So The Story Goes, photographs by Tina Barney, Phillip-Lorca DiCorcia, Nan Goldin, Sally Mann, Larry Sultan - Katherine A. Bussard

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.

Skin: The Complete Guide to Digitally Lighting, Photographing, and Retouching Faces and Bodies - Lee Varis

I thought one of the things I might do, is write a bit about photography related books. Partly because if I'm not spending my money on kit, I'm spending it on books.

While the internet is a great place to find information, its harder for me to snuggle down with, plus I usually have a better idea where a technique is in a book as opposed to the world wide web.

I thought therefore, I might write a bit here on this ol' blog about books I've found useful. Also, I got my latest order delivered today, and I'm eager to share details with you.

The book I'm going to write about today is called Skin: The Complete Guide to Digitally Lighting, Photographing and Retouching Faces and Bodies, by Lee Varis. Now, despite only having it today, the reason I know I can write about it is because I've borrowed it from the college library (numerous times) and decided to invest and buy my own copy.

Rather than being a textbook, I found this a good book to dip and out of. It starts with the usual information about how to make the best out of your computer and digital camera, in terms of calibration, workflow, colour management, and all those things that are very important but not as exciting. The reason for this, is to help you get the most out of your software and kit, and to make sure that what you see on screen is the same thing you get when you print off your final image. There is nothing worse, afterall, than getting a print back only to find it's a little too warm or cool in temperature, or lighter or darker than you thought it looked on screen. It also comes with a CD, which includes tutorials and sample pictures.

Then we get stuck into the interesting things. Varis has a range of photographs with diagrams to show how the lighting effects were achieved, from simple reflectors, to intricate lighting sets for what looks like a Lara Croft emerging from the water shot. It's extremely well illustrated with photographs of more complex sets from different angles, and includes things like Rembrandt lighting effects - something that seems to be very much in fashion now.

The book then moves on to discussing how to get the optimal colour of skin tone and how to work that in Photoshop. Then we move on to more step-by-step how to pieces. This includes getting a great black and white photo, without just hitting the greyscale button. It shows you how to enhance and make images pop out and add a bit of glow to the picture. There's also information about toning. Most people will be familiar with sepia toning, and there's a piece which explains all of that, but also how to make it look good rather than mobile-phone-cheesy.

Then we get to the bit I really wanted - retouching. Having experimented a lot with retouching, I'm always interested in finding techniques that are more professional and easier. There's the before-after shots, and this chapter deals with reducing the visibility of all those things we see first in the mirror: blotchy skin; deep-set wrinkles (courtesy of Andie Macdowell), and the favourite of women's glossy mags - how to slim people down. The chapter also considers how retouching should be modified to different people - for example, while my 80 year old grandmother might appreciate me giving her skin like a 20 year old, it probably won't look right. So Varis has included examples where techniques are used a little more sparingly.

The next chapter is probably one I'd like to avoid, but I'm sure there will be some trigger-happy photoshoppers who'll love the methods he's included. These come under the title of "special effects" - such as soft focus, wacky colours, and grain effects. If I'm honest, I think this is a chapter that in a few years from now will date the book. I've looked through books in college, from the eighties, when special effects were managed in the darkroom, and they were very much of the time. The truth is, a lot of "special effects" used today (particularly on Flickr, complete usually with what my tutor refers to as 80's Ferrari fonts with people's names on them proudly proclaiming themselves as the artist) will look horrible and dated. The only difference being, that in five or ten years time, unlike the pre-digital era, most of these images will disappear when people realise how cheesy they are and delete them. That in itself is a bit of a shame, as we really do need these things to mark shifts in trends in photography, even if they do make me cringe even now.

The next chapter focuses on printing and preparing for print. This is one of those chapters that you either know already; think you know already but probably don't; or you don't know and you don't care about, although really you should. It's all about final tweaks, and avoiding common problems such as over sharpening and getting nasty halo effects. It shows you how to do interesting borders, if you want your picture to look a little rough round the edges.

The final chapter basically summarises what's been discussed and also gives information about what's included in the accompanying CD.

Overall, I do like this book a lot - it's probably one of the most useful technique books I've bought particularly given the number of times I renewed my loan of the library copy. The only downside I would say is that the photos do have a noughties cheesiness about them and wouldn't look out of place in a picture library. But then, considering the target market isn't a specific group of people involved in photography but a wide demographic of photographers - whether pro, student, enthusiast or amateur, they aren't really out of place. I don't think all the lessons will apply to everyone, but this it is extremely comprehensive without being dry or boring, and the information is relevant to the current trends in photography.

Having read the reviews on Amazon, I was quite interested in the mix of responses, particularly the more negative reviews. In my opinion, if you really want to know more and become an expert in retouching and skin tones, your best bet would be to enroll in an advanced Adobe Photoshop course at your local college or university.

Definitely one for the bookshelf, and if you don't feel like supporting your local economy and buying it from your local bookshop, then you can get a heavily discounted version on Amazon.