Frederick Evans had an impeccable instinct for form.
His platinum prints -- whether portraits, landscapes or studies of
architecture -- are pristine, tonally rich and consistently beautiful.
Yet Evans valued information at least as much as
inspiration (the Getty Museum show's slightly stiff title, "A Record of
Emotion," perhaps alludes to this). He favored respectful distance over
raw intimacy. When he did venture into that most personal terrain --
pure encounter with place, person or the spiritual self -- he produced
some of the most profoundly moving photographs in the history of the
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