me there (so wonderfully) again and again, every day.



5. A book for real animal and Africa lovers!! Excellent photos, combining nature photography and the art of composing colours and/or designs. Phantastic views from the air, but also from the ground. Who ever has been on a game drive in Africe, would have hoped to be able to get at least one of these pictures. Also the size (and the weight) is absolutely gigantic!

1 comments about A View from the Porch 2009 Calendar.

1. I purchased this as a birthday gift for a co-worker. She absolutely LOVED
   it!

3 comments about Robert Polidori: After the Flood.

1. "After the Flood", the latest book by French Canadian Photographer, Robert Polidori, about the aftermath of Hurricane Katrina is also his largest and most powerful. It is as if his books on Havana and Chernobyl were mere foretastes to this exceptional and moving work, and certainly anyone who has seen these two books came away with a feeling of the power and storytelling that Polidori's images can convey. Polidori has the gift of the detailed eye that can simultaneously give the viewer images of beauty and revulsion in objects and textures. These alone tell the stories. There are no images of people necessary. It is as if he is capturing the tracks and shadows that humanity has left behind. He was able to show this in the urban decay of Havana and of the horrors of the rapid evacuation and subsequent reclamation of nature in Chernobyl. In "After the Flood", he presents us with an almost encyclopedic presentation of the aftermath of the hurricane, flooding, wind, water and mud damage showing the fragility of our cities and the power of nature.
   
   The book contains at least 400 images, which have been carefully arranged. The first images show parts of the city still under water and the receding water. The next group shows the destruction caused by water inside the houses. Furniture has been picked up by the flood and re-arranged and we see the effects of water on different materials and soon notice the tell-tale brown lines on the walls, sometimes over six feet high, showing the high water mark. Succeeding groups of images show the effects of mud, water and wind on buildings and cars that have been tossed around at random like toys. Sometimes cars rest against houses in bizarre angles and sometimes the houses are laying on top of the cars. Several pages show smaller images of streets where every house was damaged and abandoned. The last set of images shows the clean up. Mounds of refuse in front of houses, temporary trailers, houses being cleaned and repaired. The effect is very powerful as we see how the lives of hundreds of thousands were affected and how many must have lost everything.
   
   The book can only give a taste of the incredible detail the images contain. In a recent exhibition at the Metropolitan Museum of Art they could be seen as the original prints, each at about 40" by 54". They were taken with a large camera and according to Polidori with no lighting, as there was no electricity available at the time the shots were taken and lighting would have been to cumbersome in cramped and sometimes dangerous conditions. Only time exposures could show the incredible detail, which Polidori refers to as the "process of revelation". He call his work "a constant learning process", and anyone who looks at this book will not only learn, but will also ask questions as to how a disaster of this magnitude was possible, and to our place on this earth and our future here.
   
   Review by Walter O. Koenig



2. Silt has rendered a wonderous, pale beauty to the interior carnage of New Orlean's homes. Polidoris's project, a subsequentc 'invasion' of these domains, places on public record their devastation. It's a case of supreme technical skill, enshrining an ephemeral disaster. The denizens have hastily evacuated, leaving Polidori to rut in the trough of the city's ruin. Here, in one haunting page after another, the tidal muds that have rudely piled cars beneath houses in tragically asymmetrical congress, are made warm and close. It's relentless. You can almost handle the poignant detritus. We're led first through the haunting streets of uprooted poles, trees and weathereboards, of twisted metal. Then the rooms, the hearts and minds of individual suffering. Not snap-happy journalistic sensationalism, but hypnotically constructed images whose frozen testimonies have more permanence than the rented edifices they record. Polidori knows where to stand amidst the wreckage: his camera an unerring eye delving near and distantly with disturbing clarity. It is the very silence that entrances with singular eloquence and gravity. The wind and tide have subsided, but the havock endures in sulphurous washes and surreal configuration which 1000 installation artists would greet as a great funereal statement that transcends collective imagination. In a word, awesome, the currency of the Sublime. Polidori has wrested art from tragedy. Any of its 200 plus large format pages can be poured over for aesthetic reward, the more to dwell on vagabond Nature. Brilliant!



3. I purchased this book for my husband for Christmas. He grew up in the 9th Ward. This book of pictures captures the essence of the damage in the New Orleans area caused by the flood following Hurricane Katrina. The pictures are so real that you can just feel the erriness they capture.They make me think of haunted houses from a movie. But they are real. Real peoples lives and homes.

5 comments about Bird Brains: The Intelligence of Crows, Ravens, Magpies, and Jays.

1. A good part of my childhood was spent on an upstate New York farm. We had lots of corn and many other vegetables; many birds - and one extra-special crow. He quickly adopted us and often spoke to my uncle and me by name in my aunt's voice and exact intonations. The vegetable farm, barn, shop-garage, and chicken coop were at the top of a fairly steep hill and the house was at the bottom. Aunt Rose ruled the household; the crow ruled the farm area. Sometimes he would deliver small things up or down the hill. My uncle and I never tired of his antics and wisdom. We were happy to do the work orchestrated by the crow and I was ready for J. Allen Boone's work years in advance.
   
   Bird Brains may not be the most scientific or even accurate book, but I bring it out any time I find a potentially interested visitor. Even now where I live in a fairly rural area of New York City - there are crows among my friends. They live in close quarters with several Cardinal families, near blue jays, and many smaller birds in a huge oak tree and smaller peripheral trees. Crows are gregarious and adjustable. They would no doubt be pleased with this book and see no reason to find fault.
   
   If the book were about humans, would be as picky as we are about crows being correctly represented? Do we expect all humans to be alike? Equally smart with similar talents?



2. Though it's not as long as I would like, the pictures are fabulous and the information is great. It's a must-read for anybody who likes corvids.



3. You will never look at these birds the same again - fansinating.



4. When I got this book last week, I was initially somewhat disappointed. I had expected something more humorous or absurd. I mean, a "coffee table book" about CROWS?! Sounds like the ultimate dada, LOL! When I looked through the book, I also instantly saw a major whooper: the author (or perhaps her editor - the error is in the photo captions) claim that Hooded Crows are black and...wait for it...WHITE.
   
   WHAT?????
   
   I live in Sweden, where there are Hooded Crows everywhere, and I can assure you that they are, of course, black and grey. And yes, you can check a standard, scientific reference work at your university library, unless you don't believe me. :-D
   
   Be that as it may, when I actually started reading the book, I realized that the rest of it isn't that bad, after all. As another reviewer pointed out: it depends on what exactly you are looking for. It's not a field guide to crows and their allies, nor is it a original scientific study. Rather, "Bird Brains" is a popularized introduction to the subject of crows and their intelligence, intended for the general reader. The author, Candance Savage, is a Canadian author and nature-lover (and yes, crow-lover!). The book is lavishly illustrated with photos of crows, ravens, jays, jackdaws and magpies. All photos are in color. Some are quite dramatic, for instance a photo of a crow challenging a Bald Eagle, and another showing magpies sitting on bisons, not to mention a photo of two magpies chasing a crow! (As you might have guessed, I'm a magpie-lover myself.) The text is pretty basic, but it's well-written and interesting. I think the book could be an excellent gift to both adults and teenagers, including people with only a passing interest in birds.
   
   The main point of "Bird Brains" is that crows, ravens and other corvids are surprisingly intelligent creatures. In laboratory tests, ravens have showed abilities on the level of chimpanzees, and above the level of monkeys. One raven could count to six, another learned how to fill a small cup with water and moisturize his food, simply by observing a laboratory assistant. The raven wasn't specifically trained to perform this task - he learned it anyway. Both ravens and crows can mimick human speech, just like parrots or mynabirds, and the most humorous situation in the book involves a crow that could say "Three, two, one" and then mimick the sound of an explosion. Apparently, the crow had spent some quality time near a building site.
   
   The most spooky situation mentioned in the book involved a raven that learned to say "Come" and somehow taught another raven to join him every time he uttered the command! The ravens lived in a laboratory, and were mimicking their trainer. Flexible instincts? Real intelligence? A little bit of both? A short work like this cannot answer the question, just pose it. One thing is certain: if a corvid would start talking to me outside the local shopping mould, I would start running!
   
   On a more sober note, "Bird Brains" also mentions situations where corvids don't act very intelligently, where they are indeed driven by pure instinct. For instance, crows and their relatives don't recognize their own chicks, but automatically feeds whatever happens to be in the nest (something not mentioned in the book is that this dumbness is taken advantage of by cuckoos - at least one species of cuckoo specializes in parasitizing corvids). Only when the chicks leave the nest do their parents start recognizing them, even in large flocks. Savage also mentions several instances of rank stupidity among the jackdaws studied by the famous Konrad Lorenz. Apparently, the jackdaws attacked poor Lorenz every time he held up a black object, thinking the object was a jackdaw in need of assistance!
   
   Still, corvids (the quaint scientific term for crowbirds) are remarkably intelligent, and this book may wet your appetite for learning more about the intelligence of birds. Perhaps I'll order Irene Pepperberg's books about Alex next. It's about that other fascinating group of intelligent birds: parrots.
   
   Four stars! (Yepp, I had to delete one star because of that Hooded Crow thing, no offense.)



5. This book has a number of positives: beautiful pictures and some interesting presentations of scientific studies.
   
   It has a major flaw: the author has an anti-science bias. Despite relying on science for just about every detail of the book, she constantly makes snide remarks about how limited it is and doesn't really know things.
   
   If science is that stupid, why is she using it for most of the content of her book?
   
   It also serves as a red flag. While much of the presentation of material is accurate, the author often twists details to fit her notions about science, gender(when a girl bird does something, it shows intelligence; when a boy bird does the same or nearly the same thing it is instinct or aggression), and romanticized nature (nature tends to be peaceful save for humans). This leaves the reader with the burden of sorting fact from the author's wishful thinking.

5 comments about Playboy: The Celebrities.

1. This is a high quality book with many beautiful images. While there are a number of women here that are most famous for being Playmates, they are also women who legitimately had some celebrity outside of the magazine (movies and/or TV). But as others have said, there are many "A List" celebrities that didn't make it into this volume. We can only hope they'll be a "Volume 2" in the future.



2. I bought this for an early Christmas gift for my fiance' and we both love it. There's a sampling of all kinds in here - from young to older, earthy to, well, Pamela, and dated to modern.



3. The book promised more than it delivered. I am tempted to return for my money back.



4. If you grew up in the 70's like I did and you were trying to project an image of cool and hip you read Playboy. Besides the great photography there were well written articles on politics and mens lifestyle issues that just weren't available anywhere else. And the special treat of having a glimpse of a favorite celeb partially nude made reading the articles less important for that particular issue and almost guaranteed it would become a collectable item. Many of the photos are mild to say the least by today's standards but still demonstrate the high quality photography that I believe always set Playboy apart from the rest.
   
   This book is full of the same high quality images anyone who has followed the magazine would expect to see and some of us will even remember when some of the models first appeared. I was hoping to see a few more of my favorites, but hey there's always the next volume and as long as Mr. Hefner's name is on the masthead we'll have to trust him to pick the subjects and I'm very comfortable with that. If you ever liked Playboy and/or ever collected any of their compilation volumes this one is surely worth having.



5. There isn't a table of contents, though there is an index in the back of the book. Perhaps Playboy knew that its list of celebrities would be largely unimpressive?
   
   Maybe I'm just too young. Maybe the ubiquity of modern websites like SuicideGirls and Mr. Skin (the new go-to place for celebrity nudity) have caused my generation to take Playboy's achievements for granted.
   
   Regardless, the list itself seems unimpressive.
   
   But the photos are nice enough (though it isn't exactly difficult to make a celebrity look good), and Playboy certainly deserves credit for creating such a foolproof franchise.

4 comments about Georgia O'Keeffe Museum Collections.

1. 
   For those of us not fortunate enough to be going to Santa Fe this year for the celebration of the tenth anniversary of the Georgia O'Keeffe Museum (which houses the largest collection of her work), here is an able substitute. Those who have visited the Museum in the past will relish this opportunity to revisit not only her art but her houses at Ghost Ranch and in Abiqiu, New Mexico.
   
   It need not be said that O'Keeffe is a preeminent artist of the twentieth century, one of the most respected and loved. An American modernist she is acclaimed for her compelling abstractions, so elegant and vital. Her visions are often enlarged. Inspired by the natural she once said, "When I found the beautiful white bones in the desert I picked them up and took them home too...I have used these things to say what is to me the wideness and wonder of the world as I live in it."
   
   This gorgeous volume is rich with illustrations - 335 in full color and two eight-page gatefolds. It also includes numerous photos, some previously unpublished, and works by others who embraced modernism and painted in New Mexico.
   
   Curator of the Georgia O'Keeffe Museum, author Barbara Buhler Lynes is the leading authority on this artist. She has done a meritorious yeoman's task in compiling this glorious volume which is a treasure for all.
   
   - Gail Cooke



2. Georgia O'Keeffe would have loved this book! Not only does Barbara Buhler Lynes, curator of Santa Fe's Georgia O'Keeffe Museum, respect her subject's astonishing eye and craftsmanship in this book, she respects Ms. O'Keeffe's wishes regarding displaying her works of art. During her lifetime, the artist often mounted her own shows, e.g., at An American Place, her husband Alfred Stieglitz's gallery in New York. Ms. O'Keeffe was adamant (a) that her creations be hung on white walls, and (b) that her artwork be arranged by type rather than chronology.
   
   Lynes abides by both of the artist's rules here to great effect, and her meticulousness, in terms of the notes she provides about the artist's work and also the tags she associates with the plates (where she identifies the type and size of the surface used and also the type of medium: charcoal, graphite, oil, watercolor), add another layer of enjoyment for the reader.
   
   Lynes' notes attempt to steer the reader away from stereotypical interpretations that haunted Ms. O'Keeffe during her career. For instance, regarding "Blue II" (Plate 3, Page 19), the curator states: "The . . . womblike spiral of 'Blue II' seems to substantiate connections critics in the 1920's made between O'Keeffe's work and female sexuality. Yet when she made this watercolor, O'Keeffe was intensely involved in playing the violin, and . . . the form . . . of the spiral in her watercolor most likely derive[s] from the scroll-shaped termination of the neck of the instrument . . ."
   
   Categories in the book include abstractions, still lifes, architecture, animal and human forms, and trees. Every reader will find his or her favorite here; mine are the artist's representations of feathery kachina dolls and New Mexico's Pedernal. The last category in the book contains works by other artists at the museum whose careers, in some way, parallelled that of Ms. O'Keeffe. Stieglitz photographs (including a Georgia O'Keeffe nude) are here, as well as Ansel Adams' memorable "gelatin silver print" of Georgia O'Keeffe and Orville Cox at Canyon de Chelly National Park.



3. I flipped through this book at Barnes and Noble, and was frustrated to find that while the pages were large, the prints were tiny! Just a few inches across, usually. Anyone planning on buying this should know.



4. In contrast to a previous review which said the reproductions in this book are very small, I don't agree. It's a large book, and most of the reproductions are decent-sized and good quality.
   Along with the wonderful reproductions of Georgia O'Keeffe's paintings are some very nice photographs of her. This book isn't heavy on text, but what there is, I found valuable in interpreting the paintings.
   I'd recommend this book highly for any O'Keeffe fans.