《William Eggleston's Guide》简介：

"William Eggleston's Guide" was the first one-man show of color photographs ever presented at The Museum of Modern Art, New York, and the Museum's first publication of color photography. The reception was divided and passionate. The book and show unabashedly forced the art world to deal with color photography, a medium scarcely taken seriously at the time, and with the vernacular content of a body of photographs that could have been but definitely weren't some average American's Instamatic pictures from the family album. These photographs heralded a new mastery of the use of color as an integral element of photographic composition. Bound in a textured cover inset with a photograph of a tricycle and stamped with yearbook-style gold lettering, the "Guide" contained 48 images edited down from 375 shot between 1969 and 1971 and displayed a deceptively casual, actually super-refined look at the surrounding world. Here are people, landscapes, and odd little moments in and around Eggleston's hometown of Memphis–an anonymous woman in a loudly patterned dress and cat's eye glasses sitting, left leg slightly raised, on an equally loud outdoor sofa; a coal-fired barbecue shooting up flames, framed by a shiny silver tricycle, the curves of a gleaming black car fender, and someone's torso; a tiny, gray-haired lady in a faded, flowered housecoat, standing expectant, and dwarfed in the huge dark doorway of a mint-green room whose only visible furniture is a shaded lamp on an end table. For this edition of "William Eggleston's Guide," The Museum of Modern Art has made new color separations from the original 35 mm slides, producing a facsimile edition in which the color will be freshly responsive tothe photographer's intentions.

《William Eggleston's Guide》摘录：

摄影实践是如此创作的：摄影师无法自由地重新安排他所拍摄主题中的各个要素，以适合他对该主题先入为主的想法来构建一张照片，而画家在作画时却是可以的。相反，摄影师是在其媒介所提供的各种可能性之中寻找他的拍摄主题。如果一片广袤无垠的风景无法尽收于取景框之中，摄影师便会设法选取一种不同却有辅助之效的主题，比如可能拍下两棵树和一块石头。