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Why Photographs Work: 52 Great Images Who Made Them, What Makes Them Special and Why 1st Edition
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About the Author
George Barr is a photographer living in Calgary, Canada. Serious about photography since age 12, working initially with a WWII Zeiss Ikonta in a basement-bathroom "darkroom", he has progressed through medium format, 4X5, and now digital SLR's. He earns his living as a family doctor with a special interest in psychiatry but his primary passion has always been the fine art print.
Major milestones include learning to make quality prints from Fred Picker, learning to really "see" photographs from Hubert Hohn of the Edmonton Art Gallery, looking at Edward Weston prints bare, attending workshops, working with galleries, and being published.
George has had his images published in the magazines Black and White Photography, Black and White, Focus, Lenswork, and Outdoor Photography.
By the time George closed his darkroom, he was making very high quality prints and carried on this quality with digital cameras and inkjet printing, producing some of the finest inkjet prints made, surprising many traditional 4X5 photographers with the level of quality.
Throughout his life George has been a teacher of medical students & residents, patients, and fellow photographers. A writer of understandable patient newsletters and handouts, it was a short step to writing essays on photography. George has bravely tackled the challenging subjects of aesthetics, seeing, and composing in a style that is clear, practical, and applicable to many.
Top Customer Reviews
And now - a mere 30 or so years later - comes another destined-to-be classic in the same mold, George Barr's Why Photographs Work: 52 Great Images Who Made Them, What Makes Them Special and Why.
This is not to say that there have not been similar "picture books" published in the intervening years. In truth, one could argue that there are too many, as the quality seldom approaches Szarkowski's and Adams' volumes. Very few books in this genre approach the simple, understated elegance of Barr's new book; fewer still share the same attention to detail. And seldom have I seen such a magically diverse and exquisite collection of photographs that just sing.
In what must have been a logistical nightmare of solicitation and coordination (done entirely by email), George has assembled a veritable What's What of great images (52 of them, and taken by a veritable Who's Who of today's photographers, though not all assembled here are well known; though they all will be now that the book is out!)
The idea behind the book is not to discuss "selected images" (as representative "snapshots" used to illustrate a discourse on some photographer's life's oeuvre); rather the single focus is on simply presenting - in Szarkowski's "picture book" book fashion - great images and musings about what makes them so great. And they all are! (great, that is; Kudos to George for his selective eye).
The book contains exactly one image each by 52 photographers; some famous, some becoming so, some obscure (but clearly on the rise, given the artistry of images). As George states a number of times (and makes an eloquent case for), there is something about great images that is immediately clear, without further exposition. Why this is so, a question that is often asked by those deeply interested interested in photography but who have not yet spent half-a-lifetime looking at and creating images, is where this book shines, first with George Barr's inspired commentary, followed by the photographer's own story about how his or her selected image came to be, what their creative approach consisted of, what technical and/or aesthetic difficulties they had to overcome, and so on. A brief bio of each photographer is also provided, along with email addresses and website links for interested readers to continue exploring.
The most important part of the book, apart from the commentary - namely its images - are all nicely presented on the left hand page as you open to a given photographer's "section" and are reproduced in as large a size as the book size permits (maximum of about 9 inches longest side), with about an inch margin along the sides. Indeed, with the typical ~30% Amazon discount over the official list price, it is tempting to purchase two copies, so that the images from one can be taken out and framed to hang on the wall!
Some of the photographers are familiar to me, either because I've seen their work in magazines and journals, or - in some cases - I already own a book or two of their photographs; though, in some cases, I had not seen the particular images displayed in the book. Other photographers I am less familiar with or have not heard of at all; though, in all such cases, and as a testament to George's aesthetic tastes (in selecting images for his book) and skills as a photography critic-commentator, I now intend to look up more of their works! All types of images appear: landscapes, portraits, abstracts, formally arranged, manipulations. Most are in color, but there is a generous sampling of exquisite black and white images as well.
So, are there one or two "universal" truths that emerge after reading this wonderful book? Having read the book twice, and perused it a few more, flipping back and forth, and rereading various sections, two things stand out (though perhaps somewhat implicitly; the gestalt having been assembled by me rather than as an explicit "lessons learned" that appears in the book...if I have one minor complaint, it is that I would have liked to read George's take on the "whole" in a concluding chapter; but his introduction serves the essential purpose): (1) image simplicity (one or at most a few "main" elements and/or colors) coupled with a mastery of the complex technical skills necessary for proper presentation (the camera, lens, darkroom, Photoshop, printer, etc all become "automatic" extensions of the mind/soul of photographer), and (2) mystery (the best images tend to be the ones we want to return to again and again, and those that we feel that way about tend to be the ones for which the most open - and interesting - questions remain lingering in our mind long after we last saw the image). Certainly the book itself qualifies on both counts (albeit on a slightly "meta" level); I know I will return to it again and again, sure to be rewarded with fresh insights, new stepping-stones for my own aesthetic journeys and the simple pleasure of viewing some exquisite photographs.
I can see a series of "Why great photographs work" books appearing in the coming years, as new images - and new talents - emerge. We can only hope that the publishers, should they decide to launch such a series (I would encourage them to do so), would see fit to have none other than George Barr behind the helm. George is uniquely gifted both as a practicing photographer (with over 35 years experience) and as a teacher/author. There are as many great photographers (who have a hard time explaining how to set a proper f-stop to a novice) as there are great authors (who are hard-pressed to capture even a "not so great" photo), but very, very few who are truly great at both. George, with countless images and portfolios published, and now with three expository books behind him, is in a rarefied class indeed!
I believe that George's new book - Why Photographs Work: 52 Great Images Who Made Them, What Makes Them Special and Why - will become a "classic" (along the lines of Szarkowski's and Adams' earlier collections. Anyone interested in why photographs work - and what they can do to improve their own "eye" and completed images - should have a copy (or two!) on their shelf! Nicely done George!
When the author actually does discuss the photo, it's very brief. Never more than 4-5 paragraphs (not including the introduction of each photo), and his "analysis" is very shallow and not usually not insightful. You can examine the photo yourself and more often that not, reach the same conclusion.
This book had a good idea behind it, but it fails miserably. Check out The Photographer's Eye by John Szarkowski instead.
Barr presents us with 52 images, each by a different photographer, together with his analysis of the image, the photographer's perspective on the image, a biography of the photographer and technical data. Some of the artists are famous (at least in the photography world) like John Sexton and David Ward, and some of the artists I had never encountered. The photographs ranged from "straight" images of landscapes to highly manipulated images where it was almost impossible to tell the original source of the photographs. The images were both in black and white and in color (although I suspect a slight bias on the part of Barr towards black and white images as more artful - not that there is anything wrong with that). Each of the images was spectacular. Even though I had to remind myself that reading the book was not about me, I began to wonder why I should even try to take photographs when these artists had created such amazing works.
Barr's analysis tries to examine how the technique of the photographer helped to create the art of the image, and seems to concentrate mostly on composition and light. He states in his introduction that he is trying to show the reader, whether photographer or viewer, "why some photographs stand out from all the others". He describes the play of light within a photograph, or how areas of light balance or are set in opposition to each other, or how the subject matter is placed within the frame. The descriptions are quite clear and understandable, and photographers and viewers can be sensitized to the factors described in an image or in a prospective view. But when all is said and done, none of these descriptions explain why some arrangements appeal to our aesthetic sense (as both critics and philosophers have tried to explain over the centuries) while others do not. I have a feeling that I could find other images that had, for example, exactly the same distribution of light as those that Barr describes that would not move me one jot.
Rush through the book quickly to devour all of these images, but then go back and look at each image slowly. Ultimately this is a book to be taken in sips.
Because the author has set himself an impossible task, these pictures and the written words that accompany them may not be able to help the reader understand why some images work, but the pleasure of seeing the images and reading what one viewer and many photographers think about their work is well worth the effort.