Book Description
The Photographer's Eye by John Szarkowski is a twentieth-century classic--an indispensable introduction to the visual language of photography. Based on a landmark exhibition at The Museum of Modern Art in 1964, and originally published in 1966, the book has long been out of print. It is now available again to a new generation of photographers and lovers of photography in this duotone printing that closely follows the original. Szarkowski's compact text eloquently complements skillfully selected and sequenced groupings of 172 photographs drawn from the entire history and range of the medium. Celebrated works by such masters as Cartier-Bresson, Evans, Steichen, Strand, and Weston are juxtaposed with vernacular documents and even amateur snapshots to analyze the fundamental challenges and opportunities that all photographers have faced. Szarkowski, the legendary curator who worked at the Museum from 1962 to 1991, has published many influential books. But none more radically and succinctly demonstrates why--as U.S. News & World Report put it in 1990--"whether Americans know it or not," his thinking about photography "has become our thinking about photography."
Customer Reviews:
John Szarkowski.......2007-07-23
When John Szarkowski recently passed away at the age of 81, the world lost one of photography's most important figures. He was the "Stieglitz" of the 1960s and 70s, changing the way audiences look at photographic images and he shaped the way future audiences will come to appreciate the pioneering work of Arbus, Eggleston, Friedlander and Winogrand. When he took over the reins of curator of photography at the Museum of Modern Art in New York from Edward Steichen, photography's early twentieth century grand master, Szarkowski promoted a "new" photography that incorporated the everyday moment as it was unfolding on the streets around cities and towns across America.
His great gift to all of us who love photography besides his championing of new talent, was his incredible skill at writing texts, essays, criticism, books on photography. With his talent as a writer, and his background as a photographer, he was able to open a window onto this two-dimensional world of form and tone, shape, texture and composition, explaining the ins and outs, the subtleties, and the intuitions of image makers, their techniques and their medium in all its finesse.
Having simply tried to take a good photograph all his life, he simply knew a good photograph when he saw one. It is what made him such a great curator. His own best known books of photographs, "The Idea of Louis Sullivan" published in 1956, contains photographs of the architecture of Chicago, and his other, "The Face of Minnesota" published in 1958, contains haunting landscape images of his home state. He wrote the way he carefully crafted his own images. He framed each paragraph paying close attention to his ear, to diction and to all the elements of style. It is why I love to read him and why I think he was the greatest writer to take on this visual art form.
Two books of his about photography that in my opinion are indispensable are "The Photographer's Eye" first published in 1966, and "Looking at Photographs" first published in 1973. With these two collections, the reader will gain an historic appreciation of photography from its earliest innovators beginning in the 1830s to the period of high modernism in the 1970s. With Szarkowski as your guide, readers will appreciate how the medium advanced, yet they will also understand how it has remained fundamentally the same picture-making process when it comes to handling two-dimensional space.
In The Photographer's Eye, Szarkowski covers what a viewer needs to take in from a photograph, how it was framed, cropped, what the subject is, what the detail is, the focus and the vantage point. In each of these wide areas, he supplies important photographs from the Museum of Modern Art's vast collection that illustrate these points. He begins with "The Thing Itself" the "what" of photography, the landscape or still life, or portrait that the photographer has aimed his camera at. From there he moves on to how photographers fix on detail, the synechdocal "parts" that make up the "whole" and that produce visual metaphor: the close up of the hands, the side of a face, a rifle, a window, a headlight of a car, a door latch.
He then illustrates how photographers carefully frame their images, how they crop, how they envision the image from its interior picture plane to what is left out, alluded to, outside the frame. And finally, he shows how photographers measure time; freeze moments, single out the present for the past of some distant future. Added to this element of time is vantage, that trick of where to place the picture plane in terms of its perspective, foreground to background, its recession to a vanishing point or points, whether it is head-on and flat, or deep and endless, looming up or slanting down, the world from above, or the world from below.
In Looking at Photographs which is subtitled--"100 Pictures from the Collection of the Museum of Modern Art," Szarkowski leads the reader across time, from the earliest best works of the 19th century masters: Timothy O'Sullivan, Fredrick Evans, Lewis Hine, and Jacob Riis, all the way to Robert Frank, Roy DeCarava, Paul Caponigro, and Joel Meyerowitz.
The book is printed so that there is a one-page essay facing each of the 100 photographs it describes. Within that compact structure, Szarkowski is able to move from one idea to another across the history of photography as the reader turns the pages, and he is able to pinpoint for the reader, the attributes that each photographer brings to his medium. In this way the reader learns to read images for their wealth of craft, form and subject matter. It is like having the curator take you on a personal guided tour of the museum's photography galleries.
I learned from reading this book that Timothy O'Sullivan's "white skies" were a result of the wet plate's over-sensitivity to blue light and that "sky areas were thus automatically overexposed, and rendered as blank white." I also learned that O'Sullivan "...accepted the white sky and used it as a shape, enclosed in tension between the picture's visual horizon and the edges of the plate." Knowing this, I can never look at O'Sullivan's work again without understanding how much this 19th century photographic pioneer wanted the figure-ground relationship of sky to land to feature in his compositions. And this is only one example from the book. There are 99 more.
Owning "Looking at Photographs" and "The Photographer's Eye" is like having your own private collection of the world's most famous photographs. The way you look at photographs will be enriched. On your next visit to a gallery or a museum, you will be able to see so much more thanks to the intelligent and thoughtful writing of John Szarkowski. His precise, clear and uncluttered prose style will make your reading experience a pleasure in itself.
Quality Control Issues.......2007-06-09
Great content in general, but the fact that several pages are presented upside down on my copy marred it for me.
The Photographer's Eye.......2006-03-01
SOME OF THE PHOTOGRAPHERS: Abbot Bravo Atget Avedon Belloc Brady Brandt Brassai Callahan Cameron Caponigro Cadtier-Bresson Coburn Decarava Doisneau Cuncan Erwitt Evans Fenton Frank Friedlander Garnett Giacomelli Kertesz Lange Lartigue Laughlin Lyon Moholy-Nagy Muybridge,P>Negre Newman O'sullivan Penn Sander Sheeler Siskind Smith Steichen Strand Weston White WinograndThis book is an investigation of what photographs look like, and of why they look that way. It is concerned with photographic style and with photographic tradition: with the sense of possibilities that a photographer today takes to his work. A wonderful black and white study of the form of photography and covers photographic style and tradition with a beautiful collection of some of the world's most famous photographic images.
SZARKOWSKI'S CAREER AT MOMA is bookended by two of his most ambitious and influential exhibitions, The Photographer's Eye (1964) and Photography until Now (1989-90). These shows, along with the accompanying volumes of criticism, summarize Szarkowski's major concerns as an historian and theorist of photography and demonstrate his impact on the field.
THE PHOTOGRAPHER'S EYE introduced the then-radical notion that artistic merit could be located not only in the work of the avowed masters-Stieglitz, Steichen, the WPA group--but also in news photographs, magazine spreads, commercial work, and anonymous documentary photography. The exhibition juxtaposed, without comment, Cartier-Bresson's masterpiece "Children Playing in Ruins" with a street scene taken outside a Stillwater, Minnesota barber shop. The work of contemporary giant Lee Friedlander rubbed elbows unashamedly with a 1910 bedroom interior plucked from the Iconographic Collection of the State Historical Society of Wisconsin. In the companion book, published in 1966, Szarkowski asserts that the pictures in the exhibition "have in fact little in common except their success, and a shared vocabulary: these pictures are unmistakably photographs. The vision they share belongs to no school or aesthetic theory, but to photography itself." -Christopher Sieving
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- THIS IS A STUNNING BOOK
- a major figure
- top printing, comprehensive big bad boy
- Framing the world through the viewfinder
- THE book to own of Friedlander's work
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Friedlander
Peter Galassi
Manufacturer: The Museum of Modern Art, New York
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ASIN: 0870703439
Release Date: 2005-06-15 |
Book Description
Lee Friedlander is one of the most important of the 1960s generation of photographers for whom the posture of disinterested objectivity served as a vehicle for passionate personal inquiries. His large body of work--he most often produces extended series of pictures on a chosen theme, then publishes them in book form--is broad in subject matter and supple and complex in style, and focuses on what he calls America's "social landscape." At the same time, he has pursued a playful dialogue with artistic tradition--as though open-eyed curiosity about the world, and a sophisticated taste for the wiles of picture-making were one and the same thing. Lee Friedlander takes a deep critical look at Friedlander's abundantly productive career. Including over 500 photographs grouped by series, and an incisive essay by Peter Galassi, Chief Curator of Photography at The Museum of Modern Art, this oversized publication is the most comprehensive review of the photographer's career to date.
Customer Reviews:
THIS IS A STUNNING BOOK.......2007-07-01
I had never heard of Mr. Friedlander when I saw his exhibit at the Museum of Modern Art. There is no way to describe his work in words; you just must experience it. Beyond his keen eye for black and white photography, he has a sly sense of humor that permeates his works. Many of these would be suitable for framing and placed in places where you might not normally hang a photo. This book is a great coffee-table book to be savored and enjoyed. Throw some pillows on the floor and flop down with this huge book and turn the pages slowly.
a major figure.......2006-07-20
by its scope, this book, like the photographer who's work it represents, is unique. not just the amount of photos, but the richness of them, their cool intelligence. it is a major volume, by one of the most influential non-color artists of our time. many people either hate or love friedlander's work, and i love it. if you do, just looking at this book a few times will be a great joy. if you're lucky (and rich) enough to buy or own it - what a treat.
top printing, comprehensive big bad boy.......2006-04-25
Ok, sorry to say but once you have this big bad boy what more do you need really? The section at the back about the development of Lee's printing over the years is especially interesting for photographers who are about to make a book. It's yellow which goes well with most coffee tables...Frankly they could have trimmed 20 percent of the photos but in this day and age more is more so what the heck...Totally worth it.
Framing the world through the viewfinder.......2006-04-20
Lee Friedlander is one of the most important photographers within the history of the medium. His uncanny sense of irony merges with a refreshing use of formal design, producing provocative visual metaphors. His use of frames within frames comments on the nature of photography itself. It is hard to look at the american landscape the same after viewing his work, and that is a good thing! If you can afford another Friedlander book besides this one, i highly recommend "Like a One-Eyed Cat"!
THE book to own of Friedlander's work.......2006-03-21
An excellent overview of Lee Friedlander's pioneering career. If you are only peripherally interested in Friedlander and his photography, this is the book to buy. If you are a longtime admirer of his work, this will be the book you will return to again and again.
In addition to a generous display of photographs, the introductory essay (although a bit dense at times) gives insight into Friedlander's motivations and achievements.
Friedlander seems to be a controversial subject on photography forums across the Net. It's interesting to read the opinions of other photographers on these internet forums who think his work is sloppy, unsophisticated, amateurish, etc. Once confronted with this enlightening overview of Friedlander's work, it becomes obvious that what is truly sloppy, unsophisticated and amateurish is the perspective of those espousing these opinions. What evolves is the fact that Friedlander is a treasure.
Average customer rating:
- Friedlander a Genius
- FINALLY!
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Lee Friedlander: Sticks & Stones
James Enyeart
Manufacturer: D.A.P./Fraenkel Gallery
ProductGroup: Book
Binding: Hardcover
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ASIN: 1891024973
Release Date: 2004-10-02 |
Book Description
In Sticks & Stones, Lee Friedlander offers his view of America as seen through its architecture. In 192 square-format pictures shot over the past 15 years, Friedlander has framed the familiar through his own unique way of seeing the world. Whether he's representing modest vernacular buildings or monumental skyscrapers, Friedlander liberates them from our preconceived notions and gives us a new way of looking at our surrounding environment. Shot during the course of countless trips to urban and rural areas across the country, many of them made by car (the driver's window sometimes providing Friedlander with an extra frame), these pictures capture an America as unblemished by romanticized notions of human nature as it is full of quirky human touches. Nevertheless, man's presence is not at stake here; streets, roads, fa ades, and buildings offer their own visual intrigue, without reference to their makers. And in the end, it is not even the grand buildings themselves that prick our interest, but rather the forgettable architectural elements--the poles, posts, sidewalks, fences, phone booths, alleys, parked cars--that through photographic juxtaposition with all kinds of buildings help us to discover the spirit of an Architectural America.
Customer Reviews:
Friedlander a Genius.......2005-09-12
I was disappointed in the last Friedlander book I bought, The Desert Seen. Luckily, I had a chance to see his retrospective at the Museum of Modern Art this summer. Seeing the actual prints made a huge difference and many of the images from the Desert Seen that I didn't "get", I "got" immediately at the MoMA show. I had seen a few stray images from Sticks and Stones in the past but did not realize the towering achievement that this work represented until the show. In my opinion, it is the pinnacle of his work and the aesthetic result of everything that came before. I bought the book the next week. It was beautiful in every way, including concept, execution, printing, binding, cover, and writing. The man is a genius and this book supports that contention. If you like Friedlander, you will love this book.
FINALLY!.......2004-11-11
For years -- probably decades -- I've been hoping to find a collection of Friedlander's great photos of the urban and suburban landscape. I'd buy almost any survey or monograph just to have the two or three examples that might be thrown in among the works of others, or among Friedlander's own wide range of subjects.
I'm delighted to say it was worth the wait. Page after beautifully printed page of these compositional masterpieces in large format -- it's almost too good to be true.
Like other photographers of "Main Street" or the strip, Friedlander finds beauty in unlikely places. Or maybe it's that he has FUN in unlikely places. His special contribution seems to be in creating a breathtaking (and often comical) tension between polar opposites: order/disorder; flat/deep; simple/complex; central/peripheral; deadpan/melodramatic; earnest/ironic; subtle/obvious; and so on. Friedlander has photographed many great jazz musicians; these photographs suggest that he has been influenced by their music, as he creates great riffs on the raw material he finds in the built environment.
Incidentally, I've seen this book in the Architecture section of some bookstores, but don't be fooled -- it is not really about buildings.
Book Description
"I first went to Japan in 1977 and found the whole country ablaze with blossom. I went again in 1979, 1981 and 1984, always at cherry-blossom time. As far as I knew, Japan was always abloom." So says the legendary American photographer Lee Friedlander, whose newest publication presents, for the first time, the complete set of 73 images that the artist made during his four trips to Japan. The groundbreaking black-and-white images--first seen as 25 photogravures in a 1986 portfolio, and long out of print--appear as examples of radical picture-making even 20 years later. Few serious photographers would have dared to photograph cherry blossoms with anything other than color film. The result is a new kind of beauty, with many of the compositions bordering on visual chaos. The images collected here serve as a precursor for much of Friedlander's late landscape work, which was exhibited to great acclaim in his 2005 Museum of Modern Art retrospective. Printed by the laborious dry-trap process, the amazingly sensuous reproductions closely approximate the original prints. This book was produced entirely in collaboration with the artist.
Customer Reviews:
The very best work of a great photographer .......2007-01-11
'Cherry Blossom Time in Japan' is Lee Friedlander at the peak of his considerable powers.
The phrase 'frozen jazz' pops into my head, probably because Friedlander made a living taking photos of jazz greats, but also because these pictures are sweeping, moving, alive.
And yes, they're deeply emotional - at least to me. I have no idea what the photographer felt as he worked, but I can't help but get a great sense of...consolation.
Buy this book and cherish it.
Scott Atkinson
Watertown NY
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Walker Evans & Company
Peter Galassi ,
Glenn Lowry ,
Stuart Davis ,
Edward Hopper ,
Roy Lichtenstein , and
Ed Ruscha
Manufacturer: The Museum of Modern Art, New York
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Binding: Hardcover
Evans, Walker
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ASIN: 0870700324
Release Date: 2002-07-02 |
Book Description
Walker Evans' radical photography of the 1930s demonstrated that unembellished photographic fact could serve as a highly poetic language. These works expanded the potential of the art of photography and at the same time defined a lasting iconography that recognized advertising, movies, and car culture as central images of modern American identity. Walker Evans & Company focuses on Evans as a central figure in the arts of the 1920s and 30s, and includes works in photography and other mediums that influenced Evans or were influenced by him, or which resonate in a significant way with aspects of his imagery, sensibility, and style. Among the other artists whose work is featured are: Eugene Atget, Mathew Brady, Stuart Davis, Robert Frank, Lee Friedlander, Edward Hopper, Roy Lichtenstein, Ed Ruscha, August Sander, Andy Warhol, and Edward Weston. Published in conjunction with the second of three cycles of millennial exhibitions at The Museum of Modern Art, New York.
Customer Reviews:
Photo Fine Art.......2007-05-21
Peter Galassi focuses on Evans as one of the great photographers of the twentieth century who also had a huge influence on many American photographers (and some contemporary graphic artists) and the ten visual chapters in this beautiful book provide a convincing case.
Photography as an art form has had a hard time proving it. Unlike fine art paintings, which exist as an entity, photography has mainly presented a visual record in many printed mediums (newspapers, magazines, advertising, packaging, posters) all seen by the public but not as art. Walker Evans helped to change that perception in America.
The first two chapters are interesting because Galassi features photographers who influenced Evans, especially Eugene Atget and his studies of Paris. The remaining eight each start with work by Evans then the chapter theme is carried on by other well-known photographers (and artists) who drew inspiration from the style and subject matter in his work. The hundred creative folk featured are a who's who of American photography since the 1940s.
Just over three hundred images are shown printed in an impressively fine screen (more than 250dpi) that brings out the wonderful detail in so many of them. Galassi contributes a fine introduction and each photographer get a comprehensive list of their photos in the back of the book. Overall I thought this was a fascinating survey American art photography whose origins clearly owe so much to Walker Evans.
***FOR AN INSIDE LOOK click 'customer images' under the cover.
Customer Reviews:
Good information, but same as previous editions.......1999-09-15
This books offers a good overview of feature writing for both magazines and newspapers. However, when I compared the first edition of this text (1988) with the current 4th edition, I noticed very little difference, other than a huge price increase. Some of the book has been updated, but the sections that are aren't too relevant or useful. Thus, if you have the original edition of this otherwise fine text, don't bother to buy the newer version--it's nearly identical.
Book Description
The master photographer best known for his extensive, insightful documentation of "the American social landscape"--from jazz musicians to factory hands to New York pedestrians and office workers zoning out at their keyboards--has recently been spending more time looking at the literal, natural landscape. His monumental 2005 MoMA retrospective showed, for the first time, a new series of landscapes made in the American West, while for Olives and Apples, he has looked back over the last decade's work and culled a forest, tree by tree. His docile subjects, apple trees photographed in New York State and olive trees photographed in France, Italy and Spain from 1997-2004, are presented in circumstances ranging from sunny, leafy summer health to glittering winter ice-storm glory. Some of the most striking compositions are shot from just inside the reach of a tree's furthest twigs, so that expanding branching limbs fill the frame, stretching out around the viewer.
Customer Reviews:
Late work from a master.......2007-01-11
I'm still thinking about this one.
I'll put the landscapes of Friedlander's "Cherry Blossom Time in Japan" and "Flowers and Trees" up against any landscape pictures ever, for their sweep, their grace, their wholeness.
These pictures are not the same; there is less clarity here, less direction, more crowding, as trees and leaves and branches fill the frame.
Maybe it's switching to a square format camera; maybe it's the subject matter. Whatever, there isn't much peaceful here.
What there is, is the suggestion of a world of infinitely many details, one that you can only get a glimpse of.
This is a more private, more wintery Friedlander. The pictures are richly rewarding, but best viewed after you've seen his earlier works.
Scott Atkinson
Watertown NY
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The Jazz People of New Orleans
Lee Friedlander
Manufacturer: Pantheon
ProductGroup: Book
Binding: Hardcover
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ASIN: 0679416382
Release Date: 1992-10-27 |
Book Description
Lee Friedlander's surreal sensibility is on full display in this set of photographs, originally published in 1970. Here Friedlander focuses on the role of his own physical presence in his images. He writes: "At first, my presence in my photos was fascinating and disturbing. But as time passed and I was more a part of other ideas in my photos, I was able to add a giggle to those feelings." Here readers can witness this progression as Friedlander appears in the form of his shadow, or reflected in windows and mirrors, and only occasionally fully visible through his own camera. In some photos he visibly struggles with the notion of self-portraiture, desultorily shooting himself in household mirrors and other reflective surfaces. Soon, though, he begins to toy with the pictures, almost teasingly inserting his shadow into them to amusing and provocative effect--elongated and trailing a group of women seen only from the knees down; cast and bent over a chair as if seated in it; mirroring the silhouette of someone walking down the street ahead of him; or falling on the desert ground, a large bush standing in for hair. These uncanny self-portraits evoke a surprisingly full landscape of the artist's life and mind. This reprint edition of Lee Friedlander: Self Portrait contains nearly 50 duotone images and an afterword by John Szarkowski, former Director of the Department of Photography at The Museum of Modern Art.
Book Description
"Like most fathers, Lee Friedlander has made photographs of his wife and children throughout their lives together. Unlike most fathers, Friedlander happens to be one of the greatest living photographers. In Family, Friedlander departs from his well-known terrain of the open road and the city street, focusing instead on his wife, Maria, his children and (later) his grandchildren. The result is an intimate narrative of a family's complex life, from 1958 to the present. The subjects are natural and unaffected in front of the ever-present lens, and the pictures make it clear that Friedlander's camera was a constant presence in the home, a natural extension of the artist himself. Over and over Friedlander recognized in an instant things that were precious and universal, yet specific to his own situation. Friedlander has done us a great honor by publishing these images. The inventive design of Family enhances the integrity of Friedlander's family album."
Customer Reviews:
from unique to universal.......2005-09-08
When one of the most important photographer protrayed his family it is our own family album we could see.The eyes of Lee Friedlander kept the intensity and the spontaneous of the private moments.The vision of a dad and husband, picking up moments of his life with an extroardinary simplicity, sharing with us love,poetry and non-performance of everyday. With those beautiful moments Friedlander reminds us about photography in its essence, expressing times of birth and death... maybe, one of his best book...and printed only 2000 copies...
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- The Ruins
- The Seventeen Traditions
- The Story of Ernie Pyle.
- The Sunlight Print Kit: Materials, Techniques, and Projects for Homemade Photography
- The Worst-Case Scenario Survival Handbook
- There's a Nightmare in My Closet (Pied Piper Book)
- Ultimate Bar Book: The Comprehensive Guide to Over 1,000 Cocktails
- Weapon: A Visual History of Arms and Armor
- Whiskey River (Take My Mind): The True Story of Texas Honky-Tonk
- Who Built America?: Volume Two: From 1877 to Present (Who Built America)
Books Index
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Mastering Digital Black and White: A Photographer's Guide to High Quality Black-and-White Imaging and Printing (Digital Process and Print)
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The Photographer's Eye: Composition and Design for Better Digital Photos
Robert Adams: Beauty In Photography
