What do you think?
Rate this book
The Command to Look: A Master Photographer's Method for Controlling the Human Gaze
The Command to Look is considered one of Mortensen’s most momentous and rare books. Until now, copies on the antiquarian book circuit sold for many hundreds of dollars. It is a crucial book for understanding both Mortensen’s philosophy and his use of psychology in the making of his pictures. To illustrate the text Mortensen includes an amazing gallery of his best-known and most challenging images with explanations, by him, of what makes those photographs so compelling.
The reprint of The Command to Lookalso contains two new major essays that assess the significance and impact of the original book. An introduction by Mortensen biographer Larry Lytle explores Mortensen’s use of Jungian psychology and also discusses new advances in neural psychology that confirm Mortensen’s methods of controlling the viewer’s eye. The second essay, by historian Michael Moynihan (author of Lords of Chaos), details a strange and unexpected reception of the book: how this small volume on photographic methods played a role in the creation of the modern Church of Satan and Anton LaVey’s theories about Satanic Magic.
236 pages, Paperback
First published October 20, 2014
31 people are currently reading
450 people want to read
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 13 of 13 reviews
March 25, 2015
Originally published in 1937 and out of print since that time. The main body of the book contains fifty-five black-and-white prints which contain Mortensen’s title and a short commentary on the facing page.
For each photograph the author analyzes elements as SENTIMENTAL, SEX, MOVEMENT, HINDRANCE, DOMINANT MASS and S-CURVE. "The Command to Look" is considered one of Mortensen's most momentous and rare books. Until now, copies in the antiquarian book market sold for many hundreds of dollars.
I must warn potential buyers that this is a small book (about 5" x 7") and not the gorgeous "American Grotesque: The Life and Art of William Mortensen". A fair amount of the photographs are repeated, however this smaller book has more interesting comments from Mortensen.
For each photograph the author analyzes elements as SENTIMENTAL, SEX, MOVEMENT, HINDRANCE, DOMINANT MASS and S-CURVE. "The Command to Look" is considered one of Mortensen's most momentous and rare books. Until now, copies in the antiquarian book market sold for many hundreds of dollars.
I must warn potential buyers that this is a small book (about 5" x 7") and not the gorgeous "American Grotesque: The Life and Art of William Mortensen". A fair amount of the photographs are repeated, however this smaller book has more interesting comments from Mortensen.
November 27, 2019
This guy’s photos are INSANE, super dark. “American grotesque” indeed. I was hoping it would be a nicer art book, but it’s a paperback guide for photographers. Still cool to see these pictures.
Read
September 7, 2015From Larry Lytle's introduction, pp. 20-21:
THE COMMAND TO LOOK imparts no technical information whatsoever. It is best seen as a treatise on the use of psychology and visual perception to construct a picture. Early in the book, Mortensen instructs the reader that 'any picture that "goes places" does so by following a definite psychological formula.' The 'formula for picture success' which he then explicates is actually a primer on how to use the brain's hardwired receptors to manipulate or control the viewer's interest in and reaction to a photograph.
"Although he never specifically states which branch (or branches) of psychology provided the basis for his claims, Mortensen seems to have been influenced by Carl Jung's theories concerning the collective unconscious and archetypes. Mortensen conceives this in a broader category, identifying it with an inborn and subliminal response to fear stimuli in all humans."
introduction cont., pp. 24-25:
"Mortensen's theories in THE COMMAND TO LOOK also foreshadow certain aspects of postmodern philosophy. His ideas about how one connects to images through emotion, and how Impact can be used to create a climactic point in the composition, parallel those of philosopher Roland Barthes. In his book CAMERA LUCIDA, Barthes cryptically discusses his encounters with photographs that contained what he calls the STADIUM (emotional connection, an ability to speak to the viewer) and the PUNCTUM (some detectable or indescribable point that catches the viewer's attention). For Barthes, the interaction between the 'spectator' (viewer) and the photograph takes on a primary importance, as it does with Mortensen.
"Last but not least, Mortensen's theories in THE COMMAND TO LOOK foreshadow the use of subliminal techniques in film and advertising that gained precedence in the latter half of the twentieth century. He thought of his system of Impact and Subjective Interest as a way to manipulate and entice the viewer into a consumptive relationship with his photographs."
Mortensen on artistic motivation, pp. 41-42:
"Why does an artist paint pictures, write symphonies, carve statues, tell stories? Is it because he finds joy and spiritual release in the mere doing of these things? Probably; but this is not the whole story. Is it because he makes his living after this fashion? No doubt; but there is still more to it than this.
"Here is the third reason. It is a very significant reason, though it is generally disregarded. The artist persists in being an artist because he revels in the feeling that he may affect or influence people by his work. He does not demand approbation, but he does demand NOTICE AND RESPONSE. The thought that he may through his work influence people and strike past their defenses to their secret emotions gives him a gratifying sense of power.
"The Romantics conceived of the artist living in an ivory tower apart from men and affairs. It is barely possible that an artist could live and create in such sanitary isolation, but in order to get his human recompense for his labors, he must descend to the plane of the marketplace and note and rejoice in the effects of his works on other men. Nor is it enough for him to have his friends dutifully say 'Ah!' He wants to have evidence of the effect of his works on the large, personally indifferent public. It is a matter of less importance to him whether the public is pleased, amused or angered at his works; but SOME sort of reaction he must have, and on this his ego nourishes itself.
"....
"The truth is that there is a great deal of the showman in every artist who is worth his salt. As such, he posts lurid signs, he beats on a gong, he yells himself hoarse - anything to halt the passing crowd and lure them inside his tent. Of course, if he is a wise showman as well as an energetic one, he will have something worthwhile to offer the crowd when he has gotten them inside..."
THE COMMAND TO LOOK imparts no technical information whatsoever. It is best seen as a treatise on the use of psychology and visual perception to construct a picture. Early in the book, Mortensen instructs the reader that 'any picture that "goes places" does so by following a definite psychological formula.' The 'formula for picture success' which he then explicates is actually a primer on how to use the brain's hardwired receptors to manipulate or control the viewer's interest in and reaction to a photograph.
"Although he never specifically states which branch (or branches) of psychology provided the basis for his claims, Mortensen seems to have been influenced by Carl Jung's theories concerning the collective unconscious and archetypes. Mortensen conceives this in a broader category, identifying it with an inborn and subliminal response to fear stimuli in all humans."
introduction cont., pp. 24-25:
"Mortensen's theories in THE COMMAND TO LOOK also foreshadow certain aspects of postmodern philosophy. His ideas about how one connects to images through emotion, and how Impact can be used to create a climactic point in the composition, parallel those of philosopher Roland Barthes. In his book CAMERA LUCIDA, Barthes cryptically discusses his encounters with photographs that contained what he calls the STADIUM (emotional connection, an ability to speak to the viewer) and the PUNCTUM (some detectable or indescribable point that catches the viewer's attention). For Barthes, the interaction between the 'spectator' (viewer) and the photograph takes on a primary importance, as it does with Mortensen.
"Last but not least, Mortensen's theories in THE COMMAND TO LOOK foreshadow the use of subliminal techniques in film and advertising that gained precedence in the latter half of the twentieth century. He thought of his system of Impact and Subjective Interest as a way to manipulate and entice the viewer into a consumptive relationship with his photographs."
Mortensen on artistic motivation, pp. 41-42:
"Why does an artist paint pictures, write symphonies, carve statues, tell stories? Is it because he finds joy and spiritual release in the mere doing of these things? Probably; but this is not the whole story. Is it because he makes his living after this fashion? No doubt; but there is still more to it than this.
"Here is the third reason. It is a very significant reason, though it is generally disregarded. The artist persists in being an artist because he revels in the feeling that he may affect or influence people by his work. He does not demand approbation, but he does demand NOTICE AND RESPONSE. The thought that he may through his work influence people and strike past their defenses to their secret emotions gives him a gratifying sense of power.
"The Romantics conceived of the artist living in an ivory tower apart from men and affairs. It is barely possible that an artist could live and create in such sanitary isolation, but in order to get his human recompense for his labors, he must descend to the plane of the marketplace and note and rejoice in the effects of his works on other men. Nor is it enough for him to have his friends dutifully say 'Ah!' He wants to have evidence of the effect of his works on the large, personally indifferent public. It is a matter of less importance to him whether the public is pleased, amused or angered at his works; but SOME sort of reaction he must have, and on this his ego nourishes itself.
"....
"The truth is that there is a great deal of the showman in every artist who is worth his salt. As such, he posts lurid signs, he beats on a gong, he yells himself hoarse - anything to halt the passing crowd and lure them inside his tent. Of course, if he is a wise showman as well as an energetic one, he will have something worthwhile to offer the crowd when he has gotten them inside..."
November 16, 2014
THE COMMAND TO LOOK by William Mortensen has been, up until now, a rather hard book to find. It is a master photographer’s guide in not just taking photographs but in how to produce art. What truly sets this work apart from so many others is the philosophy inherent in Mr. Mortensen’s work.
As you might discern from the title, this book guides the person behind the camera in how to design your photograph so as to make the viewer follow your directions for eye movement when viewing the end result. This is not as easy as you might think. Detailing the layout of the composition in such a manner so as to have the viewer see the elements of the photo in the set steps you wish to have it viewed allows the artist to force an interpretation upon the onlooker.
Directions from the book flow around three dominant desired results. The photograph should a.) By its arrangement, make you look at it. b.) Having looked – See! And c.) Having seen – enjoy. The photographs finished product should, by its very nature, demand that it be viewed, thought about and relished for both its beauty (despite the subject matter) and what it evokes with the viewer.
In this short book Mr. Mortensen has detailed his method of producing images that appear more as paintings than photos. While many of the images he came up with appear to be products of computer trickery through the use of Photoshop and other such programs, keep in mind that this book and the images it contains was originally published in 1937.
A welcome addition to any photographs tools, one that will only enhance even the most amateur of shutterbugs. I won this through Goodreads.
As you might discern from the title, this book guides the person behind the camera in how to design your photograph so as to make the viewer follow your directions for eye movement when viewing the end result. This is not as easy as you might think. Detailing the layout of the composition in such a manner so as to have the viewer see the elements of the photo in the set steps you wish to have it viewed allows the artist to force an interpretation upon the onlooker.
Directions from the book flow around three dominant desired results. The photograph should a.) By its arrangement, make you look at it. b.) Having looked – See! And c.) Having seen – enjoy. The photographs finished product should, by its very nature, demand that it be viewed, thought about and relished for both its beauty (despite the subject matter) and what it evokes with the viewer.
In this short book Mr. Mortensen has detailed his method of producing images that appear more as paintings than photos. While many of the images he came up with appear to be products of computer trickery through the use of Photoshop and other such programs, keep in mind that this book and the images it contains was originally published in 1937.
A welcome addition to any photographs tools, one that will only enhance even the most amateur of shutterbugs. I won this through Goodreads.
October 21, 2018
An excellent writing that touches on essential patterns that deal with the subconscious mind and how to gather the attention from the populace to pay attention and be influenced by any kind of propaganda, an excellent work that deals with the patterns used by the modern media to influence, manipulate and gear the people's opinion by tapping on their emotions and primitive instincts embedded at the subconscious mind. A most read it you like the writings of Carl Gustav Jung or if you want more insight of how the human subconscious mind reacts to external stimuli, also a good read if you want some pointers on the tricks that the media and the marketing industry use to influence your opinion and habits.
May 21, 2020
What if Barthes was raised on pulp novels and noir?
This has a layman’s gritty Camera Lucida vibe. I’m into it. Idk if I believe all of it, but it’s worth reading. Better than a lot of other photo theory books. Not dry at all. Read it in a single sitting.
This has a layman’s gritty Camera Lucida vibe. I’m into it. Idk if I believe all of it, but it’s worth reading. Better than a lot of other photo theory books. Not dry at all. Read it in a single sitting.
November 7, 2022
For anybody working with images or psychological manipulation, this is an invaluable work. I first read the Feral House imprint when it appeared some years ago and have had recourse to return to it frequently. Some of its lessons are obvious, but many are not. Together their clarity and intelligence makes this a supremely useful book for anybody wishing to succeed in far more than compositional proficiency.
September 19, 2017
Uno de los libros capitales para entender la filosofía de Mortensen, perfilando el uso de la psicología jungiana en su trabajo artístico. La galería de imágenes que complementan el volumen ilustran esta singular visión pictórica que lo convirtió en un fotógrafo vanguardista en la primera mitad del siglo XX.
November 26, 2020
Very insightful. Anecdotally, the harry potter and twilight covers effectively embody the fundamentals of a successful attention-grabbing image as described within.
November 9, 2021
Like a how to for Instagram, but Satanic.
September 19, 2022
I found this to be a fascinating read, even though my photographic endeavors are limited to an iPhone. The book gave me a better understand of some things to consider when both taking and viewing pictures. It is well written and an easy read.
August 2, 2015
Even though I've shelved this as a book on photography (both virtually on Goodreads and physically in my bookshelf), it seems I might need a special section for this one. Quite possibly, I might need to place this with my two books on La Vey's satanism, The Satanic Bible and The Satanic Rituals. Overall, classification of books isn't always as obvious as one usually thinks, and a book like this one isn't so much a book on photography as it is a book on the psychological forces behind or inside photographies. Just like Anton La Vey (who was heavily influenced by "The Command To Look") didn't create the Church of Satan as a church, but rather as a means to apply those same forces in real, everyday life.
Rant aside, wehat I meant to say was that this was very inspiring on so many levels - not just to me as a photographer.
And maybe that's what makes me like this book so much. That it provides rules or laws or maybe just simply a way to do things, whatever they might be. For now, though, I'll try to apply it to the activity it was meant to be a guide to: Photography.
Rant aside, wehat I meant to say was that this was very inspiring on so many levels - not just to me as a photographer.
And maybe that's what makes me like this book so much. That it provides rules or laws or maybe just simply a way to do things, whatever they might be. For now, though, I'll try to apply it to the activity it was meant to be a guide to: Photography.
October 28, 2014
Incredible! What a talented man! I now want all his books!!!!!
Displaying 1 - 13 of 13 reviews