Es increíble poder ver el proceso de selección del autor de una fotografía famosa, y leer o bien el comentario del mismo autor o de especialistas de la época. The negatives are printed not by enlargement, but by placing them directly on – in contact with – the paper. When I was a young film newbie I had two experiences that have remained high points throughout my life. And indeed, the challenges are sometimes far more grievous than, say, the possibility of overexposing Tri-X.

Newly re-formatted and with 16 extra pages, this publication features superb reproductions of more than 130 contact sheets and over 200 photographs taken from the sheets, bearing witness to the creative methods, strategies and editing processes used by many of the acknowledged greats of photography. I’ve found the process of scanning my negatives and checking the full roll over a lightbox has massively improved my photographic knowledge. contact sheets, representing 69 photographers, are featured, as well as zoom-in details, selected photographs, press cards, notebooks and spreads from contemporary publications, including Life magazine and Picture Post.A few shots from the reverse angle, with Sunbathing Woman and Push-Up Man in the foreground and Hammock Boy in the background.

By presenting the unpublished contact sheets behind the world's most iconic photos - including the D-Day landings, the Blitz, Malcolm X and Che Guevara - every compelling page gives us an intimate and exciting sense of walking alongside the photographer. The contact sheet shows a series of 5 or 6 photos on the same roll with the Teddy Boy at various stages of carrying out this action. Despite other comments to the contrary, my copy arrived in perfect condition and it's only protection was a small amount of brown paper around the sides and top.

I would have selected the first one myself, but the photographer is right, I'd never considered that the moment of something about to happen is more powerful than the event taking place.

Depending on the book, I will usually put markers in, perhaps in pencil or, in the case of glossy pages like this, little post-it markers. For those worried about the new edition lacking some of the content of the first book - have no fear. The painters – there are several – clamber up and down the girders, curve their bodies into improbable angles, stand on tiptoe like ballet dancers as they reach up to paint overhead.Presumably, when a photographer releases the shutter, it is because he believes the image worthwhile. Often, just one or two photos from a roll are chosen for publication, if that; the rest never see the light of day. He notices the painters high above, climbs up the tower, and makes several pictures, among which is that unforgettable image of Zazou.

The entry for Patrick Zachmann in 1990 in which his roll of just 11 shots shows the moments leading up to him being shot by a white policeman. The contact sheets are mostly from black and white negatives like the one shown below, but we also get some colour negatives (like Jonas Bendiksen’s magic-realist Satellites) and transparencies (like Stuart Franklin’s iconic images of Tiananmen Square). I think contact sheets allow the viewer to get more inside the head of the photographer and they provide so much more context to a moment.Contacts sheets are usually exposed at minimum time for maximum black and so become a great instructional tool for the first enlargement. The book provides fascinating insight into the selection process and is accompanied by revealing anecdotes from the photographers. i saw an exhibition of these contact sheets at FOAM in Amsterdam and I think it's an excellent and interesting way into how other people see things, how we edit in the moment and later. com are the exclusive property of the named author (except where stated otherwise) and are protected by copyright. Looking at the contact sheets made me feel like I was walking with the photographer as they shot the subject.