Published by Studio Publications, 1948
Language: English
Seller: Blindpig Books, Salt lake city, UT, U.S.A.
Hardcover. Condition: Used - Acceptable. Revised Edition Perr. *Copyright 1935* Book shows wear. in a Worn jacket. Stains and tear. Still readable copy.
Published by Studio Publications, 1935
Language: English
Seller: The Bookery @ Rochester, LLC, Rochester, VT, U.S.A.
Hardcover. Condition: Good. No Jacket. Assumed 1st edition.Boards are worn around the edges and the body of them. Foxing throughout. Relatively scarce book. 32 black and white tipped in photographs.
Published by London, The Studio Limited, 1935
Language: English
First Edition
US$ 339.55
Convert currencyQuantity: 1 available
Add to basketCondition: Gut. 8°. 25,5 x 19 cm. 96 Seiten. Original-Halbleinenband. (= How to do it Series, Nr. 8). 1. Ausgabe der 2. Veröffentlichung. Englischsprachige Ausgabe. Mit Abbildungen und 32 montierten Bildern in Schwarz-Weiß. Einband berieben und fleckig, Ecken bestoßen, Schnitt fleckig. Innen durchgehend stockfleckig, Vorsatzblatt mit eingeklebtem Exlibris. Gutes Exemplar. First edition of the second publication. English language edition. With illustrations and 32 mounted illustrations in b/w. Original half cloth binding. Cover rubbed and spotted, corners bumped, edge spotted. Inside continuos foxy, endpaper with glued in exlibris. Fine copy.
Published by Studio Publications Inc.
Seller: ThriftBooksVintage, Tukwila, WA, U.S.A.
First Edition
Hardcover. Condition: Good. No Jacket. Dust jacket missing. First edition THUS. Shelf and handling wear to cover and binding, with general signs of previous use. Secure packaging for safe delivery. 1.01.
Published by The Studio Ltd., London, 1935
Hardcover. Condition: Good. second printing. 8 x 10 in.96 pp. Rebound in a library cloth binding. Text and real photo plates complete. Condition is GOOD ; the library binding has wear to the outer joints and spine ends, corners, with the front joint a little tender but holding fine. The text has all the plates, which, at the time of production of the book, were not perfectly mounted - most have some light rippling. Text has some spots but the photos do not. Library bookplate on pastedown, library stamps on endpapers. One photo plate has a nick to a corner. Photo. RGR.
Published by STUDIO, 1935
Seller: Princeton Antiques Bookshop, Atlantic City, NJ, U.S.A.
HARDBACK GREY. Condition: GOOD. General wear, scratced and rubbed cover, lightly agetoned cover, heavily rubbed board edges, foxed endpapers and front pages, lightly agetoned page edges, some pages lightly rippled, worn edge, contains BW photographs DATE PUBLISHED: 1935 EDITION: 96.
Published by Studio Limited, 1935
Seller: Moe's Books, Berkeley, CA, U.S.A.
First Edition
Hardcover. Condition: Good. No jacket. Covers worn, and tape covering the spine and edges. Name written inside front cover. Some foxing throughout.
Published by London, New York, The Studio., 1935
Seller: Antiquariat Haufe & Lutz, Karlsruhe, BW, Germany
First Edition
US$ 424.43
Convert currencyQuantity: 1 available
Add to basketGr.-8°. 96 S. mit 33 mont. Autotypien. Illustr. Orig.-Halbleinenband. ("How to do it" series, vol. 8). Roosens and Salu 60. - Seltene erste Ausgabe der zweiten Buch-Veröffentlichung (nach "Taos Pueblo", 1930) des berühmten amerik. Fotografen. - Die hervorragenden Tafeln sind auf dünnes Papier gedruckt und lackiert, dadurch wirken sie wie Orig.-Abzüge. - "Die Photos sind so gut wiedergegeben, dass ein Buchladen "Making a Photograph" vor ein paar Jahren als "mit Originalphotos ausgestattet" bewarb und zu einem Preis von 3500 Dollar anbot! Natürlich wies ich die Leute sofort auf ihren Fehler hin" (Ansel Adams, Autobiographie, München 1987, S. 174). - "Ansel Adams (1902-1984) strebte Zeit seines Lebens grösstmögliche Tiefenschärfe und Detailzeichnung an. Mit dem vorliegenden Lehrbuch erreichte er mit dieser Forderung erstmals internationale Anerkennung. Das Buch ist für die ausserordentliche Qualität der darin montierten Drucke bekannt, einige davon zählen heute zu den Ikonen der Photographie . Die vorliegende Erstausgabe von 1935 unterscheidet sich erheblich von der 1939 erschienenen «revised edition»" (H. R. Gabathuler). - Einband etwas berieben, Kapital unauffällig restauriert, sonst gut erhalten. - Rare first edition of the second book publication (after "Taos Pueblo", 1930) by the famous American photographer. Photographer. - The excellent plates are printed on thin paper and varnished, making them look like original prints. - "The photos are so well reproduced that a bookstore advertised 'Making a Photograph' a few years ago as 'equipped with original photos' and offered it at a price of 3500 dollars! Of course, I immediately pointed out their mistake" (Ansel Adams, Autobiography, Munich 1987, p. 174). - "Throughout his life, Ansel Adams (1902-1984) strove for the greatest possible depth of field and detail. With this textbook, he achieved international recognition for the first time. The book is known for the exceptional quality of the prints mounted in it, some of which are among the icons of photography today . This first edition from 1935 differs considerably from the "revised edition" published in 1939" (H. R. Gabathuler). - Binding somewhat rubbed, capital inconspicuously restored, otherwise in good condition. Sprache: englisch.
Published by The Studio Limited, London, 1935
Seller: Carpe Diem Fine Books, ABAA, Monterey, CA, U.S.A.
First Edition
First Edition. 4to. 96pp. 32 tipped-in photographs by Ansel Adams; diagrams; drawings. Quarter black cloth under glossy photo-illustrated paper covered boards; gilt titles to the spine; in surprisingly scarce photo-illustrated dustjacket. Shelf-wear; light wear to corner tips; else a near fine copy in near fine dustjacket (short closed tear to upper & lower front edge; short closed tear to lower rear edge; minor wear to extremities). In this volume, No. 8 in The Studio Publications "How To Do It Series", Ansel Adams educates photographers how to not just take a photograph, but to take a good one. He identifies the necessary equipment, the technique of each operation from exposure of the negative to completion of the print, and he explains the important part played by the eye of the photographer in selecting his point of view.