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The explosive growth in photography book publishing has presented photo-eye with an interesting challenge along with what we think is an exciting opportunity.
How can we continue to offer an ever-increasing inventory of photography books, keep those books continuously in stock and compete with the online deep discounters on price and shipping? The answer is that we can shift much our fullfillment to the web's most efficient book operation, Amazon.com.
Now we are happy to offer you Amazon's discounts on books which are almost always in stock from either Amazon directly or Amazon Marketplace. We can also provide you with the same shipping options that Amazon provides, including on qualified orders, free shipping.
It's important to understand that you will still be supporting photo-eye if you order from Amazon or Amazon Marketplace through photoeye.com. We make it easy for you to do this by providing a dual shopping cart system with separate checkouts.
However, you may still opt to purchase a particular title from photo-eye directly even though the same book is available through Amazon at a less expensive price.
Book publishing is not a perfect industry. Though all books are imperfect in some subtle way, we want to be as accurate as possible on our website if we know that there is a problem with a particular book. Imperfections range from a rubbed dustjacket, a small tear in the dustjacket, or a corner of the book being bumped. No fundamental flaw should be part of an imperfect book's condition. E-mail us our call 505.988.5152 should you have questions prior to ordering a particular imperfect book.
Place your order now and we'll send you the item when it arrives.
You will not be charged until your order ships.
An additional change will be added to the standard handling charge for this item as it is a foreign publication and shipping expenses from foreign countries is extremely expensive or it requires a larger, more expensive box or it requires extra care in handling. Thank you for understanding!
“From 1995 to 1998 I worked on a series of photographs of isolated houses in the desert at the east-end of the Morongo Valley in Southern California. As I meandered through the desert, a dog would occasionally chase my car. Sometime in 1996 I began to bring along a 35mm camera equipped with a motor drive and loaded with a fast and grainy black-and-white film. The process was simple; when I saw a dog coming toward the car I would pre-focus the camera and set the exposure. With one hand on the steering wheel, I would hold the camera out the window and expose anywhere from a few frames to a complete roll of film. I’ll admit that I was not above turning around and taking a second pass in front of a house with an enthusiastic dog. Contemplating a dog chasing a car invites any number of metaphors and juxtapositions: culture and nature, the domestic and the wild, love and hate, joy and fear, the heroic and the idiotic. It could be viewed as a visceral and kinetic dance. Here we have two vectors and velocities, that of a dog and that of a car and, seeing that a camera will never capture reality and that a dog will never catch a car, evidence of devotion to a hopeless enterprise.” – John Divola, 2004