Essays on Photography, Artmaking, and Personal Expression in the Digital Age by Brooks Jensen
And many more!
Reproduces sixty of the 500 interviews conducted by Brooks Jensen with many of today’s leading photographers. Its 426 pages include interviews with Bruce Barnbaum, Mitch Dobrowner, Josef Hoflehner, David Hurn, Michael Kenna, Howard Schatz, Linda Butler, Joan Myers and John Sexton.
“I’ve now (as of 2016) had the pleasure and honor to interview some 500 photographers for the pages of LensWork and as audio supplements to LensWork Extended. In every interview — without exception — there is at least one nugget of wisdom that makes the experience worth the time. In the art life, learning never stops — at least if we are lucky and pay attention. And the lessons we learn surely have some application for others. The 60 photographers included in this book prove that beyond any doubt.” From the Preface
60 Photographers On Photography and Their Creative Process
And many more!
Understanding Photobooks is a user-friendly guide to engaging with the photographic book— or, as it is widely known, the photobook. Despite its importance as a central medium in which many photographers showcase their work today, there is surprisingly little information on the mechanics of the photobook: what exactly it does and how it does it. Written for makers and artists, this book will help you develop a better understanding of the images, concept, sequence, design, and production of the photobook. With an awareness of the connections between these elements, you’ll be able to evaluate photobooks more clearly and easily, ultimately allowing for a deeper and more rewarding experience of the work.
Publisher: Focal Press
Long out of print, this seminal collection of essays and photographs are by artist, theorist and filmmaker, Allan Sekula. Originally published by the Nova Scotia College of Art and Design in 1984, in these essays and images Sekula sought to portray the inextricable bond between labour and material culture, drawing deeply on Marxist theory to argue passionately for a collective model of progress. Sekula taught at California Institute of Arts (CalArts) from 1985 until his death in 2013, and from that insider's position he critiqued photography and the circumstances of its production and consumption, exposing what the medium failed to represent – women, labourers, minorities and the institutional structures that reinforce cultural biases.
Size: 215 x 277 mm
In one of the most eloquent accounts of photography ever devised (originally published in 1982 and unavailable for many years), the writer John Berger and the photographer Jean Mohr set out to understand the fundamental nature of photography and how it makes its impact.
Asking a range of questions – What is a photograph? What do photographs mean? How can they be used? – they give their answers in terms of a photograph as 'a meeting place where the interests of the photographer, the photographed, the viewer and those who are using the photography are often contradictory'. From these beginnings they develop a theory of photography that has at its centre the form's essential ambiguity, arguing that photography is totally unlike a film and has nothing to do with reportage. Rather, it constitutes 'another way of telling'.
The unique combination of critic and photographer results in a work that moves beyond the landmarks established by Walter Benjamin, Roland Barthes and Susan Sontag to establish a new theory of photography.
This unique combination of words and pictures includes 230 photographs by Jean Mohr.
See here to browse the text and images (though note that this is copied from an earlier edition). Publisher: Bloomsbury
Size:198 x 153 mm
Overseas deliveries Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates.
For its 14th edition, Le Mois de la Photo à Montréal has produced a major reference book, edited by Joan Fontcuberta and illustrated with the works of the 29 artists exhibited in this international biennial of the contemporary image.
Leading experts in the field critically investigate the post-photographic condition, exploring communication and transmission of data in cyberspace, the boundaries of virtual reality, as well as the Internet as a new public space in which the proliferation of images reflect and shape the world.
This publication challenges us to re-examine what photography is today.
Publisher: Kerber Verlag
Size: 254 x 216 mm
Luigi Ghirri (1942–1992) started writing about photography from the moment he became a photographer: for his own publications, for Italian magazines and newspapers, as well as private reflections committed to paper, where his thoughts might settle and then depart in new directions.
Published for the first time in English, The Complete Essays, 1973–1991 comprises sixty-eight texts, mostly only one or two pages long. The exercise of writing always accompanied Ghirri’s photographic practice, and he approached the same subjects at the core of his photographs, only distilled through a different medium – themes of identity, time, memory, vision, representation, and sense of place. At the same time, as a voracious reader with a particular taste for the eclectic, Ghirri also reaches outwards from his own practice, as he considers the work of Jacques-Henri Lartigue, Walker Evans, William Eggleston, Robert Adams and John Gossage, weaving in references to musicians, writers and painters alike. As themes and ideas overlap, the compilation of texts create a sort of dialectic chamber of curiosities that includes Gulliver, Van Gogh’s yellow house, Aldo Rossi’s pale pink and blue architecture, Cézanne, Morandi’s studio, Mallarmé, the fireworks above Trani Cathedral and the multicoloured lights on Ponza, neo-realist films, Blade Runner, lots of music (Bob Dylan, Lucio Dalla, Prince, Jimi Hendrix, Miles Davis), Francis Bacon, Schopenhauer, McLuhan’s global village, Pessoa, poetry. Together, the essays offer an unintentional yet comprehensive treatise on the history and theory of photography, and above all, they constitute a special form of autobiography.
Born in Scandiano in 1942, Luigi Ghirri spent his working life in the Emilia Romagna region, where he produced one of the most open and layered bodies of work in the history of photography. He was published and exhibited extensively both in Italy and internationally and was at the height of his career at the time of his death in 1992. His first book, Kodachrome (1978), an avant-garde manifesto for the medium of photography and a landmark in his own remarkable oeuvre, was re-published by MACK in 2012.
Size: 140 x 228 mm
240 pages, 50 colour plates
Mary Ellen Mark died on May 25, 2015. Shortly before her death, she completed all the work on what would sadly become the last two books conceived and realized by her: Tiny: Streetwise Revisited and Mary Ellen Mark on the Portrait and the Moment as featured here. Both books were printed just before she died.
In The Photography Workshop Series, Aperture Foundation works with the world’s top photographers to distill their creative approaches, teachings, and insights on photography— offering the workshop experience in a book. Our goal is to inspire photographers of all levels who wish to improve their work, as well as readers interested in deepening their understanding of the art of photography. Each volume is introduced by a well-known student of the featured photographer.
In this book, Mary Ellen Mark—well-known for her pictures' emotional power, be they of people or animals—offers her insight on observing the world and capturing dramatic moments that reveal more than the reality at hand. Through words and pictures, she shares her own creative process and discusses a wide range of issues, from gaining the trust of the subject and taking pictures that are controlled but unforced, to organizing the frame so that every part contributes toward telling the story.
Size: 7 1/2 x 10"
128 pages, 70 duotone images
The status of photographs in the history of museum collections is a complex one. From its very beginnings the double capacity of photography - as a tool for making a visual record on the one hand and an aesthetic form in its own right on the other - has created tensions about its place in the hierarchy of museum objects. While major collections of 'art' photography have grown in status and visibility, photographs not designated 'art' are often invisible in museums. Yet almost every museum has photographs as part of its ecosystem, gathered as information, corroboration or documentation, shaping the understanding of other classes of objects, and many of these collections remain uncatalogued and their significance unrecognised.
This volume presents a series of case studies on the historical collecting and usage of photographs in museums. Using critically informed empirical investigation, it explores substantive and historiographical questions such as what is the historical patterning in the way photographs have been produced, collected and retained by museums? How do categories of the aesthetic and evidential shape the history of collecting photographs? What has been the work of photographs in museums? What does an understanding of photograph collections add to our understanding of collections history more broadly? What are the methodological demands of research on photograph collections?
The case studies cover a wide range of museums and collection types, from art galleries to maritime museums, national collections to local history museums, and international perspectives including Cuba, France, Germany, New Zealand, South Africa and the UK. Together they offer a fascinating insight into both the history of collections and collecting, and into the practices and poetics of archives across a range of disciplines, including the history of science, museum studies, archaeology and anthropology.
Publisher: Bloomsbury Academic
Size: 234 x 156 mm
304 pages, 20 colour and 52 black & white illustrations
Overseas deliveries Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates.
Robert Hirsch’s Exploring Color Photography is the thinking photographer’s guide to color imagemaking. Now in its sixth edition, this pioneering text clearly and concisely instructs students and intermediate photographers in the fundamental aesthetic and technical building blocks needed to create thought-provoking digital and analog color photographs. Taking both a conceptual and pragmatic approach, the book avoids getting bogged down in complex, ever-changing technological matters, allowing it to stay fresh and engaging.
Known as the Bible of Color Photography, its stimulating assignments encourage students to be adventurous and to take responsibility for learning and working independently. The emphasis on design and postmodern theoretical concepts stresses the thought process behind the creation of intriguing images. It’s extensive and inspiring collection of images and accompanying captions allow makers to provide insight into how photographic methodology was utilized to visualize and communicate their objectives.
The text continues to deliver inspiring leadership in the field of color photography with the latest accurate information, ideas, commentary, history, a diverse collection of contemporary images, and expanded cellphone photography coverage.
A "Problem Solving and Writing" chapter offers methods and exercises that help one learn to be a visual problem solver and to discuss and write succinctly about the concepts at the foundation of one’s work.
Exploringcolorphotography.com, the companion website, has been revamped and updated to feature more student and teacher resources, including a new web-based timeline: As It Happened: A Chronological History of Color Photography.
Publisher: Focal Press
The photographic community is rife with talented and creative practitioners and artists. But making great photographs does not always translate into an ability to teach effectively. This new edition of Teaching Photography approaches photographic education from a point of view that stresses the how and why of the education. It includes the resources that will inspire new and seasoned teachers to help students expand their technical and aesthetic abilities and techniques, as well as their visual literacy and the way photography fits into the wider world. Fully updated to include the online/hybrid classroom environment, collaborative learning, rubrics, and using digital technology, plus techniques for inspiring conversations and critiques.
Publisher: Focal Press
Since 2008, Rémi Coignet has pursued engagements with those artists that inspire him, and for whom the photobook is an essential form in their work. In this book, a selection of more than 20 photographers, publishers and curators reread their respective work, and reveal their intentions in the process. It is Coignet’s hope that from these interviews a geography of contemporary photography will emerge. With photobooks and the series that artists tend to conceive as a foundation to conversation, he approaches Irène Attinger, Lewis Baltz, JH Engström, Ethan Levitas, Daido Moriyama, Lesley A. Martin, Anders Petersen, Paul Graham, Raphaël Dallaporta and many others.
Publisher: Idea Books
Size: 130 x 200 mm
246 pages, no illustrations
Size: 270 x 210 mm
192 pages, 200 illustrations
A deeper look at 120 selected photographs published in LensWork and LensWork Extended
Brooks Jensen’s in-depth commentaries are not critiques, but instead discuss aspects of photography through image content, context, and composition. Looking at Images is a study aid — an engaging look at images as a platform to think about photography and the creative process. The intent is to provide photographers with tools to help them think about their own creative work. For the first time, these commentaries are available in book form!
Includes color images as well as black-and-white!
Size: 9 x 8”
In times when cameras are ubiquitous and the general public is experimenting with the narrative possibilities of photography more than ever before, a survey of the current status and potential of the photobook is highly relevant. Not only does the photobook constitute an alternative means of display to gallery exhibitions, the book format also challenges photography’s instantaneousness, and allows for an exploration of the photographic language. Books have been seminal in the distribution of avant-garde conceptual photography, as well as social documentary and political statements. But what is the status of the photobook today? Is it primarily a mainstream medium, a collector’s item, or a platform for artistic experiments? Imprint is a collection of essays that delve into current practices and address the phenomenological, technological, and aesthetical possibilities for communicating through photobooks, both printed and digital.
Publisher: Art and Theory Publishing
224 pages, 60 illustrations
The Genius of Photography sets out to explore – through some of the key events, personalities and images that have marked the development of the medium – what the essence of the part-art, part-science is. Six short chapters set the evolution of photography in its social context, but at the heart of the book is a quest to understand what makes a truly great photograph. And the twenty or so iconic images chosen to illustrate each chapter are examined and explained in essays that place them within the many unfolding stories of photography while illuminating the underlying issues the book addresses. Can we ‘believe’ what a photograph shows us? Why is a photograph more than the sum of its subject-matter? How does the photographer deal with history? Why is photography the melancholy art?
Provocative and enlightening by turns, Gerry Badger’s critical perspective and keen aesthetic sense will make this a landmark book for anyone who wants to know more about one of the most important artforms of the twenty-first century. The Genius of Photography was originally published to tie-in with a BBC series, produced by Wall to Wall Media'.
Size: 225 x 290 mm
256 pages, over 120 illustrations
This book is the first English translation of a renowned collection of essays by Joan Fontcuberta, in which he considers the technological shift that photography has undergone in recent years. The medium finds itself torn between loss and hope, between the disappearance of the silver gelatin photograph and the possibilities of the digital medium. Fontcuberta uses the motif of Pandora’s box to conceptualise the capricious nature of photography, its fickle relationship to truth – employing the Greek myth concerning a large jar containing myriad forms of human unhappiness, or blessings, depending on the version you read. As Pandora’s camera, digital technology spells calamity to some and liberation to others; it is blamed for irretrievably discrediting veracity, but at the same time it introduces a new degree of truth.
In his signature ironic style and playful tone, Fontcuberta examines the new principles that have arisen within the digital ecosystem, in jocular essays such as ‘I Knew the Spice Girls’ or 'The Mystery of the Missing Nipple'. His critical reflections and poetic evocations are inspired by the hope that still remains in the notion of a postmodern Pandora’s camera – one that might not only describe our environment, but also bring transparency to it.
Publisher: Mack Books
Size: 150 x 228 mm
The Screendump project is an ongoing investigation and exploration of photography in the virtual world. In Screendump #1 (2011) the use of Google Street View was examined as a source of material for artists. In Screendump #2, the authors continue their exploration of the virtual photography with a closer look on the appropriation of photos found online. The publication shows the work of artists that run off with footage from amateurs.
The overwhelming amount of online pictures changes the way we look at photography, the value we assign to photos and the role they occupy in our existence. Due to the arrival of smartphones the act of photographing has become a evident part of our daily lives. Photography is no longer the exclusive domain of journalists, artists and specialists: photography belongs to everyone.
Screendump #2 contains works by Willem Popelier, Corinne Vionnet, Peter Mann, Penelope Umbrico and Joachim Schmid.
20 x 27 cm | 64 p. | paperback | ENG/NL | € 20
text: Suzan Geldhoff & Karin Krijgsman
design: Rob van Hoesel
Overseas deliveries Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates
This major new survey of contemporary photography considers the work of 80–100 photographers through eleven thematic chapters on subjects such as street photography, portraiture, landscape photography and documentary. It traces the development of photography as an art form in each of these genres individually and also looks at the ties and links between them. What is revealed is a complex story with numerous tangents. Mark Durden's narrative, combined with rich illustrative content and an easily accessible design, guides a clear path through this story, showcasing the work of great individual photographers while also being able to place this into the larger narrative of the medium's development.
Size: 290 x 250 mm
464 pages, 500 illustrations/p>
At this transitional moment in the field of photography, how should we consider what is to come for the medium? Can its past and present practitioners help guide us, both as creators and as observers? David Levi Strauss—eminent author, critic, and teacher—rises to the challenge of these questions and more in Words Not Spent Today Buy Smaller Images Tomorrow: Essays on the Past and Future of Photographs.
In the course of twenty-five essays, some of which appear for the first time in this volume, Strauss discusses the work of artists who provoke us with revealing, clear-eyed investigations of the ostensibly patent world in front of us, and others who transport us to new realms, poetic and unreal—creative minds ranging from Frederick Sommer, Helen Levitt, Daido Moriyama, and Joseph Beuys to contemporary photographers Sally Mann, James Nachtwey, Susan Meiselas, Tim Davis, and many others. Also considered are the groundbreaking theoretical writings of Susan Sontag and Jean-Luc Nancy, the films of Chris Marker and Stan Brakhage, and issues and events that have irrevocably altered the way we consider the medium of photography and how it communicates: 9/11, Abu Ghraib, the death of Osama bin Laden, the Arab Spring, and Occupy Wall Street.
Words Not Spent Today is an incisive exploration of photography’s changing role as a tool of evidence and conscience as we move forward into—can we say it?—a post-photographic era.
Size: 6 x 8 1/2"
192 pages, 25 color and black-and-white images/p>