Clive Scott
![]() |
Street Photography: From Brassai to Cartier-Bresson
2 editions
—
published
2007
—
|
|
![]() |
Shadows of Reality: A Catalogue of W.G. Sebald’s Photographic Materials
by |
|
![]() |
Spoken Image
3 editions
—
published
1999
—
|
|
![]() |
Translating Baudelaire
3 editions
—
published
2000
—
|
|
![]() |
Translating Rimbaud's Illuminations
4 editions
—
published
2006
—
|
|
![]() |
Translating the Perception of Text: Literary Translation and Phenomenology
3 editions
—
published
2012
—
|
|
![]() |
Literary Translation and the Rediscovery of Reading
5 editions
—
published
2012
—
|
|
![]() |
A Question of Syllables: Essays in Nineteenth-Century French Verse (Cambridge Studies in French, Series Number 14)
5 editions
—
published
1986
—
|
|
![]() |
The Work of Literary Translation
|
|
![]() |
Reading the Rhythm: The Poetics of French Free Verse 1910-1930
3 editions
—
published
1993
—
|
|
“A recurrent question about photography is how much self expression it allows the photographer. There are two standard positions, each corresponding to a different location oh photographic skill. The opposition is neatly summed up in Bioy Casares’s novel The Adventures of a Photographer in La Plata (1989). The hero Nicolasito Almanza declares: ‘I am convinced that all of photography depends on the moment we press the release […] I believe that you’re a photographer if you know exactly when to press the release.’ In making this declaration he is responding to the opinion expressed by Mr Gruter, owner of a photographic laboratory: ‘[…] sometimes I wonder if the true work of the photographer doesn’t begin in the dark room, amid the trays and the enlarger.”
― Spoken Image
― Spoken Image
Is this you? Let us know. If not, help out and invite Clive to Goodreads.