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The Photobook: A History, Vol. 1 Hardcover – December 1, 2004
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From The New Yorker
Copyright © 2005 The New Yorker
Top Customer Reviews
The nine chapters give a lucid in depth review of photobooks to the 1970s with Anna Atkins 1843 'Photographs of British Algae' taking the first photobook prize. I particularly enjoyed chapter six, Medium and Message: the photobook as propaganda, basically dealing with Soviet books in the Thirties and the examples shown are quite extraordinary in their use of images and design. Reproducing the pages from these books would easily make a separate title. The other fascinating chapter was nine, dealing with postwar Japanese books, again the reproduced jackets and spreads show amazing creativity and vision, not only in the choice of photos but also in the use of printing and binding techniques.
Stunning though this book is I thought there was one particular weakness, in so many of the books there are not enough pages shown. Many of them have two pages, for instance 'An American Exodus' by Lange and Taylor, there are fifteen spreads so it is possible to follow the flow of images or Avery Brodovitch's 'Ballet' with eighteen spreads to capture the feel of the subject.Read more ›
To be sure, the care spent on the production of this book is not gratuitous. To the contrary, it is a statement that reinforces the basic conceptual tenets held by Badger and Parr. From the introductory pages we learn that not every and any book that has been conceived around a collection of photographs merits to be included in the class of "photobooks". A photobook - as Badger and Parr understand it - is more than just the sum of its parts: pictures, words, design, and choice of subject all contribute to something which transcends the meaning of a photographic portfolio. This is all illuminating and one could certainly say that the "Photobook" is an instructive example of this synergy between various elements.
However, I wished that the editorial team would have left it at that. I think Badger and Parr are moving onto much more controversial ground when they hold forth that the emblematic photobook is a kind of dramatic event, "comparable with a piece of sculpture, a play or a film" in which the individual photographs lose their own character as things in themselves.Read more ›