75. M3/M4 black paint cameras ‘Abbas’

The cameras of famous Magnum photographer ABBAS: (1) M3 black paint no. 1059867 (1962) with black rapid winding crank and Summicron 2/50 mm no. 2608733, (2) special M4 black paint no.1266561 (1970) with M3 viewfinder specially built for ABBAS. Only two more M4 with M3 viewfinder were built (for Henri Cartier-Bresson and Raymond Depardon). The camera comes with Summicron 2/35 mm no. 3605193, (3) M4 black paint no. 1246671 (1969) with Summicron 2/35 mm no. 2393818, (4) M4 black paint no. 1247639 (1969) with Elmarit 2.8/28 mm no. 2314960 and 28 mm viewfinder SLOOZ All cameras in heavy used and working condition. With four books: Iran: La Revolution Confisquee - edition 1980, Retornos a Oapan, edition 1986, Return to Mexico, edition 1992, Iran Diary, edition 2002 - all signed by the artist. Abbas, an Iranian transplanted to Paris, has dedicated his photographic work to the political and social coverage of the developing southern nations. Since 1970, his major works have been published in world magazines and includes wars and revolutions in Biafra, Bangladesh, Ulster, Vietnam, the Middle East, Chile, Cuba, and South Africa with an essay on apartheid. From 1978 to 1980, he photographed the revolution in Iran, and returned in 1997 after a 17 years voluntary exile. His book Iran Diary 1971-2002 (Autrement 2002) is a critical interpretation of its history, photographed and written as a personal diary. From 1983 to 1986, he travelled in Mexico, photographing the country as if he were writing a novel. An exhibition and a book, Return to Mexico, Journey beyond the Mask (W. W. Norton 1992), which includes his travel diaries, helped him define his aesthetics in photography. About his photography Abbas writes: “My photography is a reflection, which comes to life in action and leads to meditation. Spontaneity – the suspended moment – intervenes during action, in the viewfinder. A reflection on the subject precedes it. A meditation on finality follows it, and it is here, during this exalting and fragile moment, that the real photographic writing develops, sequencing the images. For this reason a writer’s spirit is necessary to this enterprise. Isn’t photography ‘writing with light’? But with the difference that while the writer possesses his word, the photographer is himself possessed by his photo, by the limit of the real which he must transcend so as not to become its prisoner.”

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