{"id":369,"date":"2008-12-09T16:17:50","date_gmt":"2008-12-09T16:17:50","guid":{"rendered":"http:\/\/thebookbeat.com\/backroom\/?p=369"},"modified":"2020-05-07T13:34:19","modified_gmt":"2020-05-07T17:34:19","slug":"bob-moshers-top-10-photo-books","status":"publish","type":"post","link":"https:\/\/www.thebookbeat.com\/backroom\/2008\/12\/09\/bob-moshers-top-10-photo-books\/","title":{"rendered":"Bob Mosher’s top 10 Photo Books"},"content":{"rendered":"

The following list of reviews is reproduced from the “Grain Newsletter”<\/a> by permission from photographer Bob Mosher. “Grain” is “an alternative newsletter for traditional photography” that Mosher has created. At the Grain site you can also view portfolios of photography by Mosher. Book Beat stocks (or can order) all the titles on the list and I’ve included links if they have been currently entered online. Here now is Bob Mosher’s annual top ten holiday photography book list:<\/p>\n

This years crop of photography books and (films) does not disappoint with some steadfast older photographers\u00e2\u20ac\u2122 plus a few new and unusual titles to choose from, here is a handful for your consideration. \u00e2\u20ac\u00a6.read on good friends, happy holidays. –<\/em>-Bob Mosher
\n1. The Americans <\/em>by Robert Frank
\n2. The Complete Film Works by Robert Frank <\/em>
\n3. RFK<\/em> by Paul Fusco
\n4. Unknown Halsman <\/em>by Oliver Halsman Rosenberg
\n5. Life-Time <\/em>by Jock Sturges
\n6. Land 250 <\/em>by Patti Smith
\n7. A Certain Alchemy<\/em> by Keith Carter
\n8. Somewhere There\u00e2\u20ac\u2122s Music<\/em> by Larry Fink
\n9. Hollywood Foto-Rhetoric-The Lost Manuscripts <\/em>by Barry Feinstein & Bob Dylan
\n10. Frezno <\/em>by Tony Stamolis
\n\u00c2\u00a0<\/a><\/p>\n

The Americans<\/strong><\/a>
\n \t\t \t\t \t\t\t\t\t \t\t\t \t\t\t \"TheThe marketing banner wrapping the cover says it all, \u00e2\u20ac\u0153Few books in the history of photography have had as powerful an impact as The Americans\u00e2\u20ac\u009d.\u00c2\u00a0 Yes, The Americans is 50 years old and many \u00e2\u20ac\u201c (most) photographers own it and many have learned how to see photographically and use it as a point of inspiration for their work.\u00c2\u00a0 Stiedl, the publisher has reproduced the original Grove,
\nAperture versions at least as good with heavy weight paper and fuller toned reproductions. Frank personally supervised the printing of this book, so here you have the opportunity to purchase the output that the photographer placed his stamp on.\u00c2\u00a0 If you have anyone in your circle of influence that is seriously interested in or becoming a photographer, this book is a must.\u00c2\u00a0 The reason the book hit the American public as idiosyncratic and even un-American at the time in 1957 was we were still in the aftermath of WWII America with McCarthyism and the cold war as realities.\u00c2\u00a0 Most people grew up with Life, Look and Saturday Evening Post magazine brand of
\nvisual vocabulary as opposed to Frank\u00e2\u20ac\u2122s casual but steel edged ironic images of America.<\/p>\n

The Complete Films of Robert Frank\u00c2\u00a0 <\/strong><\/a>
\nFrank\u00e2\u20ac\u2122s output of nine + films since 1959, when he and Alfred Leslie produced \u00e2\u20ac\u02dcPull My Daisy\u00e2\u20ac\u2122, is not as well known as his still photography.\u00c2\u00a0 But the films have a real following among indie-film afficianados.\u00c2\u00a0 Pull My Daisy\u00e2\u20ac\u2122, started Frank\u00e2\u20ac\u2122s path of making nine films in 15 a year span from 1959 to 1975. Pull My Daisy\u00e2\u20ac\u2122, 28 min., Vol. I dialogue and narration over by Jack Kerouac with the beats, Allen Ginsberg, Gregory Corso, Larry Rivers, Peter Orlovsky, Alice Neel and Pablo, Frank\u00e2\u20ac\u2122s young son.\u00c2\u00a0 A hillairous story of a railroad
\nbrakeman and wife (Neel) who invite a clergyman over for dinner and the beats crash the party and the fun continues.\u00c2\u00a0 This is a masterful mix of seemingly camera verde and improvisational dialogue until Leslie revealed in 1968 that the whole film was carefully planned and executed by he and Frank.\u00c2\u00a0 Editor\u00e2\u20ac\u2122s note, After seeing Pull My Daisy\u00e2\u20ac\u2122, at least 10 times, it is one of Frank\u00e2\u20ac\u2122s best films.\u00c2\u00a0 While a graduate student at the Institute of Design,Chicago,\u00c2\u00a0 Aaron Siskind invited Frank to visit in 1970 and show several films to us as a private viewing and give his thoughts on film and photography in general.\u00c2\u00a0 I have been a street photographer and a Frank fan ever since.\u00c2\u00a0\u00c2\u00a0\u00c2\u00a0\u00c2\u00a0\u00c2\u00a0\u00c2\u00a0\u00c2\u00a0\u00c2\u00a0\u00c2\u00a0\u00c2\u00a0\u00c2\u00a0 <\/strong><\/p>\n

\u00e2\u20ac\u02dcThe Sin of Jesus\u00e2\u20ac\u2122<\/strong>, 37 min.Vol. I. produced in 1961. About a woman working at a chicken plucking factory and her listless husband.\u00c2\u00a0 An off the wall subject but it must be remembered that Frank is first and formost a still photographer and not that comfortable with spoken or written words but must be viewed as part of his ouervre.
\n\u00e2\u20ac\u02dcMe and My Brother\u00e2\u20ac\u2122<\/strong>, 85 min. Vol. I b&w & color with music, feature length film, a rich story
\nof a man who is trying to help his catatonic brother in a plot that twists and turns.\u00c2\u00a0 This is a film
\nthat must be seen more than once to fully appreciate.
\n\u00e2\u20ac\u02dcOk End Here\u00e2\u20ac\u2122<\/strong> 32 min. Vol. II 1963, Frank\u00e2\u20ac\u2122s first attempt at a different format and approach, seen as a work in progress type films and interestingly he did not make another until 1969. \u00e2\u20ac\u02dcConversations in Vermont\u00e2\u20ac\u2122, 32 min. Vol. II 1969 b&w a film with Robert and his daughter and son, Pablo.\u00c2\u00a0 The pain comes through loud and clear regarding some miss steps that many of us experience in marriage and child rearing.\u00c2\u00a0 By this time, Frank had divorced Mary and\u00c2\u00a0\u00c2\u00a0 Frank does not sugar coat anything, you really feel his angst in this film as he endeavors to come to grips with his situation.
\n\u00e2\u20ac\u02dcLiferaft Earth<\/strong>\u00e2\u20ac\u2122, 37 min. Vol. II 1969 b&w a film championed by Stewart Brand, the founder of the \u00e2\u20ac\u02dcWhole Earth Catalog\u00e2\u20ac\u2122, a late 60\u00e2\u20ac\u2122s to mid 80\u00e2\u20ac\u2122s.\u00c2\u00a0 It was a compendium of ecological discussions in the form of articles, books and energy saving hardware of the time.\u00c2\u00a0 Brand
\nretained Robert to make the film of 100 people who enclosed themselves in a plastic enclosure for a week long starve in to heighten awareness of our dying planet.\u00c2\u00a0 Sound familiar?\u00c2\u00a0 Maybe we should get Al Gore to speak with Mr. Brands\u00e2\u20ac\u2122 heirs to do another similar film considering \u00e2\u20ac\u02dcLiferaft Earth\u00e2\u20ac\u2122 was made almost 40 years ago.
\n\u00e2\u20ac\u02dcAbout Me: A Musical\u00e2\u20ac\u2122<\/strong>, 30 min. Vol III. 1971 Autobiographical, portrayed through a young woman who as Frank, is placed in sketches that depict Franks\u00e2\u20ac\u2122 life. \u00e2\u20ac\u02dcS-8 Stones Footage from Exile on Main St.\u00e2\u20ac\u21228 Min. Vol III. 1971.\u00c2\u00a0 As it turns out,1971 was a very prolific year for Frank, (Editor\u00e2\u20ac\u2122s note: I spent a week at a workshop with Robert in June, 1971 and he had just returned from touring with the Rolling Stones and had left them abruptly because as he said, \u00e2\u20ac\u0153\u00e2\u20ac\u201dto not know what city you are in along with the other degrading stuff
\ngoing on, was over the top\u00e2\u20ac\u009d, to him, so he left them early.).\u00c2\u00a0 The Stones successfully blocked Frank from using the 1972 film, \u00e2\u20ac\u02dcCocksucker Blues\u00e2\u20ac\u2122.\u00c2\u00a0 However, bootleg copies exist and Frank is allowed to show the film no more than 5 times per year to audiences and only if he was present.\u00c2\u00a0 The Exile on Main Street film was made as a promotion for the Stones album, of the same name.\u00c2\u00a0 The album cover, by Robert Frank, is worth obtaining for the pictures alone but the music is from the Stones most prolific and arguably, their best from \u00e2\u20ac\u212268 to \u00e2\u20ac\u212272 period.\u00c2\u00a0 Even though, Mick Jagger liked, Cocksucker Blues and said, “It’s a fucking good film, Robert, but if it
\nshows in America we’ll never be allowed in the country again\u00e2\u20ac\u009d.\u00c2\u00a0 A court order has prevented its wide spread viewing, ever since.
\n\u00e2\u20ac\u02dcKeep Busy\u00e2\u20ac\u2122<\/strong>, 44 min. Vol. III, 1975.\u00c2\u00a0 “I am filming the outside in order to look inside,” Robert Frank once said about this film, made in part in Frank\u00e2\u20ac\u2122s home in Nova Scotia, is more light hearted than some of the others.\u00c2\u00a0 It is reminiscent of \u00e2\u20ac\u02dcPull My Daisy\u00e2\u20ac\u2122, in its parody of the middle class world.<\/p>\n

\"Paul<\/p>\n

Paul Fusco: RFK<\/strong>\u00c2\u00a0 <\/a>Aperture, New York, 2008. 224 pp., 120 four-color illustrations., 11\u00c2\u00bex9\u00c2\u00bd”.\u00ef\u20ac\u00a1<\/p>\n

Fusco, a Look magazine staff photographer was given the enviable assignment of photographing the entire 1968 Robert F. Kennedy funeral from New York to Washington DC.\u00c2\u00a0 This is a tour de force of what the books marketing calls, documentary photography.\u00c2\u00a0 I prefer just, photography on thehighest level, it reminds one of Walker Evans \u00e2\u20ac\u02dcSubway Photos\u00e2\u20ac\u2122 of the 1940\u00e2\u20ac\u2122s, in its unvarnished starkness and simplicity.\u00c2\u00a0 The thousands of people of all ages and nationalities, mostly standing, some saluting and all exhibit the decorum that is displayed in a funeral home of a deceased loved one.\u00c2\u00a0 The book is interspersed with RFK\u00e2\u20ac\u2122s quotes like this one, \u00e2\u20ac\u0153What we need in the US is not division; what we need in the US is not hatred; is not violence and lawlessness, but is love, and wisdom, and compassion toward one another\u00e2\u20ac\u009d.\u00c2\u00a0 Fusco in a recent interview of what he saw when the train slowly moved out from Penn station to make its way to Washington DC,on June 8th.\u00c2\u00a0 Fusco was not prepared for the breathtaking spectacle that occurred on that day he was rather thinking about the funeral the next day at Arlington cemetery and was stunned and overwhelmed by the people at the side of the train tracks in silent vigilance.\u00c2\u00a0 He opened the train car window and photographed the people all day and is sharing 120 photographs in this publication.\u00c2\u00a0 Also, there are 70 never before published photographs, that were not in Fusco\u00e2\u20ac\u2122s earlier out of print book, RFK Funeral Train, published in 2000.This book is highly recommended.
\n
\nUnknown Halsman<\/strong><\/p>\n

One of the of the most striking things of this book is its bright yellow cover with a self portrait of Halsman under a dark cloth,
\ntaken with Halsman\u00e2\u20ac\u2122s own large format twin lens camera designed and built by him in 1936. Book design and edited with
\nthe\u00c2\u00a0 forward written by grandson, Oliver Halsman Rosenberg.\u00c2\u00a0 Halsman, one of the twentieth centuries premier portrait
\nphotographers is well known for his many photographs of artists, celebrities and famous persons\u00e2\u20ac\u2122 of the 40\u00e2\u20ac\u2122s through the 70\u00e2\u20ac\u2122s.
\nWho can forget the great \u00e2\u20ac\u02dcDali in space photographs\u00e2\u20ac\u2122.\u00c2\u00a0 The Dali photographs are not highlighted in this book but grandson Halsman gives us a view of Halsman that we may not have considered before as a witty photographer and inventor of cameras.\u00c2\u00a0 Halsman was a former engineering student before he became a photogapher .\u00c2\u00a0 There are outtakes from his magazine work and contact sheets, showing a glimpse of how Halsman worked as a photographer.\u00c2\u00a0 The book is like a well put together family album that in part gives its appeal.
\nThis book is a must if you are a Halsman fan.\u00c2\u00a0 Halsman is a guy that has been around forever and is in all of the photo history books but still deserves a look by some doubting folks.<\/p>\n


\nLife Time, photographs by Jock Surges,<\/strong>\u00c2\u00a0 Steidl\u00c2\u00a0 192 pp., 134 color illustrations., 12\u00c2\u00bdx14″
\nIt is noticed that most of the distributors for this book are currently out of stock, not surprising given the subject matter that this book is chock full of, nubile young nude girls and women with a few stoic young guy\u00e2\u20ac\u2122s thrown in.\u00c2\u00a0 I am being facetious I must confess and
\nreally, Mr. Struges has earned his reputation as a serious artist in (b&w), now color photographs of the female form.\u00c2\u00a0 For Sturges devotees this book will not disappoint with 134 color plates of the most scrumptious color photographs ever assembled in book format.
\nReally, as a coffee table book this book is destined to become, it will not embarrass anyone\u00e2\u20ac\u2122s mother-in-law when she comes to visit.\u00c2\u00a0 The photos are more frontal showing full genitalia but not sexually suggestive in the least. As a matter of fact, it is noticed Sturges goes to considerable trouble to have some of the youngsters shown with skinned up knees and elbows, now there is wholesomeness for you.\u00c2\u00a0 Jock, in a statement at the end of the book regarding \u00e2\u20ac\u02dcwhy are the models nude\u00e2\u20ac\u2122, he emphasizes his long standing trust, friendship and
\ninvolvement with the families\u00c2\u00a0 perhaps, avoiding any potential issues with American book censors.\u00c2\u00a0 But frankly, the censors should concern themselves with the material that has no redeeming merit to it whatsoever.\u00c2\u00a0 Sturges lives in Seattle, WA but has to travel to France and the Netherlands to freely photograph his subjects without getting labled, or worse arrested for child molestation.
\nLeave this one open for your consideration.<\/p>\n

Patti Smith: Land 250<\/strong><\/p>\n

The pictures in the book are from pieces made from 1967 to 2007 a 40 year span of work.\u00c2\u00a0 It is interesting to see a person who has earned their chops at one creative venue and then turn to another as in this case with Smith\u00e2\u20ac\u2122s work, sometimes it works out, as with this book. \u00c2\u00a0 What is refreshing here is, Smith used photography to illustrate how she felt at various\u00c2\u00a0 times in her life, not follow a theme or subject based series of photographs.\u00c2\u00a0 In Patti Smith\u00e2\u20ac\u2122s work, the editor is reminded of another fabulous photographer, Sally Mann and her \u00e2\u20ac\u02dcWhat Remains\u00e2\u20ac\u2122, body of work presented at the Corcoran Museum of Art, Washington DC in \u00e2\u20ac\u212202.\u00c2\u00a0 Mann\u00e2\u20ac\u2122s work shown in glass plate format is haunting and mysterious also unforgettable.\u00c2\u00a0 Not sure Smith comes up to to this mark but the book is worth an examination.<\/p>\n


\n\u00ef\u20ac\u00adA Certain Alchemy by Keith Carter <\/strong><\/p>\n

The book is filled with contrasts, yin and yang, for example a photogram of a bat juxtaposed\u00c2\u00a0 on the opposite page with a stretched out lace handkerchief.\u00c2\u00a0 Carter, no novice at sequencing his photographs into book format, \u00e2\u20ac\u02dcA Certain Alchemy\u00e2\u20ac\u2122, is no exception.\u00c2\u00a0 The photographs in the book are toned, as his originals and that gives them a sumptuous quality.that matches his themes drawn from the
\nanimal world, popular culture, folkore and religion.\u00c2\u00a0 Interspersed with the photograph are quotes by Carter, ie: \u00e2\u20ac\u0153the photos that work the best for me are the ones grounded in grace and intelligence\u00e2\u20ac\u009d\u00c2\u00a0 I believe this statement would fit for most photographers\u00e2\u20ac\u2122 working today, as well.\u00c2\u00a0 Also, reminded of the 1970\u00e2\u20ac\u2122s era work by Nickolas Nixon and Richard Avedon\u00e2\u20ac\u2122s sequential photos of people dying day by day with incurable diseases.\u00c2\u00a0 Carter photographed his mother in her last year of life stricken with Alzheimer\u00e2\u20ac\u2122s disease.\u00c2\u00a0 One can only think that these photographers\u00e2\u20ac\u2122 are going through some things emotionally to show this side of their personal lives.\u00c2\u00a0 The pictures are not easy to look at when you know the ultimate outcome of the person being photographed but they are beautiful and tender images, just the same.\u00c2\u00a0 The only criticism that can be leveled at this book, is its glossy (clay-coated) paper, even though the printing quality
\nis high.\u00c2\u00a0 Of course,content and printing quality should win out over paper type, in making a decision regarding purchasing this book.<\/p>\n

\u00ef\u20ac\u00a2Larry Fink: Somewhere There’s Music\u00c2\u00a0<\/strong><\/p>\n

Fink is a great photographer and has been photographing for decades.\u00c2\u00a0 Couple of Gugenhiems and National Endowment for the Arts fellowships, along with a few large shows at MOMA and the Whitney Museum of American Art.\u00c2\u00a0 Also, he is shown heavily in European
\nmuseums.\u00c2\u00a0 In other words, this guy knows where to stand when he is photographing anything.\u00c2\u00a0 He seems to have the
\nbeat with this book of jazz greats.\u00c2\u00a0 The photographs are mostly unpublished b&w photographs from the 50\u00e2\u20ac\u2122s to the \u00e2\u20ac\u02dc70\u00e2\u20ac\u2122s.\u00c2\u00a0 Many performance photos but quite a few that show the artists\u00e2\u20ac\u2122 behind the scenes, practicing, jamming and hanging out in clubs.\u00c2\u00a0 A sequence of the late great John Coltrane, showing his saxophone, another with Coltane\u00e2\u20ac\u2122s back to the camera and finally a photo of Coltane
\nsleeping or passed out on a couch, not one with Coltrane\u00e2\u20ac\u2122s face. This book should be considered if you are a classic jazz fan but doubly so if you collect or appreciate Larry Fink\u00e2\u20ac\u2122s work.
\nHollywood Foto-Rhetoric: The Lost Manuscript<\/strong> text by Bob Dylan. Photographs by Barry Feinstein. 141 pages, 10\u00e2\u20ac\u009dx9 1\/2\u00e2\u20ac\u009d.
\nFeinstein was a travelling buddy of Dylan\u00e2\u20ac\u2122s in the mid-60\u00e2\u20ac\u2122s when Feinstein drove Dylan around and hung out with him while he attended to various gigs all over the world.\u00c2\u00a0 Feinstein is no lackey, his photographs are just as strong as Dylan\u00e2\u20ac\u2122s poems and Feinstein has a flair for juxtaposing disparate photos a melding of photographs and poetry.\u00c2\u00a0 With the photographs depicting the tackiness of mid-sixties
\nHollywood and Dylan\u00e2\u20ac\u2122s words, this is a fun book.\u00c2\u00a0 The collaboration between Dylan and Feinstein was just recently unearthed by Dylan and contains 23 poems and many photographs by Feinstein showing a decidedly unglamorous side of Hollywood, with over the hill stars like bloated Jayne Mansfield, a gaunt like Judy Garland and Bette Davis with tons of make up on and many others.\u00c2\u00a0 Bob Dylan is a great artist and he immediately resonated with Feinstein;s photographs of the Hollywood world before committing it to his poetry.\u00c2\u00a0 In this way, it is much like Jack Kerouac and Robert Frank\u00e2\u20ac\u2122s \u00e2\u20ac\u02dcPull My Daisy\u00e2\u20ac\u2122, 1959 independent film of narration and visuals.\u00c2\u00a0 It must
\nalso be noted that Barry Feinstein went on to be a photographer of 60\u00e2\u20ac\u2122s and 70\u00e2\u20ac\u2122s rock and roll legends for many magazines.
\nEven though, \u00e2\u20ac\u02dcHollywood-Foto-Rhetoric\u00e2\u20ac\u2122is not printed well, it is highly recommended for your consideration.
\n<\/strong><\/p>\n

Frezno<\/strong> by Tony Stamolis<\/p>\n

Tony Stamolis is a 38 year old contemporary NYC photographer returned to Fresno to spend time with his ailing mother a few years ago.\u00c2\u00a0 In coming back to Fresno, Stamolis realized that everything had changed, now the scene to him was a visual goldmine just waiting for coherency.\u00c2\u00a0 Although, photographer returned to Fresno to spend time with his ailing mother a few years ago.\u00c2\u00a0 In coming back to Fresno, Stamolis realized that everything had changed, now the scene to him was a visual goldmine just waiting for coherency.\u00c2\u00a0 Although, Fresno could be anywhere in the USA that we have all seen, piled up shopping carts, posing young people of all stripes,
\ndonuts and guns in the same shop it is all Americana.\u00c2\u00a0 The leitmotif is familiar in this work but Stamolis has the advantage of being from Fresno and many of the photographs feel like a personal album, as well.\u00c2\u00a0 The photographs are edited with care and well paced
\nthroughout the book, the size is a bit small and the printing is not up to say a Steidl publishing house but for a first book effort, it is hoped Stamolis keeps working in this vein. Recommended for your consideration.<\/p>\n

Other notable books: <\/strong><\/p>\n

1.Berenice Abbott<\/a> <\/strong>2 volume set published, 2008.\u00c2\u00a0 This is the definitive and beautifully reproduced book on her 60 year career in photography.\u00c2\u00a0 A collectors special and should not be missed.\u00c2\u00a0 Go to http:\/\/www.steidlville.com\/books\/781-Berenice-Abbott.html for more information.<\/p>\n

2.\u00c2\u00a0 Richard Avedon: Portraits of Power\u00c2\u00a0<\/strong> published 2008. Here it is, Avedon\u00e2\u20ac\u2122s great portraits of the well known revered figures such as, W.H. Auden juxtaposed against Bob Dylan, poets, artists, politicians, celebrities, royalty and all public people of every stripe.
\nGo to http:\/\/www.steidlville.com\/books\/796-Richard-Avedon-Portraits-of-Power.html<\/p>\n

3.\u00c2\u00a0 Richard Avedon: Performance <\/strong>published, 2008. 205 plates, some in color.\u00c2\u00a0 Another portrait book by Abrams housed in a good sized Avedon photographic treasure tome with an interesting cover fold over.<\/p>\n

4.\u00c2\u00a0 \u00ef\u20ac\u00a8Michael Subotsky: Beaufort West <\/strong>published 2008. by Boot publishers.\u00c2\u00a0 This is an eye opening book dealing with West South African struggles with apartheid with all of its complexities.\u00c2\u00a0 For more go to, http:\/\/www.moma.org\/exhibitions\/2008\/newphotography\/mikhael.html<\/p>\n

5\/ Kenro Izu<\/strong> published 2007. Nazraeli Press. The DIA (Detroit Institute of Arts) in their newly opened deSalle Gallery of Photography featured Izu\u00e2\u20ac\u2122s work with many of the photographs in this book.\u00c2\u00a0 Not only are the photographs made from a 14 x 20 inch view camera, which is remarkable in itself but the prints are of the Platinum process, as well.\u00c2\u00a0 In September, this year Kenro gave a lecture at the DIA to discuss his modus operandi and sign books.\u00c2\u00a0 I had the pleasure of hearing him speak which was much like the work, subtle and
\nfull of meaning.<\/p>\n

I am not including the myriad of websites that sell \u00e2\u20ac\u02dcmost\u00e2\u20ac\u2122 of these books, however, the internet browser is a good source of consultation for them.\u00c2\u00a0 It is also suggested that we support our local book stores rather than the online outlets.<\/p>\n

Have a healthy and peaceful holiday season.<\/p>\n

~B<\/p>\n","protected":false},"excerpt":{"rendered":"

The following list of reviews is reproduced from the “Grain Newsletter” by permission from photographer Bob Mosher. “Grain” is “an alternative newsletter for traditional photography” that Mosher has created. At the Grain site you can also view portfolios of photography by Mosher. Book Beat stocks (or can order) all the titles on the list and […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[5,13],"tags":[],"class_list":["post-369","post","type-post","status-publish","format-standard","hentry","category-book-reviews","category-photography"],"_links":{"self":[{"href":"https:\/\/www.thebookbeat.com\/backroom\/wp-json\/wp\/v2\/posts\/369","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.thebookbeat.com\/backroom\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.thebookbeat.com\/backroom\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.thebookbeat.com\/backroom\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.thebookbeat.com\/backroom\/wp-json\/wp\/v2\/comments?post=369"}],"version-history":[{"count":0,"href":"https:\/\/www.thebookbeat.com\/backroom\/wp-json\/wp\/v2\/posts\/369\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.thebookbeat.com\/backroom\/wp-json\/wp\/v2\/media?parent=369"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.thebookbeat.com\/backroom\/wp-json\/wp\/v2\/categories?post=369"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.thebookbeat.com\/backroom\/wp-json\/wp\/v2\/tags?post=369"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}