<\/center><\/p>\nA photographer whose vision matches that of the best, but with none of their technical limitations, Ilse Bing deserves the renaissance her work is currently enjoying. Like Cartier-Bresson<\/a> she did her best work in the thirties and, like him, insisted on using the small negative Leica, even using it exclusively in her studio advertising work.<\/p>\n From the cover photo to the colophon, this is one splendid display of the work of a great pioneering photographer. Like Kertesz and Cartier-Bresson, there is the wonder at all things new, the joy of discovering the sheer liberating qualities of a portable, small and fast snapshot camera. Just check the picture of Greta Garbo – I’m not telling the story here! You need<\/i> this book.<\/p>\n Everything about this book, available from Amazon, is special. Whether the great photography, the impeccable reproductions, the erudite and well written essay by Larisa Dryansky – well, the whole production exudes quality, style and perfection. The quality Bing managed to extract from the poor monochrome films of the time has to be seen to be believed. I have not encountered so exciting a book of photography in ages, and it has replaced my well worn copy of Cartier-Bressons’s ‘The Man, the Image and the World’ as the ‘book on display’ in the ancestral home.<\/p>\n","protected":false},"excerpt":{"rendered":" Book review A photographer whose vision matches that of the best, but with none of their technical limitations, Ilse Bing deserves the renaissance her work is currently enjoying. Like Cartier-Bresson she did her best work in the thirties and, like him, insisted on using the small negative Leica, even using it exclusively in her studio … Continue reading Ilse Bing<\/span>