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FIRST EDITION of one of Evans’s most famous works, featuring an introduction by James Agee and over 150 reproductions of photographs taken by Evans in the New York subway; the preferred edition with a cloth-bound cover and dust jacket (published simultaneously in paperback).
In his subway series (shot between 1938 and the 1940s, but not published until 1966), Evans hid a Contax camera under his coat so he could photograph subway passengers without their knowledge... The results are remarkably vivid and engaging. The book is structured like a series of film stills, with each anonymous life flowing seamlessly into the next. These commuters are largely devoid of overt signs of social class... united by the tedious task of burrowing underground like moles. And yet, upon closer inspection, the tone of the book seems more positive. It speaks less of a population weary from the vicissitudes of urban life than of the way people simply withdraw into themselves during the commute between work and home. Evans’ subway passengers may be lost souls, but they are also souls lost in their thoughts” (Parr/Badger, The Photobook, I.253). Roth 180; Hasselblad 218.
Published by Houghton Mifflin Company, 1966
178 pages
24.8 × 20.3 cm
FIRST EDITION of one of Evans’s most famous works, featuring an introduction by James Agee and over 150 reproductions of photographs taken by Evans in the New York subway; the preferred edition with a cloth-bound cover and dust jacket (published simultaneously in paperback).
In his subway series (shot between 1938 and the 1940s, but not published until 1966), Evans hid a Contax camera under his coat so he could photograph subway passengers without their knowledge... The results are remarkably vivid and engaging. The book is structured like a series of film stills, with each anonymous life flowing seamlessly into the next. These commuters are largely devoid of overt signs of social class... united by the tedious task of burrowing underground like moles. And yet, upon closer inspection, the tone of the book seems more positive. It speaks less of a population weary from the vicissitudes of urban life than of the way people simply withdraw into themselves during the commute between work and home. Evans’ subway passengers may be lost souls, but they are also souls lost in their thoughts” (Parr/Badger, The Photobook, I.253). Roth 180; Hasselblad 218.
Published by Houghton Mifflin Company, 1966
178 pages
24.8 × 20.3 cm
