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Photographers on Photography: How the Masters See, Think, and Shoot
Think you know photography? Think again. Through a carefully curated selection of quotes and images, this book reveals what matters most to the masters of photography. With accompanying text by Henry Carroll, author of the internationally bestselling Read This If You Want To Take Great Photographs series, you’ll learn what photography actually means to the giants of the genres and how they developed their distinctive visual styles.
- GenresPhotographyNonfictionArt
128 pages, Hardcover
First published October 23, 2018
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Displaying 1 - 30 of 34 reviews
August 9, 2020
This was alright. There were some interesting bits, but the content was so fractured and lacked enough context or explanation that the features didn't really make much sense. Some photographers had just a single page and a single photo with vague lofty words which came across as pretentious - whereas others had a few pages worth of questions (a lot of text), but no real explanation of who they were, why they were interesting, or anything beyond a very specific set of thoughts. Unfortunately it came across as pretentious at times, without the depth to back it up. I was disappointed as I really wanted this to be good!
March 8, 2019
Photographers on Photography: How the Masters See, Think & Shoot offers a series of short essays by Henry Carroll along with selected interviews of a handful of the masters. The intent is to make one think, at which it does a sufficient though perhaps not an outstanding job. Still, John Baldessari has a point about the rectangular or square photographic window at which we view the world maybe conditioning us to think of issues in terms of rectangles. Ron Jude, a fine art photographer makes a comment that has, in my opinion, wide applicability beyond the fine art world: “Through specificity, a sort of generality will emerge…. If you’re trying to do something with universal appeal and you water down the details in this attempt, you’re likely to end up with a very flat body of work that, due to its lack of texture, simply doesn’t ring true. I think it’s entirely possible to find meaning for oneself through the story of another person’s life.” (p. 94) Another thought, this by Adam Broomberg and Oliver Chanarin, that’s relevant to those concerned photographers who see themselves as challenging the system: “So by simply standing behind the camera and making a portrait, you align yourselves with this system and with those in power.” (p. 113) Finally, I’m intrigued by Richard Avedon’s comment, “My photographs don’t go below the surface. They don’t go below anything. They’re readings of what’s on the surface.” (p. 80) when it seems to me that Avedon was a master at shooting what’s below the surface. Perhaps, as author Carroll notes, Avedon “seduces us into seeing something that isn’t there in the photograph, something that can never be there: the subject’s aura, their psyche or even a glimpse into their soul.” (p. 80)
But I’ll save the last word for Charles Sheeler (1883 – 1965), that master of American modernism: “Isn’t it remarkable how photography has advanced without improving.” (p. 120)
But I’ll save the last word for Charles Sheeler (1883 – 1965), that master of American modernism: “Isn’t it remarkable how photography has advanced without improving.” (p. 120)
May 22, 2019
For being a photographer, it’s kind of surprising that I haven’t read any books in relation to photography till now. I loved this one. I’ve actually been really thinking of quitting photography lately as I’ve lost the spark for it and passion I’ve had for it for a while. This book might have saved my lens from collecting dust. Lots of perspectives from photographers over time and many useful quotes for anyone really. There were a few long form interviews with select photographers as well and I liked when they spoke about their process and mindset while shooting.
May 11, 2021
Los fotógrafos hablan sobre la fotografía está dentro de la colección de Henry Carroll sobre perspectivas fotográficas, ya sea para enseñar a sacar fotos como aprender a mirar las fotos. Este volumen se centra en las sensaciones que sienten al sacar fotografías, en los sentimientos que le producen y lo que piensan acerca de ese arte. Incluye declaraciones de fotógrafos muy famosos e incluso entrevistas.
Pese a ser cortito en el libro encontrarás millones de emociones y perspectivas que te enseñarán que aunque se dice que la fotografía es el arte del instante y uno de los más fáciles que hay, en realidad, nadie se para a observar las fotografías, sólo las ven pero no le buscan un significado.
Conocer lo que opinan la mayoría de grandes fotógrafos de la historia y cómo crean sus fotografías me parece un testimonio más que acertado y sobre todo porque está llevado de una manera que sea un libro que produzca sensaciones. Y lo importante que es entender la fotografía como un arte que no tiene que ser técnicamente perfecta.
Sin duda, quiero seguir leyendo la serie de Henry Carroll.
"Una fotografía generalmente se mira, en raras ocasiones se observa."
3,5/5
Pese a ser cortito en el libro encontrarás millones de emociones y perspectivas que te enseñarán que aunque se dice que la fotografía es el arte del instante y uno de los más fáciles que hay, en realidad, nadie se para a observar las fotografías, sólo las ven pero no le buscan un significado.
Conocer lo que opinan la mayoría de grandes fotógrafos de la historia y cómo crean sus fotografías me parece un testimonio más que acertado y sobre todo porque está llevado de una manera que sea un libro que produzca sensaciones. Y lo importante que es entender la fotografía como un arte que no tiene que ser técnicamente perfecta.
Sin duda, quiero seguir leyendo la serie de Henry Carroll.
"Una fotografía generalmente se mira, en raras ocasiones se observa."
3,5/5
December 29, 2018
Fun book of quotes and analysis of them that reveal some core ideas of the artists and the way they view their art. Thought provoking. I’ll be dipping into this book again and again.
January 25, 2019
This is the first book I've read that makes photography theory interesting. Although it only touches each topic briefly, it's a tantalising appetiser that has me excited to learn more. It's a great introduction to the big names in photography and why they shoot the way they do. I know I will hold onto this book and revisit it many times.
September 15, 2021
Se trata de un ensayo sobre fotografía que a través de medio centenar de citas y testimonios de diversos fotógrafos, sobre las sensaciones que les evoca y sobre lo que les inspira en su trabajo, nos aporta reflexiones interesantes sobre las implicaciones artísticas y filosóficas de este medio creativo.
Además de las citas y reflexiones también se incluyen 5 entrevistas transcritas más detalladas (todas acaban con la pregunta cuál es su cita favorita sobre fotografía y por qué) y una sección de lecturas recomendadas.
Las reflexiones me han parecido interesantes aunque a veces un punto abstractas y densas. Algunas producen vértigo dado que son implicaciones sobre las que muchas veces no nos paramos a reflexionar. La fotografía consiste en atrapar la luz y parar el tiempo, en ese sentido tiene cierto componente de magia.
Por otro lado la cantidad de información visual y datos en imágenes es cada vez más abrumador y cada vez controlamos menos la distribución y la utilización de las imágenes, las consumimos y nos consumen y esto es algo interesante para reflexionar.
Para algunos fotógrafos la fotografía está relacionado con lo efímero, con la nostalgia o con la muerte misma, con la pérdida subyacente de ese instante congelado en la cámara que ha pasado y no volverá.
La fotografía no es sólo un objeto o paisaje literal, sino una sensación, un contexto, algo que quiere contar o transmitir, lo que no enseña también es importante, la ambigüedad de lo que muestra y de lo que decide no mostrar, te desafía, te reta, te invita a pensar e imaginar, a completar el cuadro de la información parcial que te ha proporcionado. La fotografía es fascinante porque nunca es la misma la segunda vez que la miras, por tanto tienen muchas historias que contar y siempre puedes imaginar una nueva, tiene infinitas posibilidades.
Ell fotógrafo no cuenta nunca algo de manera aséptica sino que al elegir el encuadre decide guiarte en donde poner el foco, donde quiere que mires. La mirada entrometida, el observar y sentirse observado, puede tener algo de violento, por tanto no está exento de reivindicación, rebeldía, es un trabajo político porque el fotógrafo toma la fotografía sin poder abstraerse de su identidad racial, sexual, de género, ideológica...
Quien es el que crea la fotografía tiene también unas implicaciones y un un impacto, normalmente los creadores de imágenes son hombres, heterosexuales y blancos, y cualquier imagen que se salga de ese estatus Quo ya es reivindicativa independiente de su contenido, simplemente por el hecho de quién la está llevando a cabo.
Otra reflexión interesante es que una fotografía, tendemos a considerarla una prueba o evidencia, sin embargo algo documentado con este tipo de documentos gráficos puede no ceñirse para nada a la verdad.
Cómo crítica, casi todos los fotógrafos recopilados en el libro son estadounidenses o británicos con algunas excepciones puntuales por ejemplo de artistas japoneses. Eso sí, está representados desde 1835 hasta la actualidad.
El autor tiene otro libro titulado "Lea este libro si desea tomar buenas fotografías". En ese volumen (que no me he leído en profundidad pero sí he ojeado) se detiene en aspectos técnicos como la luz, etc. Pero si prefieres reflexionar sobre la fotografía en sí, lo que transmite e inspira a los grandes, este libro también te va a ayudar a tomar buenas fotografías creo yo! Me parece interesante aunque no seas fotógrafo (aunque la fotografía se ha popularizado y ahora todos lo somos en alguna medida), simplemente es una reflexión sobre el arte y por ello es interesante aunque no sea tu profesión ni tu hobby.
Además de las citas y reflexiones también se incluyen 5 entrevistas transcritas más detalladas (todas acaban con la pregunta cuál es su cita favorita sobre fotografía y por qué) y una sección de lecturas recomendadas.
Las reflexiones me han parecido interesantes aunque a veces un punto abstractas y densas. Algunas producen vértigo dado que son implicaciones sobre las que muchas veces no nos paramos a reflexionar. La fotografía consiste en atrapar la luz y parar el tiempo, en ese sentido tiene cierto componente de magia.
Por otro lado la cantidad de información visual y datos en imágenes es cada vez más abrumador y cada vez controlamos menos la distribución y la utilización de las imágenes, las consumimos y nos consumen y esto es algo interesante para reflexionar.
Para algunos fotógrafos la fotografía está relacionado con lo efímero, con la nostalgia o con la muerte misma, con la pérdida subyacente de ese instante congelado en la cámara que ha pasado y no volverá.
La fotografía no es sólo un objeto o paisaje literal, sino una sensación, un contexto, algo que quiere contar o transmitir, lo que no enseña también es importante, la ambigüedad de lo que muestra y de lo que decide no mostrar, te desafía, te reta, te invita a pensar e imaginar, a completar el cuadro de la información parcial que te ha proporcionado. La fotografía es fascinante porque nunca es la misma la segunda vez que la miras, por tanto tienen muchas historias que contar y siempre puedes imaginar una nueva, tiene infinitas posibilidades.
Ell fotógrafo no cuenta nunca algo de manera aséptica sino que al elegir el encuadre decide guiarte en donde poner el foco, donde quiere que mires. La mirada entrometida, el observar y sentirse observado, puede tener algo de violento, por tanto no está exento de reivindicación, rebeldía, es un trabajo político porque el fotógrafo toma la fotografía sin poder abstraerse de su identidad racial, sexual, de género, ideológica...
Quien es el que crea la fotografía tiene también unas implicaciones y un un impacto, normalmente los creadores de imágenes son hombres, heterosexuales y blancos, y cualquier imagen que se salga de ese estatus Quo ya es reivindicativa independiente de su contenido, simplemente por el hecho de quién la está llevando a cabo.
Otra reflexión interesante es que una fotografía, tendemos a considerarla una prueba o evidencia, sin embargo algo documentado con este tipo de documentos gráficos puede no ceñirse para nada a la verdad.
Cómo crítica, casi todos los fotógrafos recopilados en el libro son estadounidenses o británicos con algunas excepciones puntuales por ejemplo de artistas japoneses. Eso sí, está representados desde 1835 hasta la actualidad.
El autor tiene otro libro titulado "Lea este libro si desea tomar buenas fotografías". En ese volumen (que no me he leído en profundidad pero sí he ojeado) se detiene en aspectos técnicos como la luz, etc. Pero si prefieres reflexionar sobre la fotografía en sí, lo que transmite e inspira a los grandes, este libro también te va a ayudar a tomar buenas fotografías creo yo! Me parece interesante aunque no seas fotógrafo (aunque la fotografía se ha popularizado y ahora todos lo somos en alguna medida), simplemente es una reflexión sobre el arte y por ello es interesante aunque no sea tu profesión ni tu hobby.
April 7, 2021
This book isn't going to take you very long to read, nor does it contain a well-crafted story filled with twists and turns. What it does contain is a series of remarkable photos taken by master photographers from across the world - ranging from the advent of the camera to the age of digital, and covering subjects from breathtaking landscapes, to war-torn cities, and people simply going about their day.
Having recently gotten into photography, purchasing a camera, multiple lenses, a monopod, bag, and a photography course, I was looking for inspiration when I came across this book for an extremely cheap price. Now having read through it, I can say that the best way to be inspired is to see inspiring images and hear about the stories behind them which is exactly what you will find in this compact little book.
I will definitely be referring back to this on plenty of occasions from now on!
Having recently gotten into photography, purchasing a camera, multiple lenses, a monopod, bag, and a photography course, I was looking for inspiration when I came across this book for an extremely cheap price. Now having read through it, I can say that the best way to be inspired is to see inspiring images and hear about the stories behind them which is exactly what you will find in this compact little book.
I will definitely be referring back to this on plenty of occasions from now on!
May 6, 2023
3,5⭐️ It was a nice read and there were some inspiring approaches of what photography is
December 9, 2024
good stuff.
photography—and art in general—has always felt quite distant and inaccessible to me, despite my taking an interest in it. always something to spectate. to view. never to participate in.
and even when i would spectate, it always felt like i was missing something. that my brain was simply incapable of processing the art. incapable of fully taking it in, fully making sense of it.
“understanding art is hard work”, i’d think. “extracting the meaning of an artwork is tough business, and i don’t know how the hell, people do it”.
then i grew up and realized art was predominantly subjective. and it’s not that i didn’t know it was subjective up until that point in my life. it was more-so that i’d failed to realize just how subjective of a medium it was.
you know…maybe i’d realized it was subjective. fully understood that fact. and still decided not to accept the subjectivity because i’ve been so obsessed with capital T truth for the better part of a decade now.
anyways. all this is to say that this book really helped deconstruct my objectivist artistic disposition. it helped me feel more assured in practicing photography. getting to hear photographer speak about their personal photographic processes and philosophies gets straight to the heart of the matter. I was no longer kept wondering how photographers (and artists in general) made sense of their works. a helpful demystifying experience.
short answers artist just tap into that wise unconscious /subconscious/ a-conscious well called intuition. Rationalization, cerebrality can take a chill pill.
Quite a few favorite quotes:
-I myself have always stood in all of the camera. I recognizing it for the instrument it is, parts Stradivarius, parts scalpel. Irving Penn (pg 11)
- In order to achieve visual poetry, the photographer must use the camera like a knife (pg 11)
-I take photographs, not only with my eyes, but with my entire body. Daidō Moriyama (pg 20)
-Moriyama wanders streets with no fixxed destination. Armed only with his compact camera, he is guided by smells and sounds, as well as by his eyes…All that matters is the point and shoot. The cleanness of the kill – focus, exposure, composition – are unimportant. (pg 20)
-The more conscious I am of why I’m taking it, the less successful the picture turns out to be. Fay Godwin (pg 22)
-There are no rules. But sometimes you need parameters. Todd Hido (pg 35)
-Things usually don’t develop quite as imagined, but that often leads to the best work. Esther Teichmann (pg 51)
-The photographer Richard Avedon describes his first encounter with the photographic as one of branding and imprinting an image of desire into his own skin – of violent, tender, and carnal response to the medium. In his autobiographical essay, ‘Borrowed dogs’… he tells of a photographic tattooing, of burning an image of his muse, his sister, and his body he writes:’ it was my father who taught me the physics of photography. When I was a boy, he explained to me the power of light in the making of a photograph. He held a magnifying glass between the sun and the leaf and set the leaf on fire. The next day, as an experiment, I taped a negative of my sister onto my skin and spent the day at Atlantic Beach. That night, when I peeled the negative off, there was my sister, sunburned onto my shoulder. (pg 53)
As always, there’s more, but you have to stop somewhere.
photography—and art in general—has always felt quite distant and inaccessible to me, despite my taking an interest in it. always something to spectate. to view. never to participate in.
and even when i would spectate, it always felt like i was missing something. that my brain was simply incapable of processing the art. incapable of fully taking it in, fully making sense of it.
“understanding art is hard work”, i’d think. “extracting the meaning of an artwork is tough business, and i don’t know how the hell, people do it”.
then i grew up and realized art was predominantly subjective. and it’s not that i didn’t know it was subjective up until that point in my life. it was more-so that i’d failed to realize just how subjective of a medium it was.
you know…maybe i’d realized it was subjective. fully understood that fact. and still decided not to accept the subjectivity because i’ve been so obsessed with capital T truth for the better part of a decade now.
anyways. all this is to say that this book really helped deconstruct my objectivist artistic disposition. it helped me feel more assured in practicing photography. getting to hear photographer speak about their personal photographic processes and philosophies gets straight to the heart of the matter. I was no longer kept wondering how photographers (and artists in general) made sense of their works. a helpful demystifying experience.
short answers artist just tap into that wise unconscious /subconscious/ a-conscious well called intuition. Rationalization, cerebrality can take a chill pill.
Quite a few favorite quotes:
-I myself have always stood in all of the camera. I recognizing it for the instrument it is, parts Stradivarius, parts scalpel. Irving Penn (pg 11)
- In order to achieve visual poetry, the photographer must use the camera like a knife (pg 11)
-I take photographs, not only with my eyes, but with my entire body. Daidō Moriyama (pg 20)
-Moriyama wanders streets with no fixxed destination. Armed only with his compact camera, he is guided by smells and sounds, as well as by his eyes…All that matters is the point and shoot. The cleanness of the kill – focus, exposure, composition – are unimportant. (pg 20)
-The more conscious I am of why I’m taking it, the less successful the picture turns out to be. Fay Godwin (pg 22)
-There are no rules. But sometimes you need parameters. Todd Hido (pg 35)
-Things usually don’t develop quite as imagined, but that often leads to the best work. Esther Teichmann (pg 51)
-The photographer Richard Avedon describes his first encounter with the photographic as one of branding and imprinting an image of desire into his own skin – of violent, tender, and carnal response to the medium. In his autobiographical essay, ‘Borrowed dogs’… he tells of a photographic tattooing, of burning an image of his muse, his sister, and his body he writes:’ it was my father who taught me the physics of photography. When I was a boy, he explained to me the power of light in the making of a photograph. He held a magnifying glass between the sun and the leaf and set the leaf on fire. The next day, as an experiment, I taped a negative of my sister onto my skin and spent the day at Atlantic Beach. That night, when I peeled the negative off, there was my sister, sunburned onto my shoulder. (pg 53)
As always, there’s more, but you have to stop somewhere.
May 29, 2026
This book seemed like a good choice for me as it mostly consists of photographs with, on the facing page, brief thoughts on photography by the person who took the photograph.
Following a proper look at home though I was put off by seemingly negative titles with quotes. So starting from the back of the book, as I did, photography is:
"...destined to be involved with death"
and " has relied on failed mimicry of human vision..."
"...has advanced without improving"
"...acts like the kiss of Judas..."
"...it's like being shot. I am shot."
"If I don't kill you, I can't move on."
"...our relationship to photograph was conditioned by an underlying sense of loss."
After flipping through that lot, I was set on just giving the slim volume to a charity shop but, thank the gods, it improves and of course it's the compiling editor who has chosen the quote headlines and without doubt did that on the basis of attracting attention: click bait.
A number of very famous photographers are represented here so that's a great plus though some of the pictures could have been taken from Facebook or Instagram and you'd be none the wiser. It's also a very good size for a photography book, slightly smaller than A5.
But it could have been so much better. This editor/compiler has not done justice to the good concept.
January 6, 2022
This is a book of photographic inspiration. Each photographer has their own approach to photography and each has something to say about what inspires them. For the aspiring photographer this means that whatever style captures your imagination, you'll find that someone has something helpful to say.
I particularly liked
“I go out to take a walk, I see something, I take a picture. I take photographs. I have avoided profound explanations of what I do.”
— Saul Leiter
For its simplicity
I also appreciated what Henry Carroll said at the end of the book
"Yet if we think about it, photography hasn’t changed all that much, because its most magical quality, that thing separating it from all other art forms, remains the same: whether taken on film or with a phone, whether hanging in a gallery or saved on a computer, a photograph is captured light. For that reason, the ghost of photography’s enigmatic origins will continue to haunt every film grain, every pixel and every line of code for a long time to come."
The idea that all photographs are made from light reflected from their subject makes for an immediate connection with the subject and the photographer, regardess of then the photograph was taken.
I particularly liked
“I go out to take a walk, I see something, I take a picture. I take photographs. I have avoided profound explanations of what I do.”
— Saul Leiter
For its simplicity
I also appreciated what Henry Carroll said at the end of the book
"Yet if we think about it, photography hasn’t changed all that much, because its most magical quality, that thing separating it from all other art forms, remains the same: whether taken on film or with a phone, whether hanging in a gallery or saved on a computer, a photograph is captured light. For that reason, the ghost of photography’s enigmatic origins will continue to haunt every film grain, every pixel and every line of code for a long time to come."
The idea that all photographs are made from light reflected from their subject makes for an immediate connection with the subject and the photographer, regardess of then the photograph was taken.
February 6, 2021
The book is mostly a page with a quote from a photographer which the author analyzes in a couple paragraphs below opposite a photograph (or a few) by the same photographer.
I would have enjoyed it more if I'd skipped the author's analyses which felt presumptuous. I'd rather read more from the actual sources, i.e., the photographers.
There are five interviews scattered through the book with photographers which were more interesting though I was unfamiliar with all of the shooters.
I did appreciate that there was a good mix of male to female photographers included.
The book includes far more contemporary photographers than well known masters.
I would have enjoyed it more if I'd skipped the author's analyses which felt presumptuous. I'd rather read more from the actual sources, i.e., the photographers.
There are five interviews scattered through the book with photographers which were more interesting though I was unfamiliar with all of the shooters.
I did appreciate that there was a good mix of male to female photographers included.
The book includes far more contemporary photographers than well known masters.
April 23, 2020
Before reading this book, I thought here we would see the opinions and comments of renowned photographers on what photography is/was and what it meant for them.
I was expecting a personal account on the creative process of each one of them. What we get he just small chapters dedicated to each photographer, where Carroll introduces a random quote for the photographer and provides his opinion on the quote's context or his thoughts on the photographer.
Only interesting point are the 4 (very) small interviews he has with some of the photographers
I was expecting a personal account on the creative process of each one of them. What we get he just small chapters dedicated to each photographer, where Carroll introduces a random quote for the photographer and provides his opinion on the quote's context or his thoughts on the photographer.
Only interesting point are the 4 (very) small interviews he has with some of the photographers
December 20, 2022
It's good to have a photography book which 'focusses' on the images - their meaning, the emotional content and background. It's much more interesting than the tedious narratives about cameras and technical aspects of photography.
I like the short interviews and short 'articles' about photographers and the photos. However it makes me yearn for more which this little book cannot satisfy.
Thank you Henry Carroll for putting this book together .
More please but in more depth next time .
I like the short interviews and short 'articles' about photographers and the photos. However it makes me yearn for more which this little book cannot satisfy.
Thank you Henry Carroll for putting this book together .
More please but in more depth next time .
January 15, 2020
A nice look a various philosophies in image-making.
As Brian Page's review concludes, heavily paraphrased: Today, this is quite some pop art medium.
As Brian Page's review concludes, heavily paraphrased: Today, this is quite some pop art medium.
January 16, 2023
I love the photography books from Henry Carroll but this is definitely my favorite. A lot of inspiration is to be found in this book, and it makes you look at photos you have seen completely different!
January 30, 2024
Really thought provoking pieces on well known photographers and how they see their art. Global and contemporary views. So many explorations are worked through with in depth interviews on a small number. Eclectic selection but so worthwhile A definite one to read again.
May 1, 2019
Great book and a calssic for every person loving photography..
March 4, 2020
A good, straightforward book that introduces you to different concepts and approaches to practicing photography without getting too into the authors own voice.
January 1, 2021
Boas reflexões porém falta algo para captar
December 13, 2021
the photos in this book are all horrible. if you're a photographer focus on technical skill and being creative not this pretentious bullshit
July 18, 2022
For $25 I'd say it's worth it if you're looking for some inspiration or guidance. Some interesting points & take aways.
December 21, 2022
Autor brutalnie konfrontuje nas z mnogością perspektyw, z doświadczeniem fotografii. Zadaje nam pytania, które wymuszają odpowiedzi: jaka jest Twoja filozofia? Czym jest dla Ciebie fotografia?
December 22, 2023
Good quotes and nice interview snippets. I didn't care for many of the images, though...
February 25, 2025
4 stars | We've become desensitized to photography because we see hundreds of images daily, and most of us always have a camera on us. This book shares photographers' perspectives on the art of photography, and I appreciated going back to the basics, thinking about photography as an art form, and reflecting on the ‘why’ behind where I point my lens. Whether you are an amateur or professional, this is a great book to spark your creativity.
December 30, 2020
I’ve been taking photos for six years, but have never actually delved into the world of ‘photography as art’ fully. This book offered a cursory primer on just that.
Every page assaulted me with new ideas, from the photos themselves, the thoughts of the photographer and the contextualization of Henry Carrol. I was constantly introduced to new concepts and ways of thinking.
My understanding of the medium and its potential has totally exploded. I fully expect to return regularly, flipping through pages and photos for inspiration.
Note: enjoyment and takeaway is probably dependent on exposure to similar material. Mine was pretty limited.
Every page assaulted me with new ideas, from the photos themselves, the thoughts of the photographer and the contextualization of Henry Carrol. I was constantly introduced to new concepts and ways of thinking.
My understanding of the medium and its potential has totally exploded. I fully expect to return regularly, flipping through pages and photos for inspiration.
Note: enjoyment and takeaway is probably dependent on exposure to similar material. Mine was pretty limited.
February 27, 2020
Interessant boek waarin je klein beetje in het hoofd van een groot aantal fotografen mag kijken. Topfoto's komen meestal voort uit een kunstzinnige manier van 'aanwijzen', niet uit een beheersing van techniek. Dat laatste is een gegeven en zeker met de voortschrijdende technologie steeds minder van belang. Het boek zorgt er in ieder geval voor dat je iets anders om je heen gaat kijken
November 24, 2020
I picked this book up wandering around New York City and loved it straight away. As an amateur photographer, I had read a few photography books but this is by far the best and most varied one and I found it very formative.
January 4, 2022
Hay pocos libros que enseñen de verdad para tener criterio a la hora de entender el lenguaje fotográfico. Este es un libro que te lo puedes llevar a cualquier lado y tenerlo a mano para a través de citas, imágenes y entrevistas aprender de los maestros
Displaying 1 - 30 of 34 reviews