Although some of her photographs reflect the influence of her husband Manuel Alvarez Bravo?they shared the same cameras and often the same roll of film?Lola was less interested in carefully staged images or symbolism. For her, capturing a particular person, in a particular moment, was more important.
She achieved her own aesthetic by the 1940s and 50s, producing significant bodies of work in portraiture and street photography, and also experimenting with collage.
This book, her first retrospective in English, collects 100 black and white images made from the 1930s to the 80s.
Author Lola Alvarez Bravo, photog. Elizabeth Ferrer. Douglas R. Nickel.