Camera, June 1973. Volume 52, No. 6. Living Masters of Photography (Part 3).

Edited by Allan Porter. Featuring portfolios by Ansel Adams, Aaron Siskind, Brett Weston, and Joseph Sudek, plus Edward J. Steichen (1879-1973), obituary without photos by Allan Porter.  Lovely cover by Sudek and contents of comparable quality. An outstanding issue of this fine periodical of photography.  Fine. Summary:

The June 1973 issue of Camera (Volume 52, No. 6) serves as a monumental tribute to the titans of 20th-century black-and-white photography. This specific edition, titled "Living Masters of Photography," functions as both a celebration of enduring visionaries and a solemn bookend to an era.

Key Features & Featured Artists

The issue focuses on four pivotal figures whose work defined the aesthetic and technical boundaries of the medium:

• Ansel Adams: Highlighting his mastery of the American landscape and the "Zone System," the issue showcases his unparalleled ability to translate the grandeur of nature into a perfect tonal range.

• Aaron Siskind: Representing the shift toward abstraction, Siskind’s work in this volume emphasizes his "found" abstract expressionism—finding complex, emotive patterns in mundane surfaces like peeling paint and stone.

• Brett Weston: Often stepping out of his father Edward's shadow, Brett is featured for his high-contrast, graphic explorations of form and texture, leaning into the near-abstract qualities of natural environments.

• Josef Sudek: Known as the "Poet of Prague," Sudek’s inclusion brings a romantic, pictorialist-influenced atmosphere to the collection, focusing on his intimate still lifes and the moody vistas of his native city.

The Passing of a Giant: Edward J. Steichen

A significant and somber portion of this issue is dedicated to the obituary of Edward J. Steichen (1879–1973).

• Historical Weight: Having passed away in March of that year, Steichen is remembered not just as a photographer, but as the director of photography at MoMA and the curator of the "Family of Man" exhibition.

• Legacy: The tribute contextualizes his transition from soft-focus Pictorialism to sharp-focus commercial work and his ultimate role as the medium's greatest advocate and curator.

Editorial Significance

Under the editorship of Allan Porter, this issue of Camera is regarded by collectors as a "Who’s Who" of the silver gelatin era. It successfully captures a moment in time when the "old guard" of modernism was still active, while simultaneously mourning the loss of the man who arguably did the most to institutionalize photography as a fine art.