NORMAN HALL wrote: The main story is a sort of allegory with a theme as old as the folklore of humanity. Nostalgically, it guys the props, the conventions and sentimentality of vintage "westerns" but the point it makes is the triumph of beauty - young and wholesome, innocent beauty.

Technically, the telling has more in common with a slick ballet sequence from a well directed film than with the conventional picture story. It flows and it tingles. It has continuity and superb presentation. It is made up of an agreeable mixture of fun and hyperbole, extravagance and restraint. Nothing is just plain statement, so that the reader has the pleasure of exercising his own powers of interpretation.

Spiritually, it is a song of praise for the loveliness of woman and it has a lyrical fragrance which harks back to Spenser or Ben Jonson. In all there is a pervading sense of fun.

Finally there is a classic quality about the way in which Sam Haskins exploits every subtle gradation of the gray scale with a mastery few can equal. This capacity of extracting just what he requires from the complete range of tone, this gift of selection, of emphasis or suppression, which comes from absolute control and above all his unerring sense of design, make Cowboy Kate one of the most impressive pieces of sustained photography I have seen.

It is certainly one of the few great photographic books of all time.