From the jungles of Vietnam, where he shot a photo of "the loneliness and desolation of war" that won a Pulitzer Prize, to the impeachment trial of President Bill Clinton, David Hume Kennerly witnessed and photographed most of the history-making moments of the last third of the twentieth century. As the millennium turned and he set out to cover his eighth presidential campaign, however, the veteran photojournalist sensed something missing. In his words, "I had the uneasy feeling that I couldn't focus only on the story at hand while bypassing the texture of life that surrounds it. . . . This time I wouldn't speed across that covered bridge to get to the big event on the other side, but instead I would slow down a bit, maybe even pause to take a picture of the bridge." Photo du Jour is Kennerly's visual diary of "the texture of life" at the start of the twenty-first century. As he traveled more than a quarter of a million miles across thirty-eight states and seven countries, Kennerly took a picture every single day in the year 2000, using just one camera and one lens. Some offer candid, behind-the-scenes glimpses of the men who would be president--John McCain, Al Gore, and George W. Bush. Most of the photographs, though, seek to capture not the big, historic moments but rather the ordinary, even whimsical moments when the essence of a person or a place reveals itself to the observer who takes the time and has the heart to really see. Travel with him from Beijing to Boston, Moose to Miami, and Whynot to Weimea in Photo du Jour, and you'll quickly discover that David Kennerly is just such an observer.
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4 of 5 people found the following review helpful:
5.0 out of 5 stars
Exquisite,
By
This review is from: Photo du Jour: A Picture-a-Day Journey through the First Year of the New Millennium (Focus on History) (Hardcover)
This book is a must have. At the Texas Book Festival (2002) this book caught my eye. Never heard of the photographer before but the book was exquisite: filled with stunning black and white pictures. Pictures of everyday things. Of people laughing, of streets and events - capturing the magic moments without a pose. It was a simple concept: One camera. One lens. One year. The results are photos that also capture the routine, sometimes humorous and often extraordinary moments of everyday life.
5.0 out of 5 stars
Deserves more reviews,
By
This review is from: Photo du Jour: A Picture-a-Day Journey through the First Year of the New Millennium (Focus on History) (Hardcover)
This book deserves more reviews. I purchased it when first came out eight years ago and from time to time I revisit for the sheer honesty of capturing slices of mostly urban life in the midst of presidential campaign. When a contemporary photographer can complete such a project like this and dare to produce a book of all monochrome photos, I think that says a lot for his dedication, style, skills, and commitment to the craft. So many of the images we see in Kennerly's book are ones that depict what many of us see and walk pass everyday of our lives. But Kennerly took the time to stop and capture precious moments that we too often ignore.
I also want to add this book of course is a treat for serious photographers. Each image is well composed and processed. There's lots to learn from how Kennerly frames a photo and what he choose to leave in and out when makes a shot. I realize that the book was published years ago, but I think it's timeless and deserves a lot more attention.
1 of 6 people found the following review helpful:
2.0 out of 5 stars
Photo edit of the day,
By
Amazon Verified Purchase(What's this?)
This review is from: Photo du Jour: A Picture-a-Day Journey through the First Year of the New Millennium (Focus on History) (Hardcover)
Maybe my expectations are over the top, maybe I know more than the average joe/jane when it comes to photography, or maybe I just got the whole idea of this book wrong. Whatever the reason, David Hume Kennerly's Photo du Jour is nothing more than a document of his time and access throughout 2000. For some reason, I got the idea in my head that here was a photojournalist going to lug around an extra Leica and only shoot one image a day with it. How would he choose and at 11:59PM would there be regrets over the shot passed up for the possibility of another later in the day that never presented its self? I really wanted this guy to only have ten rolls of 135-36 for the project- I wanted this to be the photo equivalent to Zen in the Art of Archery. I obviously got it wrong. Another thing that gets me about this book is how it is promoted ie. Rosenthal saying "one camera and one lens". Again, all of the conceptual limitations on this project that never materialized! If you are shooting a 21mm on an M body, setting the hyper focal distance around 5ft. and using f8 you are basically good from 2ft to infinity. Fine, understandable and I love wide angles on 35mm format but then you go a crop the image!!!!! This is my biggest jab at the book, if you are going to say one camera, one lens be photographer enough to print the FULL FRAME! I guess if you spend you life getting paid to "get the shot", you learn to shoot it close and wide and then crop what you want later. Some images in this book look like 6x7, some 135-36, and some 6x9 or even a Panavision 16:9 so again, where is the skill/discipline? The fishing equivalent would be using dynamite. The book is what it is and unfortunately is billed as something else. Howard Fineman states in the introduction that this book shows Kennerly in an "uncharacteristic mode" and says this puts him "effortlessly" in league with the likes of Evans, Smith, and Robert Frank...........Please don't insult my intelligence or these photographers. The sophomoric juxtaposition on pages 142-143 is a Photo 1 shark jump that sounded like "badap bumb". Maybe all the text and praise from a Winogrand, Cartier-Bresson, or a Davidson book got mixed up with the images in this one. More hype than hypo. With all that said, the book is beautifully bound a put together. The reproductions are clear, well printed and maintain an elegance and crispness that is not out there in many books today. If you are interested in a slice of time kind of document and are just plain addicted to looking at images, then you should be happy with this book. If you are at all knowledgeable of the work of Winogrand, Cartier-Bresson, Davidson, Friedlander (there is a lame rip off on Like a One-Eyed Cat in du Jour page 156) or even Eggleston in a color version, you may be disappointed in the cost/benefit analysis as I was. I can't remember his exact words but Duane Michals said it best- (paraphrasing)- many photographers shoot hundreds of shots hoping, amidst all of the confusion, to come up with an interesting image...but the difference between the artist and the photographer, is a sense of control. I will keep this book, shelve it with a ton of Magnum issues, and I am sure pull it down once a year or so and flip though it because that's what I do. This could have been brilliant both conceptually and perceptually but end the end, just another guy with a camera and access.
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