To start practicing and developing a response to Ed Templeton’s art/photography. I’ve decided to use some select film photos which were taken and developed over the summer, these comprise of just some candid/unposed photos of my friends, as well as some I have gathered from my most recent photo-shoot. Next I am going to scan them, edited them all into black and white to create a sequence to the images, then I am going to print them out and start working over them physically with paint, pens, nail polish etc, and also add in some text where needed, I also decided after doing these to incorporate red as a colour into my book when working over the top- this is because it complements the black and white really well and contracts all the darkness aswell. I really like how they all turned out and since this process takes a long time to get each imagine finished I am planning on using all of them as finals for my photo-book, since they all have a clear unification and go well as a collective. I think its clear that they have all been influenced by Ed Templeton which was my intention, but they also are not exactly the same and include some elements of my own which I really like aswell.
In this shoot I took self portraits of my birthmarks, to add a sense of self and identity to my photobook. My birthmarks have significance to my identity, as they are a part of me.
I took my mirror out into my garden and set it up against trees and walls. I ensured that my reflection wasn’t seen in the mirror to continue the theme of lack of identity.
The book is a soft back with, 161 pages of images telling a story. This book is about a German solider and a women from Jersey falling in love during the occupation, which was a very risky thing to do, meaning they had to keep it one the down low, to make sure no one would find out, otherwise consequences would’ve been big.
The layout of the images change from page to page, which makes the book more interesting to look through. Some of the images within the book were taken back during the occupation period and some are more up-to-date, you can see this through the change in quality, focus and layout. This is similar to what it want to present and has given me new ideas on how to layout my images. He also used documents and other objects that can relate to the two individuals, which allows the reader to get a better understanding of the couple and their life they had to live.
The photobook I will be looking at will be Looking for Alice by Sian Davey. The narrative is from the perspective of Sian, a mother and she captures the day to day life of her daughter Alice, who has down syndrome. Davey captures raw photos that outsiders wouldn't usually see, Alice's interactions with her family, strangers, animals and the world around her. Sometimes she is smiling, sometimes she's crying, sometimes she is all dressed up and other times she is completely naked. Alice experiences the world differently to everybody and Davey is able to capture Alice's unique experiences due to her being her mother who has an intimate relationship with her daughter.
2. Who is the photographer? Why did he/she make it? (intentions/ reasons) Who is it for? (audience) How was it received? (any press, awards, legacy etc.)
Davey started capturing images of her daughter from when she was a year old. In Davey's prologue at the beginning of the book she describes how Alice is "no different to any other little girl or indeed human being; she feels what we all feel and needs what you and I need". Davey later on discusses how "ninety two percent of Down's Syndrome babies are terminated at the pre-natal screening stage." I feel that Davey is trying to display to her audience that Down's Syndrome children are still children, wonderful, quirky and it is beautiful to watch them grow up. Davey is also trying to challenge the perceptions of difference within society as Alice should be treated with no less respect than any other being within society. Davey describes how she struggled to initially love Alice due to "fear and uncertainty", however, Davey discusses how Alice is loved "unconditionally, as it should be". Just because Alice is different doesn't make her any less of a beautiful being and that she should be valued everywhere "without distinction, without exception, without a second glance".
3. Deconstruct the narrative, concept and design of the book such as:
The book is a hardback and feels heavier than it looks. It has a linen cover which adds a rough texture and the pages. The pages are white and are matte paper.The images are all colourful images. After you turn the first page there is a sheet there is a piece of greaseproof/acetone paper with what ooks like a blurry shadow is printed on. This adds depth to the books and I believe that it is deliberately there to make the readers question the difference, just like how many strangers tend to queston Alice, who many class as different due to her disability. The format size is around A5 and the book is portrait. The cover features an image that also features in the book of Alice standing on a fence and looking out into a meadow. There is a letter press into the cover which indents the writing and makes the letters gold.
The title is more poetic rather than literal because the photographer is Alice's mother, she doesn't really need to literally look for Alice as she's always around her. However, it can have a more metaphorical meaning, such as looking at the way society percieves Alice, how they treat her differently and how they should really treat her. The subject matter is Alice, who is Davey's daughter. She can be percieved as being unique to many other children due to her having Down's Syndrome, however, one of Davey's purposes of her book is to display that although Alice has a disability, she is no different to any other little boy or girl. The images consist of Alice interacting with her family, friends, strangers, animals and generally the world around her.
Most of the pictures are in the same place, near the top of the page and in the middle of the page. There are no double page spreads however, there are some images that are larger than the usual pattern and does overlap onto the other page. Some images don't have text for them, however, some images has text either below them to explain the image or on the opposite page. For example, the image above has writing underneath it which calls the image The hen and the cat. At the beginning of the book there is an introduction by Davey explaining the book and her reasons to make it. She then has an extract by David Chandler called The love you take. David Chandler is a writer, editor and curator in the fields of photographic history, contempory photography and visual arts. At the end of the book, a poem by Luke, Alice's brother and Sian Davey's son. It is titled sister and it is assumed the poem is dedicated to Alice.
Where mimosa bloom is a photo book by Rita Puig-Serra Costa which is the result of 2 years work, collecting and photographing things and different areas. The narrative is very emotional as it was an outlet for Costa to deal with the grief she felt after loosing her mother. The subject matter of the book is diverse, as there are archival images, portraits of people who played an important role in her relationship with her mother, and also landscapes of places.
2. Who is the photographer?
The photo book is described as being “an extended farewell” to her mother in the form of images, meaning it was made as an homage to her mother. I think this photo book effectively shows love, loss and pain. Because this piece of work is very emotional, it is likely that only positive sentiments of her family unit will be shown, which can be limiting as we may not get a full insight to her family.
3. Deconstruct the narrative, concept and design of the book such as:
Book in hand: When holding the book, it is clear it is a hardcover and that there is some sort of texture to the front and back cover. The binding appears to be regular as it is all joined together on the left side.
Paper and ink: The paper and ink used appears to be standard and there is a clear use of bright and pastel colors instead of darker ones. The book has a Hot foil embossed textured hardcover and 5 die cut pages. 54 color plates are used.
“Die cut” pages displayed above
Format, size and orientation: The size of the book is 16 x 22.5 cm and the orientation is Portrait.It is A5 size with 96 pages.
Title: The title is rather poetic, and relevant as mimosa are soft and delicate and this could reflect that this plant was important in her relationship with her mother. Since it is quite poetic it is very intriguing as it invited the reader in in order to be able understand it’s metaphorical meaning.
Narrative: The story is about her’s and her mother’s life and the subject matter at hand is her family and important relationships within her personal family structure. It is told at the beginning through a family tree style approach as with every die cut page we turn someone else from her family is revealed. We then go onto see archive materials in the form of images and objects along with portraits in order to further understand the individuals shown.
Structure and architecture: One repeating motif seen throughout the book is how there is a repeated structure of placing an image of an object, next to a family member’s portrait. I think this aids the narrative since it develops the concept of her attempting to reconnect with her mother through people and objects, and having this repeated also helps the audience to feel as if they are a part of her journey of discovery.
image of an object displayed against a portrait.
Design and layout: The photographer uses a wide variety of techniques when displaying her images. Some images are portrayed landscape, while others such as portraits are displayed portrait. Some images are displayed using a double spread, whereas some archive images are displayed altogether on a page in groups of 3. The book contains no inserts or fold outs, which I feel is good otherwise the book could become too confusing and the viewer would not focus on the concept as the way the images are displayed is already quite varied.
full bleed, double page spread.
Editing and sequencing: There are 5 die cut pages at the beginning, where a different picture is revealed from cut out paper as you turn a page. This sequence reinforces how the book revolves around family, and it introduces her relatives to us in a simple way, which doesn’t overwhelm you with knowledge. The photographer also chooses to display certain objects on one side of a page next to a portrait, which could convey the feeling that the object is of significant importance to the person shown in the portrait. This also creates an obvious juxtaposition because a portrait and an object contrast very clearly.
Images and text: Towards the end there is a page which lists all the objects displayed in the book and all the people who’s portraits are in the book. It also shows what each object is and who it belongs too which is very effective because it allows the audience more likely to understand her story. There is also a sentimental letter towards the end which she has written, and addressed to her late mother. It is first printed in Catalan, which is the one of the official languages of the Spanish region of Catalan, which helps show the emotional connection between her and her mother since it is written is their native language. It is then printed again in English. She speaks about her she still feels her mother’s presence when surrounded by family, of when she looks at herself. She explains how although she is very upset that she’s no longer here, she finds comfort in the fact that she has so many ways of remembering her.
Latham was born in 1989 and is an extremely popular photographer based in Bristol and has produced several photobooks including ‘Sugar Paper Theory’ published in 2016, ‘A Pink Flamingo’ published in 2015 and many others. In 2015 Latham was awarded the Bar-Tur Photobook Award, funding the production of ‘Sugar Paper Theory’, which led to a solo exhibition. This solo exhibition was presented at Reykyavik Museum of Photography in Iceland this show helped aid his win of the British Journal of Photography International Photography Award for the series Parliament of Owls. A few more awards that Latham has been awarded: BJP – International Photography Award (Parliament of Owls), 2019/ mage Vevey – Heidi.News Prize, 2019/ Deutsche-Börse Photography Prize Longlist (Sugar Paper Theories), 2017/ Kraszna-Krausz Finalist (Sugar Paper Theories), 2017 and many more which helps highlight the significant portrayal that Latham has in the photography industry, also seen through his large amount of solo exhibitions for example, Sugar Paper Theories, Guernsey Photography Festival, Guernsey, 2016 and Worthing Artist in Residence, Brighton Photo Fringe, Worthing, 2018.
Book in hand: how does it feel?
The overall literal feeling of the book has a feeling much like sugar paper which aid the title of the book ‘Sugar Paper Theory’, along side having a tougher spine which helps combine the overall book structure together. The front cover lacks any other textures and has an overall smooth surface. The book till hold the ‘new book’ scent which creates a refreshing overall feeling over the book and suggests the owner of the book has taken good care of it, as it still looks prestige.
Paper and ink: use of different paper/ textures/ colour or B&W or both.
The front cover is a common sugar paper colour which is a pale yellow with red, blue and yellow drawings on top of the paper which look as if they have been hand drawn which adds deeper meaning and thought to the image. The ink on the front cover appears to be felt tip for the ‘decoration’ and the title in a printed text. When looking through the book there is a consistent trend of different types of paper that the images and texts. There are variations of a classic white paper boarder which is used on all the colour prints, followed by black and white pages which looks like white ink on black paper, with images printed on A3 paper and folded in with one half on the image and then when turning the page so it leave a empty unseen sleeve between pages; this creates the read to be more intrigued and adds better deeper meaning.
Format, size and orientation: portraiture/ landscape/ square/ A5, A4, A3 / number of pages./ Binding, soft/hard cover. image wrap/dust jacket. saddle stitch/swiss binding/ Japanese stab-binding/ leperello
The format of the book when closed is slightly larger than an A4 and the when opened near enough to the size of an A3, with initially the image being portrait how ever when opening and looking inside there is a large variety of portraits that over only one side of the page and some that cover across both sides the page creating a landscape image, i think makes the photo book more interesting to views as its provides a different angle and experience in each page. Furthermore the binding of the book has a classic appearance with a dirty blue spine contrasting with the pale year front cover- when taking note of this it came to my attention that the whole front cover is only presented through the three primary colours- red, yellow and blue which I thought was a interesting factor to consider.
On the cover there is no textures or embossed titles but simply a clean sheet with the texture of sugar paper which helps highlight the significance of the title ‘Sugar Paper Theories’. Have the simplistic textures I think helps concentrate the read on the title and the drawn images on the front, also leading to looking at the idea of only using primary colours.
Title: literal or poetic / relevant or intriguing.
The title being ‘Sugar Paper Theories’ at first is fairly mysterious and to me an intriguing title as it makes me want to find out more, as it does not give away much about what the book may be about- therefore giving a fairly poet feeling along side connotations of a scientific background through the noun ‘theories’ as well as there being further ideas of possibly multiple stories and thoughts that might come through the photo book.
Narrative: what is the story/ subject-matter. How is it told?
Jack Latham story is base on a true life incident that happened approximately forty years ago about a murder case, and therefore contributed to the ideas that Latham’is much like a documentary and story being told through a photo book. The story told is that 40 years ago, two men disappeared in Iceland (southwest). the findings and conclusions from the case were very limited which is why it became such a mysterious case. An eighteen year old boy set of from a nightclub on a 10 kilometer walk all the way home during the time of the true Iceland winter conditions, to continue a family man failed to return from a meeting with a mysterious strnger. In another time or place, they might have been logged as missing persons and forgotten by all but family and friends. Instead, the Gudmundur and Geirfinnur case became the biggest and most controversial murder investigation in Icelandic history. One of the main area that i believe that Jack Latham was trying to raise were the fixated factors on Iceland’s anxieties over smuggling, drugs and alcohol, and the corrupting influence of the outside world, i believe this to be an area being reflected from the book almost seen as a warning. Due to the significance of the case Iceland’s highest levels of political powers became involved in the plot soon leading to suspects of a younger generation who soon all wrote confessions, however its important to remember that in the story its noted that although all the suspect confessed not one could remember the actual event of the evening. When reading up on the story i found an interesting point that same about after the incident and how this case as helped point out ideas of interrogations and memory lose which could possibly lead to the wrong person being imprisoned. ‘ Now a public inquiry is uncovering another story, of how hundreds of days and nights in the hands of a brutal and inexperienced criminal justice system eroded the link between suspects’ memories and lived experience.’ (Quoted from the photopedagogy website)
Design and layout: image size on pages/ single page, double-spread/ images/ grid, fold- outs/ inserts. Structure and architecture: how design/ repeating motifs/ or specific features develops a concept or construct a narrative.
For me the design and layout is an essential point to consider when looking deeper into the overall view of the photobook, not only with this particular photo book that I am looking at but in fact every photo book has a deeper meaning and a story to look at through the layout and design choices made in the creation of the book. Furthermore, in the Sugar Paper Theories photo nook there is a large about of different types of pages and creations that have been produced. For example, Latham was fortunate enough to get hold of the archival photos from the time of the investigation and to me Jack Latham was trying to make these particular images stand out from the rest of his images, essays and the newspaper copies. Latham did this by copying the archival photos onto black A3 pages using grey and white ink, next folding over the A3 pages and creating pages leaving a closed gate way within the pages, which add an interesting views whether its through the literal fact that particular type of printing can be on double sided sheets or the idea of deeper meaning with idea of a secret fold in the paper which could relate to the whole concept and idea of the boom being an unsolved mystery still holding secrets and an untold story.
Images and text: are they linked? Introduction/ essay/ statement by artists or others. Use of captions (if any.)
Through out the book there are pages with essays on a yellow page which look much like sugar paper which helps highlight the significance of the title ‘Sugar Paper Theories’, Furthermore, on he yellow paper is the actual story of the murder case in much more detail told by Jack Latham which i think helps add a personal aspect, as well as this factor the idea of telling the story mixed in with the archival ohtos from the time and Latham’sown images really helps tell a proper story and really projects the whole idea and feelings that are trying o b relayed on to the reader/ viewer. In addition to the yellow pages telling the story, there are also pink ‘sugar paper’ which have photo copies of the articles published about the murder investigation at the time which i think helps the reader really get in the mind set of how different the law system and general life was back forty years. Finally there re black A£ pages folded in half with a slip inside which add a type of excitment and infantrymdscSRwfen to the story which are all archival photo from the time of the investigation as well as Jack Latham’s own images. Overall, among all the different aspects found in the book Latham has really recreated this story and all the feelings that cam along with it which help the reader get inside of the emotins that come with the murder.
Ed Templeton is an American photographer, artist and pro-skater. He is the founder of the skateboard company Toy Machine. Outside of skateboarding, Templeton is a painter, graphic designer, and photographer, areas that he has gained a reputation within without any formal training, the Photography Colleges website, in an article entitled “New School Photography: Ed Templeton”, identifies Templeton as “probably the most influential contemporary photographer”. Templeton’s signature model skateboards for the New Deal company were self-designed and he subsequently became the head designer for his own brands—Templeton produces all of the art work for the Toy Machine skateboard company that, as of January 2013, is his primary skateboarding project. Templeton is also a co-editor of ANP Quarterly, an arts magazine started in 2005.
Teenage Smokers: in 2000, Templeton’s book of photography, Teenage Smokers, won the Italian Search For Art competition and Templeton was awarded US$50,000. ‘The idea for this book sprang from finding the original boxes of Polaroid’s that started this whole series, shot in 1994 at my local skateboard park in Huntington Beach, California. I would be skating there when the kids finished school and they would collect there to hang out and smoke. One day I brought a Polaroid camera to the park and started asking all of them for a portrait while smoking. Those first Polaroid’s were the photos that Aaron Rose saw when I did an exhibition at his Alleged Gallery in 1999.’
‘Templeton began taking candid, sometimes intrusive photos of his wife Deanna, strangers and teammates on skate competition tours. His next show with Alleged, in 1999, was a large collection of voyeuristic photographs of kids and the accompanying book, “Teenage Smokers,” that caught the attention of art critics and garnered a very different reaction from his first paintings. The series was acquired by the Orange County Museum of Art and the book, if found today, goes for a nice chunk of change. Since, Templeton has proven that he clearly has an extraordinary eye for composition, and is valiantly carrying on the tradition of contemporary art photography in the vein of Nan Goldin, Garry Winogrand and even Walker Evans. However, like his predecessors, his subject matter is extremely raw and personal; at times X-rated, violent and emotionally draining.’ (From Skater To Artist – K.CET)
The reason I am choosing to use Ed Templeton as an artist reference in my personal investigation is because I think he is quite unique in the way he photographs people, the images all appear to be genuine as if there is a backstory to every single one, this is reinforced with the writing that is included on almost every picture; these state dates,times, names and even the actions of those in the picture. Therefore all of his images seem raw and unedited, which is something I want to include in my own photography and responses to him. Another aspect I enjoy is how he incorporates multi-media into still photographs, such as: paint, pen, cardboard, backgrounds and other ways of displaying the photography. These techniques bring colour to the black and white photographs and give another personal touch from the photographer.
This image has a deeper social significance, as the biker group photographed ‘The Kesh Angels’ is going against the rules and norms of their country. This is as in the area women are either not allowed to drive at all, or it is extremely looked down upon. So their biker group is a kind of rebellion against both the government and the culture around them. The way the image has been set up also shows this ‘uprising’; all three bikes in the image are pointed towards the camera with the riders at an aggressive stance, which represents their attitude, that they’re not afraid to rebel. The two women on either side of the image strengthen this aggressive/intimidating effect as they have open body language and eye contact towards the camera. This mirrors the stance of the bikers in the middle of the image, but adds depth to the image.
For this photo shoot I again took photos in my boyfriends room, but this time I took photos of him and significant parts of his room to show him and his living space.
Final Images (Unedited):
Final Images (Edited):
How I edited these images:
First I went on the basic setting in light room and pressed the auto button to put the auto editing on.
I then scrolled down and adjusted the settings to get the image to what I wanted it to look like.
After, I scrolled down and went to the lens correction option and clicked on the ‘enable profile corrections’, then clicked ‘make’ and selected Canon.
I then went on the transform section and clicked the auto option.
Conclusion:
To conclude, I am really happy with how this photo shot came out as I was able to capture the ideas that I had. I am happy with the amount of photos I took and how they turned out and I really like how I edited these images.
Walker Evans is an American photograph, who influenced the evolution of ambitious photography during the later 20th century. His imagery looks at creating a poetic resonance, which describe the subject presented within the photograph. He is said to be the first photographer to produce a photo book to present his photographic responses, entitled ‘American Photographs’. His work challenges social issues, through the style of documentary photography, this element is clearly shown within his photographic series ‘ Let Us Now Praise Famous Men’.
Mood Board showcasing Walker Evans’ imagery from his photographic series ‘Let Us Now Praise Famous Men’
Conceptual and Contextual:
Let Us Now Praise Famous Men, is one of Walker’s most known photographic series which was started in 1936, captured imagery for 5 years, and the photo book being published in 1941, in which he teamed up with American author James Agee to create an embodiment of work which documents the lifestyle of Tenant Farmers in Alabama during the Depression era. For contextual reference a tenant farming is a form of agriculture, in which a land owner with contribute their land on measure of operating capital and work, while the tenants contributes their labour, with the return being given in a variety of ways. The return can be, a share in the produce, cash or a combination of both. This is only said to be 5% of the agriculture, making these subjects a minority in society and within the industry, thus create more captivating imagery showcasing their lifestyle. Sadly, this form of work can lead to abuse when the landowner has to much power, or inferior social status. Initially, the project was to capture white cotton farmers in South America, but the focus soon changed after a lack of subjects being found, the new idea of tenant farmers formed after the two lived with three tenant family farmers. The families lived with no electricity or running water, and have lived this life style since their childhood.
“Let Us Now Praise Famous Men harkens back to a time when millions of Americans lived a truly subsistence existence, and their families were the one buttress against an eternal winter of silent despondency.” (Ingram.B, 2014) In a review article which analyses the book written by James Agee, with comments on Evans photographer, the author wrote about how the imagery Evan produces allows the clear narrative to tell the story of the lives of the three tenant farmer families. “Evans was a preeminent photographer of his time, and his almost stark work here is the perfect foil for Agee’s” (Ingram.B, 2014). Evans’ photographs within this book has pleased many critics as the images illustrates the imagery created by the word produced by Agee.
In another article, published by the Guardian, the author describes Evan’s imagery to present reality, “You can’t sniff the stink of the quilts in the Evans pictures, nor itch with the lice in the pillows. The foul beds take on a Shaker dignity of form. A gasoline pump on the porch of a post office metamorphoses into sculptural permanence within the fixed focal length of Evans’s lens.” (Rule.V, 2001). His positive critique to Evans’ imagery emphasises how accurately he managed to capture the raw living environments of the tenant families, which allows viewers to sympathises for these families, as we understand that they do not know life any differently. As previously mentioned it allows our imagination from the novel, written by Agee, to visually see and understand this reality, making the stories more real and empowering. The author also mentions how Evan’s photographs “beatifies, the bemused children of poverty more than any adjective or adverb Agee might edit out of his copy.” (Rule.V, 2001). This illustrates how the images within the photographic novel holds stronger representation of the lives of the tenants than the story itself, as words are not powerful enough to describe these conditions. In addition, he is referring to the idea that the images are being beatified, which informs us that the photographs are captivating and have the authenticity which makes the images seem beautiful, which juxtaposes the negative connotations the images actually hold.
Technical and Visual:
The double page spread presented below is one of the most famous page spreads form any of his photographic books, and is taken from his series ‘Let Us Now Praise Famous Men’. I believed that these two images held a lot of visual and technical value which allow me to critically analyse Evan’s work in order for me to describe the way in which his conceptual representations is presented.
Walker Evans – Let Us Now Praise Famous Men
Visually, the two documentary style portraits are minimalistic, in the sense that the frame has a lot of space, which depicts the conceptual representation of their basic and hard lifestyle they live, and shows how they have nothing. The photographs are two headshots taken at a straight on angle of a male and a female, to which I believe are husband and wife, which are the main focal points of the image. The clothing they are wearing suggests a lot about their low social status, their shirts seemed creased, and through the image being in black and white and high tonal contrast, we can see how soiled these subjects are. Their facial expressions are neutral, but their strong eye contact towards the lens almost suggests they are asking for help, and illustrates their pain and suffering. The background of the images are just their natural environment, which seems to be a wall or apart of their small wooden cottages. With regards to the formal elements, texture, space, tone and form, help to illuminate their poor living conditions, and adds to the authenticity of the naturalistic imagery, creating sympathy for viewers.
Technically, the photographs use basic camera settings, which shows how the time period of the photographs being taken, 1936, has influenced the outcomes. It is suggested that naturalistic lighting has been used to capture these outcomes, which means a daylight white balance would have been used, which juxtaposes the cold ambiance the images hold, also emphasising the pejorative connotations towards this imagery. The photographs have a grainy look, which shows the contextual element of the time period and could suggest how a high ISO was used in order to capture the images. In addition to this a quick shutter speed was likely to be used, as well as a medium aperture due to a slight depth of field being used and the imagery being having a darker tone towards it and the subject being in clear focus and sharp.
Action Plan:
Moving forward I intend to conduct a new photo shoot which looks at capturing the lives and lifestyle of my grandparents, and try and illustrate how the working lives have resulted in the lives at present. I intend to capture imagery outside, as that is mainly were Evan’s images were taken, which allows me to explore the relationship between my Grandparents and their exterior of their house. In addition, I look to create a selection of portraits which express this conceptual representation, through the images being in black and white, high tonal contrast and strong connection with the camera lens.
Bibliography:
Ingram, B. (2014). ‘Let Us Now Praise Famous Men’ by James Agee and Walker Evans. [online] Broadstreetreview.com. Available at: https://www.broadstreetreview.com/books/let-us-now-praise-famous-men-by-james-agee-and-walker-evans# [Accessed 15 Jan. 2020].
Rule, V. (2001). Review: Let Us Now Praise Famous Men by James Agee and Walker Evans. [online] the Guardian. Available at: https://www.theguardian.com/books/2001/aug/18/historybooks.highereducation [Accessed 15 Jan. 2020].
