Book Description

The French Riviera was the place to be during the twenties and early thirties.Artists and writers from all over the world came to "invent" a new way of life.Their names were Scott and Zelda Fitzgerald, Gerald and Sara Murphy, Picasso, Man Ray, Picabia, Stravinsky, Coco Chanel, Cocteau, Edith Wharton, Diaghilev, Eileen Gray, Anna de Noailles, and Hemingway, to name a few.French Riviera is a photobiography of this happy time.It revives the now legendary story of these mythic personalities living in a world divided between a thirst for creation, the hunt for happiness, and the ominously approaching violence of World War II. Thanks to the extraordinary personal archives that are revealed in these pages for the first time, you will witness firsthand the lifestyles and the omnipresent artwork of some of the most important artists of the 20th century. ... Read more

Book Description

"Everything worth photographing is in California."—Edward Weston

A stunning visual history that celebrates 150 years of California's greatest photographers. From rare daguerreotypes of gold prospectors to Edward Weston's intimate portraiture, from glamour shots of Hollywood starlets to Dorothea Lange's arresting Dust Bowl imagery, Capturing Light offers a rich, extensive survey of the master photographers who have shaped the consciousness of a state—and a nation—for more than a century and a half. This lush book's 200 color plates reflect the pioneer spirit and avant-garde sensibility of California, including works from such greats as Ansel Adams, Imogen Cunningham, Edward S. Curtis, Oscar Maurer, and Carrie Mae Weems. Capturing Light also offers an illuminating series of essays by scholars who elucidate and in some cases prophesy how California's photographers have forever changed the medium of photography and affected a nation's conscience and aesthetic sensibility. Capturing Light is an essential work for any lover of photography and for those who seek the essence of California. An exhibition based on the book begins at the Oakland Museum in March 2001. 200 color plates. ... Read more

Book Description

Girlfriends share their deepest secrets, their cherished dreams, their most private thoughts. Of course, the best girlfriends also laugh out loud, shop till they drop, and just plain hang out, having fun.This irresistible new book pays tribute to our indispensable women friends, those gal pals who make life so much more interesting. With enchanting black-and-white photographs paired with poignant phrases,this lovely volume creates a memorable keepsake.The first in a new, four-title series, What Girlfriends Do perfectly captures the essence of one of life's most treasured relationships.Photographed by Laura Stern, whose work has been showcased in numerous books, magazines, and calendars, What Girlfriends Do is the consummate beginning to a series we know will launch a new avenue of success.

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Reviews (4)

What Girlfriends Do
I just received my copy of What Girlfriends Do yesterday.I was lucky enough to appear on one of the pages of the book with my girlfriend that I have known since the Sixth Grade.I had been very anxious to see the finalcopy, and to see Laura's other photographs.I feel lucky to be a part ofthis fine book.While flipping through the pages, each photograph remindsme of different stages in my life and the various girlfriends I have sharedspecial moments with throughout these stages.Laura did a wonderful job ofcapturing that feeling of friendship only women can understand.I like thesize of the book and will certainly buy more copies to give to myGirlfriends of all ages.

A sensitive and emotive group of photographs
This is a photographer who may well be the eye of a new generation.All you need do is see her images to learn that the computerized perfection of today's cameras means little compared to the emotion and joy she capturestime and again.

Classic photographs of a beautiful subject
The photographs in this book are absolutely beautiful.I absolutely love this book!While hinting of Cartier-Bresson and Sally Mann, this is distinctly the vision of Laura Straus.The wonder of childhood fantasy andpotential, the balance of teenager feelings, the depth of adult friendshipsare all artistically portrayed in this attractive book.A great gift forgirlfriends of all ages.

Excellent witty photos of women interacting-all ages.
Laura Straus's What Girlfriends Do combines wit, tenderness and good observation in photographs which giave a sense of the range and vitality of women's relationships today. The book is a perfect size for a gift forpeople who value the mix of fun and artistic sensibility. ... Read more

Reviews (5)

A useful book.
Although the book is a bit old, I think it does a reasonable job in explaining the difficulty of reconciling evolution with the fossil record. I don't have the original transcripts, but I don't think Sunderland really does have malacious intent when quoting the authorities.

For example, an earlier reviewer was concerned that Sunderland portrayed a distorted view of the supposed evolution of horses. However, if we look at the sentence before the quote, we find that Sunderland says these words: "He said that there are some people who are fed up with this exact point about "imaginary stories" that have been written about the nature of the history of life." He then proceeded to quote Dr. Eldrege on the matter of horse evolution, and how the story being told to the public is imaginary. Thus, no malacious intent is apparent- for Sunderland plainly tells the reader why he has cited the quote.

One would think a great deal of concern should be aroused by this type of false information being spread to the public. Imagine if creationists spread this type of false information in textbooks to millions and millions of students! But no, it is not really a concern that young students are being fed false information such as the horse series. However, it is apparently of great concern that Sunderland is not impressed by the "bushy" nature of the horse fossil record! He is accused of spreading false information merely because he debunks an age-old evolutionary myth about the nature of the horse fossil record! And, if indeed this "bushy" horse fossil record is one of the "best" evidences for evolution- then why isn't the "bushy" horse evolution in the textbooks?! I personally hope that the fossil horse "bush" is the best evidence around for evolution, in which case creationists needn't worry at all. It should be mentioned that the imaginary horse story is only one of many false, misleading, or fabricated icons of evolutionary theory available in the textbooks for young minds to consume. See "Icons of Evolution" for more information on similar falsehoods such as embryological recapitulation and the Miller-Urey experiments. That such falsehoods have been kept in the textbooks and even defended by evolutionary propagandists makes one fishy of the accusations these individuals hurl and Sunderland and others.

Overall, Sunderland does a good job exposing the true nature of the fossil record. And, as I've shown above, accusations of him misrepresenting the authorities should be taken with a large grain of salt.

Sunderland's Confusion
Luther Sunderland, a creationist, has written a book which purports to outline what he saw as profound problems with evolutionary theory, especially as revealed in the fossil record. Much of the book is based upon interviews with paleontologists (and one geologist) from leading museums in America and abroad. He also reviewed other sources, and the book is largely a compilation of these sources into five thematic chapters, with interpretation and commentary by Sunderland. The transcripts of the interviews with the scientists four are available at a nominal cost from the ERIC archives (Sunderland provides details in the book). In my opinion, everyone who reads this book should obtain a copy of the transcripts, but more on that later. Any page numbers mentioned refer to the original edition of the book.

It is difficult to convey just how bad a book this is (it seems that "zero stars" is not an option in this review system). The problems are so rampant that a comprehensive review would probably exceed the length of the book itself, but suffice to say that Sunderland has made at least one (and usually more) major error of fact, accuracy, comprehension and/or interpretation on almost every page. The mere fact of being a creationist should not be enough to prevent anyone from grasping the basics of science and evolutionary theory; however, it soon becomes clear that Sunderland appears to know very little about science in general, let alone paleontology or evolution, and as a result his characterizations of Darwinism, evolutionary theory, and the fossil record are a mishmash of misunderstandings, faulty logic, revisionism, and erroneous conclusions. Below is a very incomplete list of some difficulties:

--his version of the history of evolutionary thought is so revisionist it is barely recognizable
--evolution somehow depends upon the existence of "transitions" in the fossil record
--he continually equates punctuated equilibrium with the "hopeful monster" idea, a fundamental misunderstanding
--he calls the geological column "mythical" (something of a great surprise to generations of geologists, I'm sure)
--he dismisses population genetics outright, calling it "so-called", and barely comprehends the purpose of the Hardy-Weinberg equation

Sunderland's main premise, supposedly supported by the interview transcripts, is: The fossil record does not support evolution because no transitional forms exist, and evolutionary scientists themselves "know" this. And if this is "known", then evolution itself cannot possibly be regarded as "fact". Unfortunately, Sunderland's comprehension of basic science is so limited that he had no hope of understanding the answers to his questions--time and again he blatantly misunderstood them or misinterpreted the meaning into something that bore no resemblance to the original intent of the interviewee. There are many examples of this in the book, but perhaps the one that has become the most (in)famous is his exchange with Niles Eldredge about horse evolution, and the subsequent "conclusion" he came to. Briefly, horses and their precursors were an extremely successful and diverse group, and their evolutionary tree is, in reality, a flagrantly-branching bush of many separate but often contemporaneous lineages that flourished worldwide. However, the normal museum-style way of presenting this was to show a grossly oversimplified version of horse evolution as a linear trend of changing features, and Eldredge quite rightly lamented the use of this simplified and misrepresentative iconography, because it does not represent how horses actually evolved. Sunderland completely failed to understand that horses are indeed one of the best-documented examples of evolution around, but that it is the habit of oversimplifying this evolution as a simple "ladder" or chain that is bad, or "lamentable". There is a crucial, and not-all-that-subtle, difference here.

Now, I should make a distinction here between Sunderland's inevitable mistakes and misinterpretations that occur because of his essential cluelessness, and misrepresentation. Both of these exist in the book; the second is not as apparent as the first but is much more insidious, because, while suspected, it can only really be confirmed if one obtains the transcripts of the original interviews and compares them with the book. It becomes clear that (among other things) Sunderland omits critical portions of responses that would provide context, or adds words to responses that originally were not there (often without indicating that he has done so); he changes the question; and he invents responses that do not exist.

As one example of "changing the question", on page 69, he says "the author questioned Dr. Eldredge about the supposed conversion of scales into feathers..."; however, when one examines the transcript, one finds that he asked Eldredge no such question! We see, rather, that Sunderland had commented (not "asked") that "Birds start at the feather line. Aves are classified as creatures with feathers" (p. 26 ERIC document), and Eldredge merely expanded upon this comment. In fact, nowhere in the entire Eldredge interview is there any question about the origin of feathers.

In short, there appears to be so much egregious manipulation involved in compiling the book it is difficult to excuse Sunderland on the grounds of ignorance, except that he invites readers to obtain the transcripts and compare them to the book. Either he truly was so abysmally uninformed about science that he had no idea how much violence he did to the original context and meaning, or he did know and simply didn't care (or didn't think anyone would bother following up). But I urge any reader interested in the truth to do as he suggested: order the transcripts from the ERIC archives, and compare.
Sunderland does quote from other sources, but seeing just how badly he dealt with his interviews makes me mistrust anything he says about any other source. Sunderland's book is a fiasco, from first word to last.

A Unique Perspective On Evolution
There are many books critiquing Darwinism, but what sets this book apart is the fact that Sunderland interviews paleontologists who believe in evolution, yet admit that the "facts" presented to the public are often questionable. Warning: the reader should know that Sunderland was blasted by evolutionists after writing this book. They claimed that he had misquoted and misrepresented his sources. I suspect that in this case this is an example of trying to do damage control in the face of embarrassing admissions. You be the judge.

Editorial Review is nonsense
I haven't read all of the book yet, but enough to see that the main point of this book is not that the theory of evolution is based on "carefully constructed lies". Sunderland (the author) wasn't a cospiracy theorist, but rather seemed to think that, working from the assumption of the truth of evolution, scientists create unscientific explanations which 'prove' macro-evolution and how it creates new species, despite the explanations' inprovability and the facts that contradict them. But the book's main point is to discuss the admitted problems with all theories of macro-evolution. Sunderland does show that certain evidences for evolution are presented to the general public by textbook writers and museums, etc as fact, even when many evolutionists consider them false. It appears from the book that many scientist do not seem eager at all to discuss evidence against evolution or to refute evidence that is shown to be false before the general public. This seemingly comes from a desire not to give anti-evolutionary thought any credence and to prevent anyone from becoming uncertain in their belief in evolution, which the scientists think they know to be true, despite the non-scientific way they came to believe it. The Editorial Review says that the author thinks "there are more problems than solutions with the theory of natural selection." This book isn't all about just natural selection.

A very readable expose of the "trade secret" of paleontology
Most people assume fossils somehow prove the grand story of evolution. Would you believe Darwin believed the fossil record was his biggest problem? Sunderland interviewed five of the world's leading paleontologists, and the results of his interviews form the basis for this book. While evolutionary paleontologists assure the public that the fossil record shows evolution, behind the scenes they admit the evidence does not support molecules-to-man evolution at all. The lack of true transition forms (showing new features in development, as distinct from fully formed) is what Stephen J. Gould called the "trade secret of paleontology." This book shows just how discomforting a secret it is. ... Read more

Reviews (8)

a visual street photography book of new york city
the first
a visual street photography book of new york city
my winnogrand's work set the standard
this is a great coffee table book

The king
I recently took a class in street photography at New York's ICP and Winogrand's work is something I could never even hope to approach. Some of his images are startling, you feel like the crowd is STILL headed right at you and that you must somehow get out of the way. He was fearless in the street and this collection proves it.

Despite the stinky Duotones, I still love these photos
As far as I know, this is the only in-print book of Winogrand's photography available. For me, relatively young and new to photography, I am thankful for the opportunity to see some of his photos. They are a revelation. Even a cursory first glance through the book, I was struck at the complexity of the scenes photographed. These photos speak volumes, though I'm not sure what it is they say. In fact, the attraction of these photos lie in their mystery. Repeat viewings will reveal more nuances...so many layers emerge that interpretations will get lost in themselves. Well, that is TRUTH.

Regretfully, the printing quality of this book stinks. The duotone curve they used for this book is all messed up. Many photos end up looking like sepia prints rather than a black and white print. There are few pure, deep, dark blacks in the book. Instead you get this black-brown color which is really ugly and does a disservice to GW's work. True, Winogrand himself said "anyone who can print a photo can print my work" downplaying the importance of the printing process. And while the poor reproductions in this book does not take away from the strength of the photos, I still find it annoying and most of all...UGLY. All I can hope for is another book of Winogrand's work to be published. With all his millions of negatives, this is just the tip of the iceberg.

Not Bad For A Million Rolls of Film!
Gary Winogrand was the type of photographer who had a very itchy camera trigger finger. When he died he left behind around 10,000 rolls of undeveloped film. If it moved he photographed it. Did he shoot so many good pictures simply because he took such an unbelievably large number of them, i.e. if you take a million shots aren't you bound statistically to get at least a thousand good ones? Good question, yet GW is one of my favorite people. If you like street photography with insight and humor he is almost unbeatable. These are candid portraits that catch people gawking, staring, laughing, having fun, showing pain, and often being oblivious to everything around them. Gary was not shy; he thrust his camera right into people's faces, and caught them in off guard moments. A man crawls along a sidewalk unnoticed by a group of American Legionnaires. Another man walks nude through a crowd without attracting much attention at all. Another man walks through a crowd carrying an immense poster of the Beatles. Why is he doing this; where is he going? A man with a bandaged nose stares strangely at his female passenger as he drives along. Is he angry with her or is he perhaps lusting after her. You decide.

It takes you forever to get through this book as you sit and look at each picture for a long, long time. How revealing are the faces, the postures, and the gestures; each shot prompts you to weave a story around the captured event. Winogrand seems to be made up of equal portions of Elliott Erwitt, Henri Cartier-Bresson, Diane Arbus, and Andre Kertesz (if you are unfamiliar with any of these folks, and you like Winogrand, you had better check them out). The saddest thing is that almost all of Winogrand's books are out of print. This is a breathtaking collection of his work.

Very Real
This book is worth reading by every person loving cities, not just photograph-lovers. A book so real, you feel you are walking through a cith while flipping the pages! ... Read more

Book Description

Estelle Jussim is one of the most highly regarded and influential voices in photography and other media. Award-winning author of Slave to Beauty and the pioneering Visual Communication and the Graphic Arts, Jussim has charted new ground in the investigation of the meaning of images. This volume is the first compilation of her work.

Estelle Jussim writes, unconventionally, on the social impact of photography, refusing to subscribe to any narrow critical ideology. An art historian and a communications theorist, she incorporates postmodern, deconstructionist, and feminist viewpoints in her assessments of various photographers, movements, and institutions. Wide-ranging in interest, Jussim's writing is remarkably bold and controversial.

Divided into three sections-- "Visual Communication," "Genres," and "Bio-History"-- The Eternal Moment includes essays that assess how aspects of the medium such as early wood-engraving or the role of the museum affect communication in a visual culture; survey various photographic subjects such as the nude, the landscape, and the ethnocentric icon; and reveal the work of some of the greatest practitioners of the medium.

In "Visual Communication" Jussim explores the interplay between technology and aesthetics in photography, and probes the unique, powerful relationship of photographs to time. The essay "Quintessences: Edward Weston's Search for Meaning," examines the discrepancies between that artist's pronouncements and his photographs.

Included in "Genres" is "Propaganda and Persuasion," in which Jussim offers astute observations on how meaning is produced,transmitted, and interpreted . In "Looking at Literati" she focuses on Jill Krementz's ability to capture the spark of personality in her portraits of writers. "Starr Ockenga's Nudes" is an insightful analysis of the ways in which that photographer's work has personalized the traditionally formal, impersonal genre of the nude.

In "Bio-History" Jussim's explorations of the lives of such important photographers as Barbara Crane, Carl Chiarenza, and F. Holland Day are models of their kind; her long essay on Jerome Liebling reveals a deep empathy for his essential mysticism and humanism.

"Whether we know it or not, whether we like it or not, we have been attending the funeral rites of modernism for many decades."--Estelle Jussim from The Self-Reflexive Camera
... Read more

Book Description

Imagine being unable to return to your homeland for thirty-six years. What would you do if you finally got a chance to go back?In 1996, after travel restrictions between the United States and Cuba were relaxed, Cuban exile Tony Mendoza answered that question. Taking his cameras, notebooks, and an unquenchable curiosity, he returned for his first visit to Cuba since the summer of 1960, when he emigrated with his family at age eighteen. In this book he presents over eighty evocative photographs accompanied by a beautifully written text that mingles the voices of many Cubans with his own to offer a compelling portrait of a resilient people awaiting the inevitable passing of the socialist system that has failed them.His photographs and interviews bear striking witness to the hardships and inequalities that exist in this workers' "paradise," where the daily struggle to make ends meet on an average income of eight dollars a month has created a longing for change even in formerly ardent revolutionaries. At the same time, Cuba--Going Back is an eloquent record of a personal journey back in time and memory that will resonate with viewers and readers both within and beyond the Cuban American community. It belongs on the shelves of anyone who values excellent photography and well-crafted prose. ... Read more

Reviews (11)

"Going Back" with Tony Mendoza
This is a wonderful book--a visual and literary treat for all readers. The author returned to his native Cuba after a 30+ year absence, and the result is this fascinating book which perfectly balances photography, memoir, and political/social observation. I was previously familiar with Mendoza's acclaimed photography, which is stunning here, and happily discovered he's also a terrific writer. The text comprises a significant part of the book, and it could certainly stand on its own. Mendoza's voice is enormously engaging and appealing--he's astutely observant of small, telling details, and his stories are often hilarious, lusty, and always insightful. The country's complicated political situation is presented with remarkable restraint--he allows Castro to speak for himself, literally, with segments of his speeches interspersed throughout the narrative; fascinating even to readers with a passing knowledge of/interest in world politics. All in all the book triumphs the great spirit of the Cuban people--the author's included.

Wanting to Go Back
Like Tony I am a cuban american who left Cuba in the early 60s for political freedom to study in the States. I came from a successful middle class family and a history of political successes and upheaval. I have always wanted to go back to re-live my youth in Havana, Tarara y Santa Maria del Mar (like Tony in Varadero) where I spent the happiest time of my youth. I have known of the misery of our people because I kept in touch, however Tony has been able to portray that misery in his wonderful black and white pictures. His writtings and dialogues are very easy to read but with a real message for everyone to understand. This is a great book for those who will like an honest and unbias portray of the cuban situation today. Tony has let these people speak out their feelings (pro and against) for the world to judge. I envy Tony for having the opportunity to return. His book has made me very sad because we are limited in our ability to help them. I cried for the younger generation unable to better themselves. Only the beauty of our land and sea remains untouched. Someday our people will be free again to make their choices and Cuba will be a wonderful place to visit. I promised myself to be in the first plane to help rebuild it.

Truth, first hand
An excellent behind the scenes look at Cuba today. No better example of a failed yet still forced socialist state. This is not some itellectual dissection of the situation but a "person on the street" documentary. Must read for those who take democracy and free enterprise for granted and for those who even think Cuba is better now than in pre-revolution time.
As a Cuban born US citizen I applaude this book.

CUBA WOULD ALSO LIKE TO BE ABLE TO GO BACK AND SEE.
JAN. 12, 2001

I FOUND THIS BOOK VERY EASY TO READ. IT WAS AS IF I WAS READING PART OF MY STORY, MY LIFE. IT ANSWERED MANY QUESTIONS I HAVE HAD. IT ALSO ANSWERED THE WHY OF MANY FEELINGS I HAVE. THE LAST TIME I WAS IN CUBA WAS 1953, MUCH LONGER THAN HIM. I WOULD LOVE TO BE ABLE TO GO BACK AS HE DID. MY HUSBAND AND I WOULD LIKE TO SEE IF THIS YEAR WE CAN GO BACK. WE JUST ARE NOT SURE OF HOW SAFE IT WOULD BE. WE WOULD LIKE TO GO TO SANCTI SPIRITUS, LAS VILLA, VERY FAR FROM HAVANA. I FOUND IT TO BE GREAT READING. IT WAS TOLD IN A VERY CLEAR WAY. IT EXPLAINED MANY THINGS I DID NOT UNDERSTAND. THIS BOOK CAN BE READ BY CUBAN'S AND THOSE WHO ARE NOT CUBAN'S IT IS VERY INTERESTING FOR ALL. ALSO ONE CAN APPRECIATE ALL WE HAVE.

STILL WOULD OF LIKED MORE. I WOULD OF LIKED MORE PICTURES OF THINGS HE WROTE ABOUT. HIS SUMMER HOME, WOULD OF LIKED TO SEE OTHER PICTURES OF THE HOUSE. WOULD OF BEEN GREAT, FOR HIM TO HAVE BEEN ABLE TO MAKE HIS TRIP TO THE OTHER PROVINCES HAS HE HAD WANTED TO DO.

I ALSO WOULD LIKE TO KNOW IF THIS BOOK IS AVAILABLE IN SPANISH.

I WOULD LIKE TO THANK MR. MENDOZA FOR THIS BOOK. WISH HIM THE BEST, WILL BE LOOKING FOR OTHER WORK HE HAS DONE.

REDISCOVERING LONG LOST MEMORIES
I,too,like Mr. Mendoza, was forced to leave Havana, Cuba, as a child because of my familys' political beliefs towards Castro. I was a child of 9 in 1967, when my parents and I uprooted ourselves from our beloved land because we had been politically betrayed by someone that a whole generation felt was to be their "savior" from the dictatorial regime of Batista. In the last few years I have started to rediscover my roots. I found this book extremely educating as to what to expect to see there, if you plan to "go home for a visit". It has convinced me that I must go home again even though it won't be the same as I remember as a child. This an easy to read book, with compelling sepia tinted pictures of scenes and people Mr. Mendoza came across throuhgout his travels. I highly recommend this book. ... Read more

Book Description

Jaroslav Rossler (1902-1990) was one of the Czech avant-garde photographers of the first half of the twentieth century whose work has only recently become known outside Eastern Europe. Czech photography in the twenties and thirties produced radical modernist works that incorporated principles of abstract art and constructivism; Jaroslav Rossler was one of the most important and distinctive artists of the period. He became known for his fusing of different styles, bringing together elements of symbolism, pictorialism, expressionism, cubism, futurism, constructivism, new objectivity, and abstract art. His photographs often reduced images to elementary lines and shapes that seemed to form a new reality; he would photograph simple objects against a stark background of black and white, or use long exposures to picture hazy cones and spheres of light. From 1927 to 1935 he lived and worked in Paris, producing work influenced by constructivism and new objectivity. He used the photographic techniques and compositional approaches of the avant-garde, including photograms, large details, diagonal composition, photomontage, and double exposures, and experimented with color advertising photographs and still lifes produced with the carbro print process. After his return to Prague, he was relatively inactive until the late 1950s, when he reconnected with Czech artistic and photographic trends of that period, including informalism.

This book documents each stage of Rossler's career with a generous selection of duotone images, some of which have never been published before. The photographs are accompanied by texts by Vladimir Birgus, Jan Mlcoch, Robert Silverio, Karel Srp, and Matthew Witkovsky. ... Read more

Book Description

This volume, based on the 1989 Photography Symposium held at the J. Paul Getty Museum of Art, discusses the pioneers of the first decade of photography (many of them instrumental in the development of modernism in art). The contributors, including Andre James, Eugenia Janis, Nancy Keeler, John Szarkowski, Richard Benson, Larry Schaar, Beaumont Newhall, and Graham Smith also discuss early collectors of photography and early patenting processes. ... Read more

Reviews (1)

From a review by Taylor Holliday, The Wall Street Journal
"While some may take issue with aspects of Mr. Coleman's oeuvre of humanist criticism, none would deny that as this country's first and foremost photo critic he has made a singular contribution to the field, broadening both the definition and discussion of photography.

" A collection of his writings from 1968-1978 called Light Readings has long been a must-read for anyone serious about photography, and has now been reissued in an expanded second edition. . . . And for those up to the challenge, there is his latest book of essays, Depth of Field, in which he distills three decades of thought on the bigger questions, such as 'Where did photography come from?' and 'Where might we be heading with it at the end of this century?'"

--Taylor Holliday, The Wall Street Journal, December 4, 1998 ... Read more

Reviews (3)

Not helpful in the Least
Too amorphous and self-referential to be helpful. The author emphasizes extreme subjectivity instead of a more useful, systematic framework for reading photographic text.

There's no room for aesthetics here. Finn implies that the act of looking is so highly personal as to preclude the use of any criteria in evaluating art. Not only an intellectual dead-end, but also a justification for mediocrity. And, no offense to Mr. Finn, but his own work appears just that: amateurish compared to the included "masters."

Skip this one and check out "Criticizing Photographs: An Introduction to Understanding Images" by Terry Barrett.

Worst Photography Book Ever
Finn has nothing to say. This is a terrible book. In no way does the author provide any insight to analyzing the content of a photograph aiding the viewer to appreciate and understand the artist's work. I cannot believe the publisher allowed this material to be published.

How to Look At Photographs
David Finn touches on many key points with looking at photographs. He works with you in the book to try to create your own vision in looking at photographs. The book is very diverse, he pulls many peoples insights in this book which i enjoyed. As you read you find youself "seeing" not just looking...you grow as you read on. You will start understanding images as a form of art. Finn's information is far from boring..or dry( in which i was afraid of) The reading is very enjoyable. At the end you are places with a tool you use in your viewing of images which you can forever use and improve. ... Read more

Book Description

In this accessible and eloquent book-length essay, Urs Stahel, writer, curator and co-founder of Fotomuseum Winterthur, muses on the very nature of photography. The introduction outlines the unique tension defining photography--that it shows a segment of the world and simultaneously expresses a subject's particular view of this world. This tension is the source of the medium's unique creative potential and its complex relation to truth. Stahel provides a philosophical perspective on these issues by placing them in an epistemological, social, and historical context. Chapters on industrial photography, staged and conceptual photography, and the current crisis of photojournalism provide a panoramic overview of the possibilities and challenges of photography in all of its variety, from the casual snapshot to art and commercial photography. This profound and readable essay, one of the few daring enough to address the nature of photography, is destined to become a standard work, a must read for anyone interested in thinking about photography. [...] the answer to the question, "What is photography?" is actually quite simple at first sight. Photography is a device to record light, invented in the 19th century, that allows us to fix the perspective perception of the world in the manner constructed since the Renaissance. Optics and chemistry go hand in hand to create a very effective means of perception.~Despite the apparent simplicity of this first definition, there are few comparable cases in which a seemingly clearly and easily delimited field--here's the viewer, there's the world; here's the instrument, there's the image of the world--has created so much confusion.--Urs Stahel~Urs Stahel.

Paperback, 6.25 x 8.5 in./48 pgs / 11 color. ... Read more

Book Description

More than any other medium, photography creates and reinforces our ideals of gender and sexuality. From advertising and journalism to fashion and fine art, photographs show how "good bodies" and "bad bodies" look and behave.

The Passionate Camera assembles over fifty artists, scholars and critics to examine the relationship between photography and sexuality. The contributors consider many issues including the importance of reinterpreting historical works by known homosexual photographers, contemporary photography and sexual diversity, and the use and abuse of photographs of sexual subjects in current political campaigns and direct activism. The Passionate Camera features color and black and white illustrations of works by artists such as Ajamu, Catherine Opie, Lyle Ashton Harris, Yasumasa Morimura, John O'Reilly and Sunil Gupta. For the first time, these works have been gathered together in a fresh and accessible critical context, making The Passionate Camera the preeminent source on queer and sex-radical photography at the end of twentieth century.

Contributors: Deborah Bright, Kaucyila Brooke, Michael Anton Budd, David Deitcher, Linda Dittmar, Mark Alice Durant, Paul B. Franklin, Lyle Ashton Harris, Thomas Allen Harris, Carol Jacobsen, David Joselit, Liz Kotz, Catherine Lord, Richard Meyer, Jose Munoz, Mary Patten, Erica Rand, Mark A. Reid, Mysoon Rizk, James Small, Alisa Solomon, Elizabeth Stephens, and Thomas Waugh. ... Read more

Reviews (2)

Fabulous!
This is the perfect introduction to recent 'queer' photography - great essays, images, and more. So much I'd been looking for, all in one place. Smart, up-to-the moment, and diverse. So many great artists, some well-known and some not.

a wierd mix
There's some great stuff in this book, especially writing, so it's a pity that so much of the art is so studenty, weak, embarrassing. Self-indulgent to the max. There's a wierd conflict between a more academic, didactic photo/text program, and a more arty thing that leaks out the edges.

Good reads include R Meyer on Mapplethorpe, L Kotz on Nan Goldin, D Joselit on Mark Morrisroe, Thomas Waugh on physique photo, K Brooke on Berenice Abbott, and more. I wish there was more historical work: Florence Henri anyone?? And I wish the guys didn't get so into the sensational "d&a" stuff -- it's embarrassing, especially when the art is so clunky, clunky, clunky.

A wierd thought: many of the guys are academically-trained art historians, and almost none (?) of the women are. What does that say?

A lot of fat could have been trimmed, leaving a leaner, tighter, and cheaper book. Nonetheless, it's about the onlything out there, and I'm glad to see that Routledge is still alive and kicking. ... Read more

Reviews (2)

really good
Im really happy with this book for personal interest. But I had shown picture to my students-40~50age old wemen do flower art-, then they toke a deep sigh. This book is really good for everyone who interest in flowers, trees, art and design.

beauty and diversity
what a gloriously handsome book. the book shares its name with an eponymous show during the summer of 1997. i was in charleston and able to see this great, spread out exhibit. i was unsure how the book could capture the beauty of this show and was very surprised to see that the book enhanced my memories of the show. this book will make a great addition to the library or coffee table of anyone interested in contemporary art of the world. curator and author beardsley selected a diverse group of artists from all parts of the globe, and includes ironwork, site specific installations, video, and beautiful sculpture and painting. i was fortunate to have seen this exhibit, but if you missed this fabulous exhibit, get your hands on this book. i have bought several copies of this book and given them as gifts to family and friends. ... Read more

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