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Just out of curiosity,
How many of us are still actively looking and buying photography books?
What photography view medium do you most frequently partake in, actual photographs at galleries/museums, photography monographs/publications, internet or others, what others????
I probably own about 200 photography-related books, not technical books but books about photographers and photography. I don't buy very much any more, I have most of what I want. But I do still buy occasionally. Most recently I bought "The Idea of Louis Sullivan" by John Szarkowski after learning about it from a thread on this forum. Since I no longer live in a metropolitan area, most of my viewing of photographs is on line and in books and other publications (e.g. LensWork and Photo Techniques). Also those shown at meetings of a local camera group each month.
This sounds interesting, any chance you can do quick review of it???? :)Quote:
Originally Posted by Brian Ellis
Most recently I bought Joel Peter Witkin - Songs of Innocence and Experience, and Larry Sultan - Katherine Avenue. The last photograph I saw was in the National Portrait Gallery, of Sam Taylor Wood. Before that, the only solo show of prints by Sally Mann in The Photographers' Gallery.
Over the past couple years I've slowly started to buy monographs, but for the most part I now have what I want. There's not so many books I'd just buy; as with the Witkin, I'm starting to fill in gaps. As with Sultan, I'll occasionally buy first editions of new books.
I go to as many exhibitions as I can, but it's not as easy as just buying a book. Most of the books I own are by photographers whose work was exhibited a while ago, or may never be in a gallery at all.
The word "still" doesn't apply to me, as I'm very new to this game. I began LF a couple years ago as a fan of color landscapers like Jack Dykinga, David Meunch and Joe Cornish. After collecting some books by those types, my tastes started gravitating to B&W.
Like Brian, I don't have much access to "real" photographs, so it is web pages or books for me. I've taken to having a mental list of folks whose work interests me, and I regularly check out prices for used copies of their books on Amazon. With a little patience and not too much outlay I've assembled a small library of work by AA, Ray McSavaney, Michael Kenna, Wright Morris, David Plowden, Brett Weston, Jay Dusard, and maybe a couple others I'm forgetting.
I enjoy looking at these books very much. Lately I've taken to browsing one of them before going to bed, to calm my mind from the chaos of the day.
I have several wonderful books and living near two Powell book stores helps me build my collection. Some of my books were given to me by fellow photographers who wanted to clear their shelves a bit. I've also sent some books to either local schools for their photo dept or to my local library's collection.
I'm currently curious about self published books. I've seen some really great books being produced by folks. I'm also seeing some photographers producing books for the cumputers only. Web-books. I have a small interest in this. To me a book is something to sit with and study over in good light, it has pages to turn and binding.
A computer photo book. Give me sometime to understand this.
Sure, as soon as I read it.Quote:
Originally Posted by fuegocito
I am collecting photography books. I consider this activity to be an important part of my photography education, although the type of photography that I do and the books I buy are quite different. I'd like to visit museum and gallery exhibits more, but time is short.
So trueQuote:
Originally Posted by QT Luong
I just bought Margaret Bourke-White's "The Taste of War" which are her memoirs from WW2. Not too many photo's but illuminating. I also picked up John Szarkowski's "Looking at Photographs" a while back. Both are old but at a buck a piece from the library sale I couldn't pass them up.
That said, I rarely buy photography books.
I have a serious photo book habit. So I try to avoid going into bookshops unless I have some spare money :-)
I have a Special Edition print (made by Alan Ross) of Adams's Dogwoods.... I also have Yosemite and the Range of Light. That has provided a unique (in my experience) opportunity to compare an original silver print with a duotone lithographic print.
The reproduction is actually a bit sharper to the eye. This is caused by the false edges implied at the edges of highlights where the screened dots jump from their smallest size to not being there at all. The screening process of lithography added the appearance of crispness.
But it does that at the expense of smooth tonality at the smallest scale of the image.
In terms of overall impact, there is very little difference.
Thinking in terms of what is important, we make a series of photographic decisions in pursuit of artistic aims. When comparing books to actual prints, the question has to be which of those decisions come through and which are filtered out by the reproduction process. In my view, the most important decisions come through just fine, but some of the subtle decisions might not. If, someone makes a lovely photograph, and then, say, makes a carbon transfer print that adds its own loveliness, the first loveliness might show up in a reproduction, and some of the second might not. I don't think anyone would suggest that the photograph can only be successful if both contributors to loveliness are present. In fact, if it's not a lovely photograph to begin with, adding loveliness in the printing process will probably end up being no better than a lovely finish on an ugly piece of furniture.
Speaking of Powells, I'm in Portland this week on business and made my pilgrimage to Powell's as I always do when I'm in Portland. I found a pristine edition of Sexton's most recent book. I spent a little time with it last night. The photos in it are in many cases breathtaking and powerful, and the effect they had on me cannot be denied. Surely the original prints would provide an even more powerful experience, but it seems clear to me that most of the important decisions Sexton made were clearly visible even in the smallish laser reproductions in a book. His work does not depend on size or printing prowess for its power, despite that nobody would deny his printing prowess or the ability of his images to go large.
I suspect my observation is consistent with Adams's warnings against sharp images of fuzzy concepts.
I go to see gallery showings when I can, and I have bought prints at galleries even recently. But still the breadth of my appreciation for photography has come through books. And the notion of self-published books has a lot of conceptual appeal to me--those might be more marketable and find a wider audience than individual fine prints.
Rick "who appreciates well-printed books in their own right" Denney
I'm always on the lookout for books. For the most part I don't buy new books, except rarely, and have a few out of the way places here in town that constantly turn up great finds.
Recently while going through boxes that were being stored, I found a copy of Irving Penn's Moments Preserved in my wife's collection. She didn't remember owning it but there it was. An amazing find right in my own backyard, so to speak.
I also recently found a copy of Tom Baril's rare first book in perfect condition for a fraction of its usual going rate. One of the best finds I've made...
But yes, I look at my books all the time, can't get enough...and I live close enough to so many great photographer-printers that I get to see their work firsthand often. It's made a big difference in my development as a printer to be able to see so much good work up close.
Lately I've been cruising junk/antique store looking for 19th century alt prints. They are almost always portraits and lots of times it can be hard to tell if they are original (real) prints. They usually go for $1 to $5.
I also buy books with alt process images. Adolphe Braun is the latest I've found, at half price books for $9.99
due the fact i live in a small town , photography books are part of my education, i have several hundred of them from photojournalist, to landscape , fashion, architecture, portrait,etc,. Now i dont´t buy anymore technical ones, only photographers. last one
America by car by Lee Friedlander, before that Dayanita Sigh blue book and arriving soon two long awaited A road divided by Todd Hido and From here to there by Alec Soth.
A Road Divided is the third Hido book I've got, I prefer House Hunting (2nd edition), undecided on Between The Two. Didn't get a copy of that Alec Soth. Recently bought Larry Sultan's Katherine Avenue.
I own 5 books only. Nowadays is full of online resources and E-Books, that hard copy books are slowly going out the market. My 2 cents.
Where I live, it is hard to keep contact with other photographers or see photography exhibitions. As a matter of fact, the only tripod feet that I saw around here in the last (almost) 3 years that I live in this small town, were my own.
So, I am very glad that I own a small collection of fine monographs by some photographers that I admire and inspire me. Some of these books are with me for many years now, and it is delightful to every now and then watch all those wonderful images again.
I know that it is not the same (how could it be?) as looking at an original print, but still fantastic in a way (if the book is well printed...), and too much better than looking at a photograph in a computer screen. The feeling of physycally holding a good book, experiencing its weight, its texture and smell is very important for me: it relaxes and it educates my mind while it gives a lot of pleasure.
I don't want to miss my books!
Greetings,
Rui
P.S.: Many of my photographs have appeared in architectural books by Álvaro Siza, Mies van der Rohe, etc. Some of those books were even published by me (White & Blue), but that is another story!
AL-MOST-LY PHOTOGRAPHY
By most recent book I assume you mean "Recollections." I have that book and I've seen many of the original prints of images in it by attending four of John's workshops. The originals work much better for me than the book. It isn't so much the technical quality of the book, which is excellent and certainly rivals the prints, it's more a matter of the images themselves just demanding to be printed big.Quote:
Originally Posted by rdenney
No doubt, but I'll take what I can get.Quote:
Originally Posted by Brian Ellis
Rick "thinking this summarizes most of the responses in this thread" denney
You are certainly entitled to own only five books and have your own opinions about anything and everything, but to say that on-line resources are an adequate substitute for print culture expresses a mind-set that is not worth even two cents.Quote:
Originally Posted by JumpParty
Spent my birthday money on the first printing of the huge 3-volume Bruce Davidson - Outside Inside.
It's a really nice collection.
Other than attending a gallery showing of photographs, which are few and far between here in Vancouver, there's nothing like a high-quality book to sit and pass the time with.
The internet is fine but I'll take a book ANY day of the week.
Yosemite and the Range of Light is definitely a beautiful book but I'd love to see some of those photographs "up close and personal" at a gallery one fine day!
But, to answer your question directly, "Yes, I'm ALWAYS on the hunt for a great photography book." :)
Cheers
Whenever I see a book of photographs that interests me, I buy it. I'll occasionally buy a technical book to augment my technical library.
Dave
I get so much enjoyment with my books. I have been trying to fill in some of the gaps the past year. After hearing about New York Sleeps by Christopher Thomas I ordered it. Very happy with it. Another title I think I heard about on this forum was West of Last Chance by Peter Brown and Kent Haruf. Josef Sudek and Atget were also additions to my small library of photographic books.
Since my entry into large format (which wasn't so long ago), I visit this forum daily to view images. Its just a wonderful platform to see whats being done.
Happened upon Scales by Naoya Hatakeyama on Monday. Great book, much smaller than Zeche Westfalen I/II Ahlen, but nicer in the sense it has texture. This little book has various paper stocks, stuck down photos, I like that.
like others access to real photographs are not frequent so i also am a book purchaser (i have this as a background affliction/addiction anyway)
I would say I have maybe half as many as Brian plus a collection of technical books. My latest purchase is "Imagining Eden" by Lyle Gomes that I bought through a listing here on the LF Forum. Most of the books I have purchased these last several years have been used. With remarkably few exceptions they have been tremendous values and in very good to new condition.Quote:
Originally Posted by Brian Ellis
Dan
Love them, they last forever, and never get old. Still have old copies of mags, CAMERA ARTS, VIEW CAMERA, AMERICAN PHOTOGRAPHER etc from the early 80's. Just recevied a new tech book,The Master Photographer's TONING BOOK , by Tim Rudman. Very detailed book on toning.
Bought this summer:
- THE ALL AMERICAN CAMERAS review of GRAFLEX®, Richard P, Paine
- The Evolution and Demise of the Large Format Press Camera, Reg Halloway
- Making KODAK Film, The Illustrated Story of State-of-the-Art Photographic Film Manufacturing, Robert Shanebrook
- Graphic Graflex Photography, Willard D. Morgan and Henry M. Lester
Awaiting delivery:
- A User's Guide to the View Camera, Jim Stone, 3rd Edition
- Way Beyond Monochrome, Ralph Lambrecht, new edition to be release in September 2010
Steve