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Why It Does Not Have to Be in Focus

Modern Photography Explained

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  • 224 strony
  • 8 godzin czytania

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This lively, informed defense of modern photography focuses on not focusing--and other unconventional methods that have been successfully employed by acclaimed photographers. In an age where anyone with a camera can call him- or herself a photographer, an apparent lack of technique might be mistaken for a lack of artistic sophistication. In this delightful follow-up to Why Your Five-Year-Old Could Not Have Done That, Jackie Higgins offers superb examples to counter that assumption, such as Hiroshi Sugimoto's anachronistic use of a 19th-century large-format camera to produce intentionally fuzzy pictures, and Richard Prince's controversial technique of "re-photographing" photos, which unleashed a barrage of criticism that he was profiting from others' work. From portraits to documentary images and from abstractions to landscapes, the author identifies 100 important images that are emblematic of innovation in modern photography, revealing the frequently complex processes involved in their composition. In so doing, she offers a provocative reminder of what makes a great photograph.

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Why It Does Not Have to Be in Focus, Jackie Higgins

Język
Rok wydania
2013
Oprawa
(miękka)
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3,7
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Tytuł
Why It Does Not Have to Be in Focus
Podtytuł
Modern Photography Explained
Język
angielski
Wydawca
Prestel
Rok wydania
2013
Oprawa
miękka
Liczba stron
224
ISBN10
3791348515
ISBN13
9783791348513
Seria
Tagi
Sztuka
Ocena
3,7 z 5
Opis
This lively, informed defense of modern photography focuses on not focusing--and other unconventional methods that have been successfully employed by acclaimed photographers. In an age where anyone with a camera can call him- or herself a photographer, an apparent lack of technique might be mistaken for a lack of artistic sophistication. In this delightful follow-up to Why Your Five-Year-Old Could Not Have Done That, Jackie Higgins offers superb examples to counter that assumption, such as Hiroshi Sugimoto's anachronistic use of a 19th-century large-format camera to produce intentionally fuzzy pictures, and Richard Prince's controversial technique of "re-photographing" photos, which unleashed a barrage of criticism that he was profiting from others' work. From portraits to documentary images and from abstractions to landscapes, the author identifies 100 important images that are emblematic of innovation in modern photography, revealing the frequently complex processes involved in their composition. In so doing, she offers a provocative reminder of what makes a great photograph.