The Book of Life presents Shelby Lee Adam's color photographs of four generations of the Appalachian people. Adams began photo - graphing the inhabitations of the rural Appalachian mountain range in 1974, using black-and-white film and Polaroid materials. In time he also worked with color Kodachrome film, invariably returning to the Eastern Kentucky region where he was born. By 2010 Adams was photographing exclusively in digital color, and this book marks the first time he is sharing his color work.
Adams has consistently focused on the valleys and homes of Kentucky families, relatives and neighbors in a predominantly seven- county region. He has often revisited individuals and families many times over decades, distributing his photos and books while creating new pictures. This personal approach has led to the creation of genuine and deep relationships between photographer and subject, in which the subject is often involved in unusually creative ways, verbalizing the emotions they would like to express during the shoot, and where and how they would like to be depicted.
'These portraits are, in a way, self-portraits that represent a long autobiographical exploration of creativity, imagination, vision, repulsion and salvation. My greatest fear as a photographer is to l ook into the eyes of my subject and not see my own reflection.' -Shelby Lee Adams
The Book of Life presents Shelby Lee Adam's color photographs of four generations of the Appalachian people. Adams began photo - graphing the inhabitations of the rural Appalachian mountain range in 1974, using black-and-white film and Polaroid materials. In time he also worked with color Kodachrome film, invariably returning to the Eastern Kentucky region where he was born. By 2010 Adams was photographing exclusively in digital color, and this book marks the first time he is sharing his color work.
Adams has consistently focused on the valleys and homes of Kentucky families, relatives and neighbors in a predominantly seven- county region. He has often revisited individuals and families many times over decades, distributing his photos and books while creating new pictures. This personal approach has led to the creation of genuine and deep relationships between photographer and subject, in which the subject is often involved in unusually creative ways, verbalizing the emotions they would like to express during the shoot, and where and how they would like to be depicted.
'These portraits are, in a way, self-portraits that represent a long autobiographical exploration of creativity, imagination, vision, repulsion and salvation. My greatest fear as a photographer is to l ook into the eyes of my subject and not see my own reflection.' -Shelby Lee Adams
