Imogen Cunningham is one of my favorite photographers. So I was very disappointed when I saw the reproduction quality of the 92 duotone plates, 59 black-and-white photographs, and 8 color images. The ink is very heavy and dark on these succulent morsels, and almost all the images look like they are of vegetation from the vicinity of Mount St. Helens just after the eruption. <p>The book contains Ms. Cunningham's famous image of her husband undressed, so if such things offend you, skip over that page. The image is very small, so you'll hardly notice it unless you are looking hard for it. <p>The essay by Richard Lorenz is a fine one. It makes up for some of the reproduction problems. He captures the ambiguity of her work nicely in pointing out that the "paradox of expansion via reduction." This is the familiar fractal observation as each level of detail is echoed in the next larger and smaller level of scale.<p>Stylistically, she "empowered her images by isolating her vegetation." What would be lost in a mass is curiously fresh and clear in solitary study. As a result, negative space is a critical element in her compositions. Her work is also very objective, also, like the German photographers. Like Georgia O'Keeffe, she realized and portrays the erotic expressions in vegetation. <p>Here are my favorite images from the book (as reproduced here):<p>At Point Lobos, 1921 (like Weston); Thorn Apple, about 1921; Tree at Donner Pass, 1925 (like Weston); Calla, about 1925 (like an O'Keeffe); Colletta Cruciata 7, 1929; Flowering Cactus, about 1930; Calla with Leaf, about 1930; Blossom of Protea, 1935; Fuscha, 1940; Fireworks Plant, 1965; Araujia, 1953; Hand and Leaf of Voodoo Lily. The notes to each image contain horiticultural information. <p>Ms. Cunningham was "skeptical of physical beauty." Where does nature agree with her? Where can you gain by retaining skepticism, even as you enjoy beauty? <p>Don't give up on Ms. Cunningham's work. Just go look at it elsewhere!