On Photography

On Photography

Description:
Susan Sontag has written four novels, The Benefactor, Death Kit, The Volcano Lover, and In America, which won the 2000 National Book Award for fiction; a collection of stories, I, etcetera; several plays, including Alice in Bed; and five books of essays, among them Against Interpretation, and Illness as Metaphor and AIDS and Its Metaphors. In 2001 she was awarded the Jerusalem Prize for the body of her work.

Customer Review:
Sontag's On Photography was published in 1977. It includes six named sections which each tackle a slightly different subject. The sections were published independently as magazine articles years before the monograph was assembled--and this is plainly evident (which is my main 'complaint' about the text). The book does not feel or read like a book. It reads like a collection of six disparate essays that have been lightly edited for packaging as a book. The sections work OK as essays, but they fail somewhat as a monograph. For example, Sontag makes numerous assertions about photography which are stated as fact but not supported by any documentary evidence. While this is acceptable in an essay, in a monograph of this sort one would expect more academic rigor. Finally, each essay was clearly intended as an atomic piece and their collection in the book results in a large amount of re-hash of basic ideas at the start of every new section, as well as a very choppy flow between sections.

The book is dated (which is entirely understandable--but true none-the-less). Sontag makes a single fleeting reference to digital photography as a quirky alternate method of capturing images. The text's discussion on the pervasive nature of cameras assumes the pinnacle of technology to be the Kodak Brownie. While this was arguably once true, photography has been so changed by digital capture and truly pervasive cameras (think cell phones, etc.) that many of the ideas of the text are only partially developed by today's standards. Additionally, Sontag's insistence that photography is the accidental but obvious champion of the Surrealist takeover of the arts is also dated. Sontag's insistence on using 'big' words and complicates sentences to describe simple things is also somewhat irritating; the tone is unmistakably that of 1970s/1980s critical academia.

Having said that, the book occupies a fairly unique niche in the history of thinking about photography. As other reviews have noted, the subject material is (ahem) well focused on the topic and delivers interesting insight into various aspects of photography. It is unfortunate that Sontag did not more-fully edit the source materials into a cohesive text and at least attempt to look forward to a time when technological changes in process and artistic developments in taste could perhaps be different than the norms of the late 1970s.

Customer Review:
I loved this book! It is so refreshing to read an unpretentious art criticism book. Her views are simple but breathtaking. The fact that one is reading essays about photography, written by someone who is not inside the art world, makes a huge a difference. She is not trying to create the new "it" artisitc concept, she's just speaking as a photography lover and admirer.

Customer Review:
First this book should not ne taken seriously, it's meant to be just being critical about photography thats all, secondly even though author is American she sounds like European middle age scholar minded critic. Third, she doesn't know about fine art photography in depth, she only criticises and about 20-30 very famous photographers she knows of, she didn't taken into account most (almost all) modern photographers. Most of the time she sounds like a 19. century European painter just lost his job because of rising of photography, but also wants to learn about new technique called photography with a great frustration and misses his old job a lot.. Sontags background about philosophy and sociology didn't help much for a healhty criticsm of photography..

Good try for a criticism of fine art photography, I think every serious fine art photographer should read this book, because it teaches the way how the fine art photography could be criticised in a wrong way, and this book does a damn good job.



The Photographer's Eye

The Photographer's Eye

Description:
The Photographer's Eye by John Szarkowski is a twentieth-century classic--an indispensable introduction to the visual language of photography. Based on a landmark exhibition at The Museum of Modern Art in 1964, and originally published in 1966, the book has long been out of print. It is now available again to a new generation of photographers and lovers of photography in this duotone printing that closely follows the original. Szarkowski's compact text eloquently complements skillfully selected and sequenced groupings of 172 photographs drawn from the entire history and range of the medium. Celebrated works by such masters as Cartier-Bresson, Evans, Steichen, Strand, and Weston are juxtaposed with vernacular documents and even amateur snapshots to analyze the fundamental challenges and opportunities that all photographers have faced. Szarkowski, the legendary curator who worked at the Museum from 1962 to 1991, has published many influential books. But none more radically and succinctly demonstrates why--as U.S. News & World Report put it in 1990--"whether Americans know it or not," his thinking about photography "has become our thinking about photography."


Customer Review:
this is a fascinating work with imaginative comments and works by some of the world's finest photographers.

Customer Review:
This is a book of photographs, with almost no text included. All of the text is presented in a six page introduction. The photographs range from the 1860's through the 1940's. Although the photographs are well-done and interesting, after reading the other reviews, I expected more. It was represented as an "indispensable introduction to the visual language of photography". I found it neither "indispensable" nor an adequate introduction. In fact, the review of the book by Mark Hillringhouse is far more interesting and edifying than the text in the actual book.

A much better reference for visual language and composition is Michael Freeman's book of the same title (link below).

The Photographer's Eye: Composition and Design for Better Digital Photos

Customer Review:
I bought this for my adult son who is an amateur photographer and he said it was a beautiful book that he read cover to cover and back again. He really raved about it.



Camera Lucida: Reflections on Photography

Camera Lucida: Reflections on Photography

Description:
This personal, wide-ranging, and contemplative volume--and the last book Barthes published--finds the author applying his influential perceptiveness and associative insight to the subject of photography. To this end, several black-and-white photos (by the likes of Avedon, Clifford, Hine, Mapplethorpe, Nadar, Van Der Zee, and so forth) are reprinted throughout the text.



Customer Review:
The only disparaging thing I can say about this book is that it caused me to purchase a better dictionary.

Customer Review:
I am somewhat stunned and dismayed by the negative reviews of this book. In fact, it has seem to elicit a sense of vitriol in some.

It is a brilliant book. How does one state simply such a complicated phenomenon. One doesn't. Those who rated this book so poorly biggest gripe was the complexity of the writing. Well - it is a complex topic. But, I think Barthes beautifully and deftly counters this complexity with his personal reflections. The book is both a critical assessment of photography and an emotional one as well, and this is what makes it so wonderful.

It is not wholly unexpected that most all the negative reviews of this book come late in the day - in the ever increasing time of sound-bites, instant pleasures and generally non-reflective immersion.

Customer Review:
Sorry to say, although Roland Barthes is an icon to some. This short book is self-indulgent, unintelligible, and therefore useless. The author is far more interested in himself than he is interested in the subject.



Rediscovering Jacob Riis: The Reformer, His Journalism, and His Photographs

Rediscovering Jacob Riis: The Reformer, His Journalism, and His Photographs

Description:
A provocative new illustrated history of the famed early chronicler of New York's immigrant poor, seen here as an opportunistic, camera-toting social reformer whose legacy lives on.

"I don't remember my mother or my aunts and uncles talking of their father as a photographer....In his letters—I have read most of them—he never mentions a camera."—J. Riis Owre (grandson of Jacob Riis)

More than ninety years after his death, Jacob Riis maintains a stubbornly persistent hold on the American imagination. Remembered as a pioneering photographer, he was the first to document the state of New York's slums, publicizing in haunting photographs the plight of the urban poor at the height of European immigration to the city. But Riis confessed to being "no good at all as a photographer" and in recent years has been disparaged for racist views and political opportunism.

In Rediscovering Jacob Riis, Bonnie Yochelson and Daniel Czitrom address the complex legacy of the pioneering social reformer. In a work of highly original scholarship, they reclaim Riis from the art camp, relocating him in the field of social and cultural history. Their provocative new book reveals Riis to be an inspired self-promoter who, although neither an original thinker nor a serious photographer, nevertheless framed the discussion of urban poverty in terms still relevant today.

Extensively illustrated with Riis's images, Rediscovering Jacob Riis is revisionist history at its best, as appealing to photographers, journalists, and social historians as it is to the general reader.



World History of Photography

World History of Photography

Description:
This sumptuously illustrated volume, hailed as an indispensable work on the fascinatingly expressive photographic medium, has been revised and expanded to cover images by contemporary photographers working in the twenty-first century.

Customer Review:
Well, I have to say that the author is an excellent researcher. Although she concentrates mainly on the creative and artistic sides of photography, the technical aspects are also presented, albeit briefly. I know this book is used as a textbook in several schools, and the problem I have is that it reads like one. While perusing this work, I couldn't help feeling that I was back in college, cramming for a final exam, rather than being taken on a journey through photographic history. In other words, the author's writing style is a tad dry. The facts are all there, and the pictures are wonderful, but she never seems to convey the emotion or feelings of the events. So, if you want something to study, this is it. If you want something to read and enjoy, I'd go elswhere.

Customer Review:
A lot of information concentrated in one book, just what I needed: A lot of facts with perfect examples of photos and other illustrations. Especially I liked that there are no author's opinions, or philosophical discussions in this book, just facts.

Customer Review:
This is the most informative and comprihensive book on the intruging history of photography. Anyone interested in the medium must own it. Easy to read and woderful to look at.



Magnum Stories

Magnum Stories

Description:
Imagine having 61 widely published photographers from around the world candidly discuss their careers and beliefs while showing you key images from their portfolios. That is the engaging concept of Magnum Stories. From Iran-born Abbas (whose career began with a series about the Vietcong in the 1970s) to Patrick Zachmann (who has documented the lives of Malian immigrants in his native France), each photographer is given ample space to talk about his or her work. Editor Chris Boot accompanies the interviews with a brief explanation of the cultural or political background of each suite of images. The one thing the interviewees have in common is past or current membership in Magnum, a photographers' cooperative founded in 1947 by Robert Capa, Henri Cartier-Bresson and David Seymour as a means of breaking free from the editorial tyranny of Life and other photo-based magazines. Boot's introduction deftly summarizes Magnum's history and the practicalities of postwar photography. The presence of vintage "Magnum stories" by such photographers as Erich Hartmann ("Our Daily Bread") and W. Eugene Smith ("Country Doctor") adds a welcome historical dimension. While the founding generation were mostly photo-journalists who organized their images into visual "stories," today's members often pursue topics of personal interest with photographs that do not relate a straightforward narrative. These topics range from outlaw biker gangs in the U.S. (Dennis Stock) to the mountain peoples of Laos, Guatemala and Georgia (John Vink), from the tacky seaside resort of New Brighton in Liverpool, England (Martin Parr) to Siberian prison camps (Carl De Keyzer). With nearly 800 illustrations, this distinctive, square-format book offers a kaleidoscopic survey of the many faces of documentary photography. #151;-Cathy Curtis

Customer Review:
This is a brilliant anthology of the "decisive moments" of the collective individuals who made up the legendary photo agency, Magnum.

Magnum Stories allows one to peer into the mind's eye of the most influential photojournalists of the 20th Century; part history book (as Rodger would have intended), part art book (as HCB would have intended), part photographic teaching book (as Capa would have intended), part autobiography(ies) book, and all at a price that Chim would have appreciated.

One is encouraged to read (simultaneously, if possible) Russell Miller's "Magnum - Fifty Years At The Front Line Of History" to complete the "Big Picture" of the individual Decisive Moments to fully understand the impact of the brilliant artifice constructed by Capa, Chim, HCB and Rodger in that noteworthy spring of 1947.

That said, one would have wished that the other significant actors in the House of Magnum, such as Ernest Haas, Sebastiao Salgado and Mary-Ellen Mark, would have been included in Magnum Stories. Otherwise - Bravo! Bravo! Bravo!



Customer Review:
This book is not your usual photo book -- it's real value and what makes it different is the stories inside. Inside, 61 Magnum photographers have written 2-page story about themselves, about why they take pictures, how they work etc. As the book also features photos and/or photo story from each photographer, they also share "inside" information about presented pictures and their background.

I truly recommend this book to all people who have serious interest in documentary photography and like reading/seeing interviews with photographers. If you just want to see pictures and not interested in personalities, then perhaps you should take a look at Magnum Degrees or other similar books.

Customer Review:
A very mixed bag of outstanding photographers, and hundreds of great pictures, many of which I have not seen anywhere else.



Criticizing Photographs

Criticizing Photographs

Description:
This brief text is designed to help both beginning and advanced students of photography better develop and articulate thoughtful criticism. Organized around the major activities of criticism (describing, interpreting, evaluating, and theorizing), Criticizing Photographs provides a clear framework and vocabulary for students' critical skill development. The fourth edition includes new black and white and color images, updated commentary, a completely revised chapter on theory that offers a broad discussion of digital images, and an expanded chapter eight on studio critiques and writing about photographs, plus examples of student writing and critique.

Customer Review:
This book was require for my college level digital photography course, but I felt that it did not do an adequate job of explaining the concepts it covers. The book is dull and merely lists other photographs as examples (they are not included in the text).

Customer Review:
this book is probably going to be one of the required books for photography in college but it's not a horrible book. not the most exciting, but definitely has enough to get one started with critical thinking about photography and such.

Customer Review:
I am sorry I bought this book. It was written by a college professor for students, readers that have no choice but to buy the book, and it reads that way. The author does not use his own vision and voice to criticize and to explain criticism but instead relies on a survey of methods used by critics. The writing was wooden, and the book had an overwhelming emphasis on staged, "arty" photographs. I could not bring myself to finish this book and have given it to my local library for their book sale.



The Cinematic (Documents of Contemporary Art)

The Cinematic (Documents of Contemporary Art)

Description:
The cinematic has been a springboard for the work of many influential artists, including Victor Burgin, Philip-Lorca diCorcia, Stan Douglas, Nan Goldin, Douglas Gordon, Cindy Sherman, and Jeff Wall, among others. Much recent cinema, meanwhile, is rich with references to contemporary photography. Video art has taken a photographic turn into pensive slowness; photography now has at its disposal the budgets and scale of cinema. This addition to Whitechapel's Documents of Contemporary Art series surveys the rich history of creative interaction between the moving and the still photograph, tracing their ever-changing relationship since early modernism.

Still photography--cinema's ghostly parent--was eclipsed by the medium of film, but also set free. The rise of cinema obliged photography to make a virtue of its own stillness. Film, on the other hand, envied the simplicity, the lightness, and the precision of photography. Russian Constructivist filmmakers considered avant-garde cinema as a sequence of graphic "shots"; their Bauhaus, Constructivist and Futurist photographer contemporaries assembled photographs into a form of cinema on the page. In response to the rise of popular cinema, Henri Cartier-Bresson exalted the "decisive moment" of the still photograph. In the 1950s, reportage photography began to explore the possibility of snatching filmic fragments. Since the 1960s, conceptual and postconceptual artists have explored the narrative enigmas of the found film still. The Cinematic assembles key writings by artists and theorists from the 1920s on--including László Moholy-Nagy, Pier Paolo Pasolini, Victor Burgin, Jeff Wall, and Catherine David--documenting the photography-film dialogue that has enriched both media.

Contributors:
Roland Barthes, Jean Baudrillard, Raymond Bellour, Anton Giulio Bragaglia, Victor Burgin, Henri Cartier-Bresson, Catherine David, Thierry de Duve, Gilles Deleuze, Philip-Lorca diCorcia, Philippe Dubois, Régis Durand, Sergei Eisenstein, Mike Figgis, Hollis Frampton, Susanne Gaensheimer, Nan Goldin, Chris Marker, Christian Metz, Laura Mulvey, László Moholy-Nagy, Beaumont Newhall, Uriel Orlow, Pier Paolo Pasolini, Constance Penley, Richard Prince, Steve Reich, Carlo Rim, Raul Ruiz, Susan Sontag, Blake Stimson, Michael Tarantino, AgnasVarda, Jeff Wall, Andy Warhol, and Peter Wollen.

Copublished with Whitechapel Art Gallery, London



The Photograph as Contemporary Art (World of Art)

The Photograph as Contemporary Art (World of Art)

Description:
The first accessible guide to the key artists and uses of photography in contemporary art since the mid-1980s.

An ideal introduction to this popular subject in contemporary culture, this highly readable book surveys work by more than 150 artist-photographers: Andreas Gursky, Nan Goldin, Philip-Lorca di Corcia, Richard Billingham, Jurgen Teller, Thomas Demand, Yinka Shonibare, Thomas Ruff, Jeff Wall, Wolfgang Tillmans, and many more.

More than 200 examples of the most important works are illustrated. Themed chapters consider subjects such as narrative and storytelling in art photography, photographing the everyday and the insignificant, the use of photography in conceptual art, and the cool, detached, objective aesthetic prevalent in current art photography. 210 illustrations, 100 in color.

Customer Review:
Excellent book for anyone interested in photography. Even more beneficial when you begin to get serious about your photographs.

Customer Review:
I am a photographer. I also live in New York City where I wander through art galleries displaying photographs with which I have a hard time coming to grips. Charlotte Cotton's book seemed to be aimed right at me.

What distinguishes a contemporary art photograph from other beautiful photographs is not always clear, but like Supreme Court Justice Stewart, I know it when I see it. From what the author suggests, it may be that contemporary art photography is less concerned with the form and more with the content, and that viewers are meant to be semiologists decoding what a photograph stands for.

Cotton begins her book with an introduction that includes a taxonomy of contemporary art photography, and to the extent that classifying an object helps us to know and understand it, the introduction alone justifies the book. Surprisingly, rather than look at style or subject matter, she organizes the book based upon the photographers' motivations and working practices. For example one of the classes is pictures of events that have been specifically organized to be photographed while another is pictures that aim to reproduce or refer back to something in the history of photography and other arts.

Each of the classes is allocated a chapter, and allocates a paragraph each to the work several artists, along with a representative photograph. Cotton explains how the photograph fits into the genre and explains something of the meaning of the work. Most of the photographs are just large enough to provide some appreciation of the work and the explanations are as concise as possible.

The book is meant to be a survey and so is more useful for providing a framework for understanding the overall categories than appreciating any individual picture. It should also be noted that the book does not cover a great deal of recent popular photography like the works of Annie Liebovitz or Art Wolfe. I expect that these photographers are seen as working in an older tradition and that they are not "post modern", again, whatever that means.

For the individual who is trying to get his arms around the direction and meaning of much of modern art photography, as well as for people who have dismissed contemporary art photography as unfathomable, this book will provide a good introduction, particularly since Cotton doesn't seem to be tied to the language of deconstruction, but rather speaks without jargon. Yet this is a field of such great variety that even if one read all of the hundreds of books listed by the author for further reading, one would have only scratched the surface.


Customer Review:
This book offers an understandable discussion of a complex subject. Recommended!



Robert Adams: Why People Photograph

Robert Adams: Why People Photograph

Description:
Photographs, selected essays, and reviews by Robert Adams

This critically acclaimed work brings us a new selection of poignant essays by master photographer Robert Adams. In this volume, Adams evinces his firm belief in the importance of art. Photographers "may or may not make a living by photography," he writes, "but they are alive by it."


Customer Review:
It couldn't be better said.

This book is pure enjoyment. What a wonderful command of the language from this former English professor! Insightful and reflective, this book is about so much more than the obvious. Though perhaps the title is not that far amiss...

My only "criticism" would regard the desire to see more of the photographs to which Adams refers or describes in detail. He gives us very few opportunities to understand what he says by looking at the picture itself.

Customer Review:
A wonderfully written book about the wonders of photography written by a wonderful writer with a wonderful eye and a wonderful brain.

Customer Review:
Most of the book doesn't really respond to the title, but Robert Adams writes in a very engaging manner and talks about issues that most photographers will find interesting. I found particularly interesting his discussion of famous photographers and their aesthetic philosophy. This is not a book for the casual photographer, but for the photographer who is interested in photography's background, or a collector who'd like to better understand the photographer as artist, this book is terrific.