Michael Wood
Eloquently nostalgic, discreetly ironic about nostalgia, these pages from another time tell us all kinds of witty, often oblique tales of photographyfrom the air, underground, of the dead and the living, in and out of history. Nadar was many other things as well as a photographer but once he had started he never stopped being one, even when he wasn't using a camera. He hasn't stopped now. The deftly translated words of this book offer pictures that prove it.
Geoffrey Batchen
A legendary book, imbued with the rogue personality of its author, finally appears in English, allowing us to wander with him through his memories of a key moment in our modernity. A vital contribution to our understanding of photography both then and now.
From the Publisher
A legendary book, imbued with the rogue personality of its author, finally appears in English, allowing us to wander with him through his memories of a key moment in our modernity. A vital contribution to our understanding of photography both then and now.
Geoffrey Batchen, Victoria University of Wellington, New Zealand
Eloquently nostalgic, discreetly ironic about nostalgia, these pages from another time tell us all kinds of witty, often oblique tales of photographyfrom the air, underground, of the dead and the living, in and out of history. Nadar was many other things as well as a photographer but once he had started he never stopped being one, even when he wasn't using a camera. He hasn't stopped now. The deftly translated words of this book offer pictures that prove it.
Michael Wood, Princeton University