The road has been a central motif in the work of Robert Adams (born 1937) since the beginnings of his life as a photographer in the late 1960s. 27 Roads is the first publication to focus on this important aspect of his work, and is comprised of the artist's concise, poetic selection of images spanning almost five decades. Whether fast concrete highways, quiet cuts through dark forests, paved commercial strips or dusty tracks on a clear-cut mountainside, Adams' roads function as metaphors for solitude, connection or freedom. Adams writes, "Roads can still be beautiful. Occasionally they appear like a perfect knife slicing through a perfect apple, the better to show that two halves are one." Robert Adams has been the recipient of Guggenheim and MacArthur Foundation fellowships, the Deutsche Börse Photography Prize and the Hasselblad Foundation International Award. His work was the subject of a major retrospective organized by the Yale University Art Gallery, which toured internationally from 2011 to 2014.

Adams has chosen twelve poems by William Stafford to accompany the pictures. Both photographer and poet observe a practice of quiet in the out-of-doors, and both discover there a promise.

The beautiful carriage roads of Mount Desert Island fit so perfectly into the land it seems as though they have always been there. Actually, they are the result of decades of planning and painstaking effort on the part of philanthropist John D. Rockefeller, Jr. and were built by local islanders over a 27-year period. Access by cars is not permitted, so the trails remain a boon to walkers, horseback riders, bicyclists, and cross-country skiers.This second edition also includes an interview with David Rockefeller, son of John D. Rockefeller, Jr., and an exploration of the history of the roads since the publication of the first edition in 1990. Additional archival photographs and new color photographs of the roads are also included

"Robert Adamss' sixth book of landscape/topographical photography, exploring the area west of the Missouri River, where his ancestors settled several generations ago. Printed by the Meriden Gravure Company using negatives prepared by Richard Benson."--Amazon.

Thomas Telford's life was extraordinary: born in the Lowlands of Scotland, where his father worked as a shepherd, he ended his days as the most revered engineer in the world, known punningly as –The Colossus of Roads”. He was responsible for some of the great works of the age, such as the suspension bridge across the Menai Straits and the mighty Pontcysyllte aqueduct. He built some of the best roads seen in Britain since the days of the Romans and constructed the great Caledonian Canal, designed to take ships across Scotland from coast to coast. He did as much as anyone to turn engineering into a profession and was the first President of the newly formed Institution of Civil Engineers. All this was achieved by a man who started work as a boy apprentice to a stonemason. rn He was always intensely proud of his homeland and was to be in charge of an immense programme of reconstruction for the Highlands that included building everything from roads to harbours and even designing churches. He was unquestionably one of Britain's finest engineers, able to take his place alongside giants such as Brunel. He was also a man of culture, even though he had only a rudimentary education. As a mason in his early days he had worked alongside some of the greatest architects of the day, such as William Chambers and Robert Adams, and when he was appointed County Surveyor for Shropshire early in his career, he had the opportunity to practice those skills himself, designing two imposing churches in the county and overseeing the renovation of Shrewsbury Castle. Even as a boy, he had developed a love of literature and throughout his life wrote poetry and became a close friend of the Poet Laureate, Robert Southey. He was a man of many talents, who rose to the very top of his profession but never forgot his roots: he kept his old masons' tools with him to the end of his days. rn There are few official monuments to this great man, but he has no need of them: the true monuments are the structures that he left behind that speak of a man who brought about a revolution in transport and civil engineering.

Originally published in 1974, this book is now regarded as a classic book of photography in the pantheon of landmark projects exploring American culture and society.

After beginning his career as a photojournalist for a daily newspaper in southern California, Dan Winters moved to New York to begin a celebrated career that has since led to more than one hundred awards, including the Alfred Eisenstaedt Award for Magazine Photography. An immensely respected portrait photographer, Dan is well known for an impeccable use of light, colour, and depth in his evocative images. In Road to Seeing, Dan shares his journey to becoming a photographer, as well as key moments in his career that have influenced and informed the decisions he has made and the path he has taken. Though this book appeals to the broader photography audience, it speaks primarily to the student of photography--whether enrolled in school or not--and addresses such topics as creating a visual language; the history of photography; the portfolio; street photography; personal projects; his portraiture work; and the need for key characteristics such as perseverance, awareness, curiosity, and reverence. By relaying both personal experiences and a kind of philosophy on photography, Road to Seeing tells the reader how one photographer carved a path for himself, and in so doing, helps equip the reader to forge his own.

Winter has come to Route 117, a remote road through the high desert of Utah trafficked only by eccentrics, fugitives, and those looking to escape the world. Local truck driver Ben Jones, still in mourning over a heartbreaking loss, finds a mute Hispanic child who has been abandoned at a seedy truck stop along his route, far from civilization and bearing a note that simply reads "Please Ben. Watch my son. His name is Juan." At the bottom: "Bad Trouble. Tell no one." Ben takes the child with him in his truck and sets out into an environment that is as dangerous as it is beautiful and silent.

Explores the developing landscape of Denver metropolitan area from 1968 through 1974. This work contains photographs that show tract housing with mountain ranges in the distance, trailer lots devoid of people, suburban streets through generic windows, shopping mall interiors and parking lots.