Zurich: Scalo, [2003]. First Scalo edition. Hardcover. Near fine.
“I had this notion of what I called a democratic way of looking around, that nothing was more or less important,” William Eggleston once said. Los Alamos gathers photographs made between 1964 and 1974 in and around Memphis and across the American South, tracing his luminous and unsentimental vision of everyday life—gas stations, diners, parking lots, and faces washed in saturated color.
Though conceived as a vast compendium of American pictures, most of the negatives remained unprinted until this volume. Essays by Walter Hopps and Thomas Weski frame the work’s influence on the language of contemporary color photography.
Zurich: Scalo, [2003]. First Scalo edition. Hardcover. Near fine.
“I had this notion of what I called a democratic way of looking around, that nothing was more or less important,” William Eggleston once said. Los Alamos gathers photographs made between 1964 and 1974 in and around Memphis and across the American South, tracing his luminous and unsentimental vision of everyday life—gas stations, diners, parking lots, and faces washed in saturated color.
Though conceived as a vast compendium of American pictures, most of the negatives remained unprinted until this volume. Essays by Walter Hopps and Thomas Weski frame the work’s influence on the language of contemporary color photography.
