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Some photographs shout to be heard, others are quietly poignant, tender, playful, romantic, and lucidly human.\u003c\/p\u003e","brand":"Bruce Davidson","offers":[{"title":"11 x 14 in (28 x 36 cm)","offer_id":48039964246331,"sku":"FINE-PRINT-DAB-NYC6071-11x14","price":4500.0,"currency_code":"USD","in_stock":true},{"title":"16 x 20 in (40 x 50 cm)","offer_id":48039964279099,"sku":"FINE-PRINT-DAB-NYC6071-16x20","price":5500.0,"currency_code":"USD","in_stock":true},{"title":"20 x 24 in (50 x 60 cm)","offer_id":48039964311867,"sku":"FINE-PRINT-DAB-NYC6071-20x24","price":9000.0,"currency_code":"USD","in_stock":true},{"title":"40 x 60 in (102 x 152 cm)","offer_id":49253148688699,"sku":"FINE-PRINT-DAB-NYC6071-40x60","price":15000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0849\/5575\/8907\/files\/FINE-PRINT-DAB1966046W00778-11.jpg?v=1712678283"},{"product_id":"jimmy-armstrong-nj-1958","title":"Fine Print: Jimmy Armstrong at Clyde Beatty Circus, New Jersey, USA, 1958","description":"Bruce Davidson was 24 when he visited the Clyde Beatty Circus at Palisades Amusement Park in New Jersey in 1958. The photographs he took there would go on to form the first part of one of his most celebrated bodies of work: Circus, a black-and-white visual chronicle of mid-century big tops in America as the cultural phenomenon was beginning to die out.\n\u003cbr\u003eNone of the circus performers that Davidson encountered had a more profound effect on him than Jimmy Armstrong. He was “standing alone outside the tent smoking a cigarette,” when Davidson first saw him. Dressed in a tux and a top hat, he held a small bouquet of paper flowers, and “stood there pensively in the privacy of his inner thoughts.” Davidson approached him and began taking pictures. Davidson said, “he seemed to know that it was the inner moment I was drawn to and not his clown face or physical appearance.”\n\u003cbr\u003eJimmy became Davidson’s way in, letting him into his private world and acting as his guide to circus life. “We became friends, although we seldom spoke to one another,” Davidson remembered. Theirs was a bond of unspoken understanding — a kind of contentment to be in each other’s company.","brand":"Bruce Davidson","offers":[{"title":"11 x 14 in (28 x 36 cm)","offer_id":48039964999995,"sku":"FINE-PRINT-DAB-NYC6102-11x14","price":4500.0,"currency_code":"USD","in_stock":true},{"title":"16 x 20 in (40 x 50 cm)","offer_id":48039965032763,"sku":"FINE-PRINT-DAB-NYC6102-16x20","price":5500.0,"currency_code":"USD","in_stock":true},{"title":"20 x 24 in (50 x 60 cm)","offer_id":48039965065531,"sku":"FINE-PRINT-DAB-NYC6102-20x24","price":9000.0,"currency_code":"USD","in_stock":true},{"title":"40 x 60 in (102 x 152 cm)","offer_id":49253149770043,"sku":"FINE-PRINT-DAB-NYC6102-40x60","price":15000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0849\/5575\/8907\/files\/FINE-PRINT-DAB1958014W00018-10.jpg?v=1712678326"},{"product_id":"birmingham-alabama-1963","title":"Frint Print: Arrest of a demonstrator. 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Pictured here, the arrest of a demonstrator in Alabama, Birmingham, 1963.\u003c\/p\u003e","brand":"Bruce Davidson","offers":[{"title":"11 x 14 in (28 x 36 cm)","offer_id":48039965983035,"sku":"FINE-PRINT-DAB-NYC16883-11x14","price":4500.0,"currency_code":"USD","in_stock":true},{"title":"16 x 20 in (40 x 50 cm)","offer_id":48039966015803,"sku":"FINE-PRINT-DAB-NYC16883-16x20","price":5500.0,"currency_code":"USD","in_stock":true},{"title":"20 x 24 in (50 x 60 cm)","offer_id":48039966048571,"sku":"FINE-PRINT-DAB-NYC16883-20x24","price":9000.0,"currency_code":"USD","in_stock":true},{"title":"40 x 60 in (102 x 152 cm)","offer_id":49253150458171,"sku":"FINE-PRINT-DAB-NYC16883-40x60","price":15000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0849\/5575\/8907\/files\/FINE-PRINT-DAB1963015W00008-08A.jpg?v=1712678294"},{"product_id":"time-of-change-nyc-1962","title":"Fine Print: Time of change. 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The body of work Time of Change, from which this image was taken, is a testament to the everyday lives of the people who fought against accepted social norms of segregation, poverty, and discrimination.","brand":"Bruce Davidson","offers":[{"title":"11 x 14 in (28 x 36 cm)","offer_id":48039966605627,"sku":"FINE-PRINT-DAB-NYC6105-11x14","price":4500.0,"currency_code":"USD","in_stock":true},{"title":"16 x 20 in (40 x 50 cm)","offer_id":48039966638395,"sku":"FINE-PRINT-DAB-NYC6105-16x20","price":5500.0,"currency_code":"USD","in_stock":true},{"title":"20 x 24 in (50 x 60 cm)","offer_id":48039966671163,"sku":"FINE-PRINT-DAB-NYC6105-20x24","price":9000.0,"currency_code":"USD","in_stock":true},{"title":"40 x 60 in (102 x 152 cm)","offer_id":49253151080763,"sku":"FINE-PRINT-DAB-NYC6105-40x60","price":15000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0849\/5575\/8907\/files\/FINE-PRINT-DAB1962025W00072-19A.jpg?v=1712678312"},{"product_id":"central-park-snowstorm-nyc-1992","title":"Fine Print: Central Park, New York City, USA, 1992","description":"Working in New York City’s Central Park for over four years, Bruce Davidson made images of the vibrant life and activities that take place in the well-loved green space. The Magnum photographer and New York resident captured youthful play, rendezvous-ing couples, and city dwellers at rest in the park.\n\u003cbr\u003eThrough Davidson’s photographs, we can observe how the park opens its hospitable, generous heart to the city, offering temporary refuge for those without shelter, privacy for the lover, a setting for the newlywed, nesting space and food for the newly hatched, a circle of sunlight for the wheelchair-bound, and all of outdoors for energetic youthfulness. In Davidson’s work, we discover the park to be a great theatre of human, animal, and vegetal life — a place where nature and humanity interact and in the process, become mutually transformed.","brand":"Bruce Davidson","offers":[{"title":"11 x 14 in (28 x 36 cm)","offer_id":48039967752507,"sku":"FINE-PRINT-DAB-NYC6530-11x14","price":4500.0,"currency_code":"USD","in_stock":true},{"title":"16 x 20 in (40 x 50 cm)","offer_id":48039967785275,"sku":"FINE-PRINT-DAB-NYC6530-16x20","price":5500.0,"currency_code":"USD","in_stock":true},{"title":"20 x 24 in (50 x 60 cm)","offer_id":48039967818043,"sku":"FINE-PRINT-DAB-NYC6530-20x24","price":9000.0,"currency_code":"USD","in_stock":true},{"title":"40 x 60 in (102 x 152 cm)","offer_id":49253151637819,"sku":"FINE-PRINT-DAB-NYC6530-40x60","price":15000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0849\/5575\/8907\/files\/FINE-PRINT-DAB1992005W00402-15.jpg?v=1712678337"},{"product_id":"selma-march-alabama-1965","title":"Fine Print: Civil rights march from Selma to Montgomery. 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In the preface to The Suffering of Light, he describes having “reached a kind of dead end” in photography, as well as an eagerness to explore new territories. That year, in 1975, inspired by Graham Greene’s novel, The Comedians, he jumped on a plane to Port-au-Prince to discover the turbulent world of Haiti through the eyes of his lens.\u003c\/p\u003e\n\n\u003cp\u003eThe first three-week trip transformed Webb, introducing him to new worlds of emotional vibrancy and intensity that he described as “raw, disjointed, often tragic”. After traveling for a further three years, he made a commitment to fully embrace color photography in order to translate the vibrant color of these worlds.\u003c\/p\u003e\n\n\u003cp\u003eThe Suffering of Light was originally published by Aperture in 2011, and was Webb’s first comprehensive survey book, presenting 120 of his most iconic images from his travels in Southern America, Africa, India, Europe, and beyond. Today, The Suffering of Light remains a landmark photobook, and Webb is internationally recognized for his work, characterized by intense color and light, capturing everyday scenes that often reveal wider tensions or convey a sense of enigma, irony, or even humor.\u003c\/p\u003e","brand":"Alex Webb","offers":[{"title":"20 x 30 in (50 x 76 cm)","offer_id":48039969161531,"sku":"FINE-PRINT-WEA-PAR112365-20x30","price":7000.0,"currency_code":"USD","in_stock":true},{"title":"30 x 40 in (76 x 102 cm)","offer_id":51787073126765,"sku":"FINE-PRINT-WEA-PAR112365-30x40","price":9000.0,"currency_code":"USD","in_stock":true},{"title":"40 x 60 in (102 x 152 cm)","offer_id":51787073159533,"sku":"FINE-PRINT-WEA-PAR112365-40x60","price":12000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0849\/5575\/8907\/files\/FINE-PRINT-WEA1981003K001_684a986f-251c-4a31-8a93-04eb5ac05484.jpg?v=1712765965"},{"product_id":"thessaloniki-greece-2003","title":"Fine Print: Thessaloniki, Greece, 2003","description":"\u003cp\u003eWebb began his career as a photographer in the 1970s, making pictures of the American social landscape in the streets of New England and New York, working exclusively in black and white. 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Today, The Suffering of Light remains a landmark photobook, and Webb is internationally recognized for his work, characterized by intense color and light, capturing everyday scenes that often reveal wider tensions or convey a sense of enigma, irony, or even humor.\u003c\/p\u003e","brand":"Alex Webb","offers":[{"title":"20 x 30 in (50 x 76 cm)","offer_id":48039969194299,"sku":"FINE-PRINT-WEA-NYC33745-20x30","price":5000.0,"currency_code":"USD","in_stock":true},{"title":"30 x 40 in (76 x 102 cm)","offer_id":51787073323373,"sku":"FINE-PRINT-WEA-NYC33745-30x40","price":7500.0,"currency_code":"USD","in_stock":true},{"title":"40 x 60 in (102 x 152 cm)","offer_id":51787073356141,"sku":"FINE-PRINT-WEA-NYC33745-40x60","price":12000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0849\/5575\/8907\/files\/FINE-PRINT-WEA2003018K001_e9ca23c1-340e-40fa-b2f4-95218c9f81f0.jpg?v=1712767091"},{"product_id":"boquillas-coahuila-1979","title":"Fine Print: Boquillas, Coahuila, 1979","description":"\u003cp\u003eWebb began his career as a photographer in the 1970s, making pictures of the American social landscape in the streets of New England and New York, working exclusively in black and white. 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Smith embedded himself there for three months but became frustrated with the lack of access. He wrote to Schweitzer: “I must leave Lambaréné, for you restrict me and force me to omissions, which indirectly make other photographic statements sometimes impossible.” Schweitzer partially relented. This photograph of Schweitzer appeared in the photo essay entitled “A Man of Mercy” in LIFE’s November 15, 1954, issue. The story’s subtitle reflected Smith’s ambivalence: “Africa’s misery turns saintly Albert Schweitzer into a driving taskmaster.” Smith submitted a lengthy layout for publication. But LIFE crammed it into 12 pages to coincide with Schweitzer’s belated acceptance of his Nobel Peace Prize. Enraged, Smith submitted his resignation, which LIFE ultimately accepted, despite several attempts to reconcile.\u003c\/p\u003e","brand":"W. 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LIFE later summarized: “Country Doctor was an instant classic when published, establishing Smith as a master of the commanding young art form of the photo essay, and solidifying his stature as one of the most passionate and influential photojournalists of the 20th century.” This image depicts Dr. Ernest Ceriani making his rounds, as the only doctor within 400 miles of the 2000 residents of Kremmling. TIME magazine selected it as one of the 100 most influential photographs: “By digging so deeply into his assignment, Smith created a singular, starkly intimate glimpse into the life of a remarkable man. It became not only the most influential photo essay in history but the aspirational template for the form.”\u003c\/p\u003e","brand":"W. 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This striking image of three generations of Welsh miners, mired in hopelessness and poverty, symbolized the forgotten people whose lives Attlee’s policies sought to improve. His election in 1945 had ushered in broad social welfare programs across Great Britain. While Attlee narrowly defeated Churchill for a second time in 1950, his victory was short-lived. Deciding to call new elections a year later, Attlee lost to Churchill and the Conservatives in 1951. And the Welsh miners lost their champion. Describing the photograph, Smith later recounted: “I had my assistant call out to them. That’s why they had the quizzical faces. They turned. I think I made two quick exposures and that was it.”\u003c\/p\u003e","brand":"W. 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Eugene Smith documented the heroic efforts of a black nurse midwife, Maude Callen, who served an impoverished community of 10,000 people in rural South Carolina. The story appeared in the December 3, 1951, issue of LIFE. The caption read: “SIMPLE KINDNESS overwhelms an old man,” who had been paralyzed for 20 years. The story made a plea for donations to build Maude a new clinic. Nearly $20,000 — an enormous sum for the time — poured in from around the globe. The Maude Callen Clinic opened its doors in May 1953. Smith wrote about Maude later: “In the most special way, she is probably the greatest person I have been privileged to know…. She is, to me, near the pure ideal of what a life of affirmative contribution can be…. If this sounds like a love letter, it is.”\u003c\/p\u003e","brand":"W. 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He was unable to hold a camera properly or take photographs for another year. After multiple surgeries, his first attempt became iconic. Smith chose to photograph his two young children, Patrick and Juanita, scampering through the woods behind the house. The resulting image, entitled “The Walk to Paradise Garden,” became Smith’s most popular. Many have attributed its universal appeal to its perspective from behind, allowing viewers to imagine that Smith’s two children could be their own. Edward Steichen chose it as the final print in his landmark exhibition, The Family of Man, at the Museum of Modern Art in 1955.\u003c\/p\u003e","brand":"W. 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Capturing more than 11,000 photographs, Smith documented a vibrant industrial metropolis, its steel mills, its people, its scenery — the most comprehensive visual chronicle ever made of an American city in motion. “Dream Street” stands in stark contrast to other iconic images in the series, a “hidden” oasis providing a respite from urban life in the 1950s. Like many other symbols of a bygone era, the actual Dream Street has vanished over time and is no longer recognizable. Yet the image remains more relevant than ever. As Smith wrote: “The one full freedom is man’s right to dream. No government of whatever nature, no tyranny, no circumstance can remove possession of this right.”\u003c\/p\u003e","brand":"W. 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