I thought this week, I'd write about a book of photographs rather than one of techniques.
In a way, I suppose you could argue that this is also a book of technique, it's just up to the reader to analyse the images and work out the techniques, or consider how the photograph is made and what makes it work.
The thing about books of photographs, of collections of images, is that there are a lot out there. Even beyond the usual Thames and Hudson releases, there are thousands of photographers creating self-published books via companies such as Lulu or Blurb. Everyone wants their fifteen minutes and this is how photographers try to earn their allocated time, with varying degrees of success. There will be hidden gems, there will be those who rise to the surface through viral campaigns and word-of-mouth. There will be those who are disappointed at not being the next Leibovitz or Rankin after they hit "publish" and wonder why they aren't rising to the top as they assume they ought to do. Book publishing can be a bit like X-Factor or ....Got Talent for photographers without the discerning opinion of Simon Cowell.
The second thing about photography books, is the cost. Considered occasionally as "coffee table books", the cost of printing, paper, and all the rest can make a book of high quality photography spiral into triple figures. As a student, those books are a bit out of my reach, they're the ones I put on request lists at the college library. When a book costs the same as an external hard drive, a good quality camera bag, or half-a-speedlight then priorities have to be made.
This brings me neatly to the book in question. First of all, it's one filled with some of the most famous - and inspiring - names in photography. Chances are, even people not hugely into photography would probably recognise some of the work in this book, even if they fleetingly caught sight of Sultan's name in the obituary column of their favourite newspaper or references to exhibitions. Secondly, its considerably cheap as a photo book, affordable to anyone and everyone.
The book presents over 150 examples of the work of the photographers, showing some of their most personal pieces in a public arena. Each photographer is different, but looking at them collectively there is a sense of the book being like a collection of short stories about the personal experiences and sights. There are cross-overs of technique, of style, and of the tone. The main theme here is personal narrative within photographs.
What I like most about this book, is how it draws you back to looking at it again and again. As a photographer, it offers many opportunities to observe and take in and consider who has done what before. It offers inspiration. Furthermore, it focuses solely on a small collective of photographers. I do enjoy looking at thick volumes featuring one or two samples from a directory of photographers, but sometimes that can be overwhelming. This book instead skims off the best from the top and gives a more detailed look at their work. In visual terms, it's like a workshop instead of a lecture.
It features the work of one of my personal favourite photographers, Phillip-Lorca DiCorcia, who rather oddly seems to be missing from so many lists of influential photographers. I've always loved how he lights his photographs, and this book includes Coney Island 1994 and Wellfleet 1992
which are two of my favourite images in the book.
The book also provides an introduction to each artist and offers more insight to the photographs you are about to consider.
Now whether you like this sort of book or not depends on what sort of photography you like, and what floats your boat. If you like seeing panoramas of incredible landscapes; carefully constructed images of the latest digital techniques; high fashion shoots in Vogue featuring women who bend in peculiar ways while looking slightly bored or grumpy... then this might not be for you. Most of the photographs are deliciously saturated with colour, they don't obey any particular rules but suggest a greater story that you have to complete yourself. If you like photographs that don't tell an obvious story, or maybe leave you thinking after you've looked at it about the narrative rather than "I wonder what lens she/he used", then this probably won't look out of place on your shelf. I would recommend you look at the photographers mentioned first however and decide what you think of some of their work. Personally, I love this sort of work, I love photographs that look like they could tell an elaborate story.
Available in the U.S. and the U.K, through the usual bookish outlets, including here at Waterstones.
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