No comments about Spot the Differences: 100 Challenging Photo Puzzles.

1 comments about Michael Kenna: A 20 Year Retrospective.

1. This book is a wonderful introduction and overview of the career of Micheal Kenna. Kenna's long-lived exposures and unusual eye for his subject material are unmistakably unique It is no wonder he is considered one of the world's most collectible photographers and apppeals to collectors just beginning to develop an interest in photography.

4 comments about A Giacometti Portrait.

1. This book is interesting. I enjoyed the models perspective, but the beginning is better than the whole. It need something more in the end.



2. I always know when I am confronted with a portrait by Giacometti. The manner in which he presents his work is completely different to that of any other artist. Giacometti was haunted by a desire to understand what it meant to be alive. His own life he could dismiss, but faced with another, the mystery of his alien being-how it filled up space, how it battled with the hostile elements of its existence-seemed to Giacometti infinitely mysterious and marvelous. It was, above all, the head that perpetually challenged him, and more specifically the gaze-the look that another person exchanges with us, which Giacometti saw as both unfolding the mystery of that personality and yet, perpetually concealing it.
   The portrait of "Jean Genet" is beautiful. Giacometti had known Genet for a year when he painted "Genet" oil on canvas. It is an impressive picture. It was Genet's appearance that had first drawn Giacometti to him, especially the shape of his head, so bald, so round-a skull in which the whole mystery of personality resided. He avoids the allure of colour; instead the picture is brown and white, with just the faint streaks of earth red to enliven it. Yet never is it more clear that a human being is a creature of majesty.
   When Giacometti used his wife as a subject of painting you can see through the art he was striving to come to terms with this person who, in theory, was the closest to him. The piece of work, "ANNETTE" It is almost as though he has scratched her portrait out of a world of white into which she would otherwise disappear. There are black markings that claw her back. She seems as riveted and horrified by the experience of encountering her husband's gaze as he is by hers. Those great eyes of hers glare at the world without emotion, the lips are pursed, and, although the body is sketchy, there is an uncanny sense of presence. He has cought her, as if in a momentary flash of light, and there she will stand transfixed forever.



3. Anyone who has ever wondered how a truly great artist gets his inspiration, works on a daily basis and incorporates his philosophies of life into his work will want to read this terrific story of how a young, American writer sat for his portrait by the legendary Alberto Giacometti.

   Almost non-stop upon their meeting, Giacometti opens up and begins letting his thoughts come tumbling out of his mouth. He tells his subject that he looks like "a thug...if I could paint you as I see you and a policeman saw the picture he'd arrest you immediately!" And then, "Don't laugh. I'm not supposed to make my models laugh." He tells the author of his trip to London's National Gallery where he says, "...I deliberately didn't look at the Rembrandts, because if I had looked at them I wouldn't have been able to look at anything else afterward." Later on in his work, "It's impossible to paint a portrait...the photograph exists and that's all there is to it."

   Giacometti was not only one of the greatest artists of the last century he was also, obviously, a wonderful, contradictory, clever, intelligent, verbal, loving, open, warm companion. When the painting is not going well, the artist exclaims, "If only Cezanne were here, he would set everything right with two brush strokes." Lord gently corrects him pointing out that Cezanne had plenty of trouble. And then Giacometti (probably with a hint of happiness) agrees, "Even he had trouble."

   One comes to know these two men so well in this small, beautifully written memoir that one feels close to them and to their emotional upset when after only eighteen days, they part ways. The author reminds us that Giacometti would be the first to remark that a portrait could only achieve a "semblence of reality." He hopes that the artist will enjoy this written portrait. As Lord writes, "To see even so little will be to see very much." True.

   Included in the paperback are snapshots taken to show Lord's portrait in progress. HIGHLY RECOMMENDED.




4. This book is a must, for fans of Giacometti's work and for artists world wide. It gives one the opportunity to be in the studio with a great artist. It is wonderfull but terrible at the same time, as an artist, I came away from the book feeling completely insignificant untalented and without hope, however this is a good thing, it is an experience all artists must, and do go through. Please read the book you will learn so much!

2 comments about American Barn (Motorbooks Classic).

1. This is the ultimate compendium of barn information. As a writer of a published barn book myself (Barn in the USA), I have seen my share of similar works. Most, however, fall short by showcasing old barns without placing them in context, or telling you more than you want to know about architectural considerations. Randy Leffingwell's book covers the historical and practical aspects of these rural structures, also presenting beautiful images without turning the book into a beauty contest. It is a treasure for historians and barnlovers alike.



2. As usual Randy's books are tops. His photography, sidebars and careful attention to details are unsurpassed. You can almost hear the hammers falling in the barn raising chapters. Recommended to all lovers of the vanishing scene.

No comments about Illuminating Video: An Essential Guide to Video Art.

3 comments about The Beginner's Guide to Pinhole Photography.

1. This book is a delight. Proper balance between technical acuracy and enjoyable reading. Highly recommended for first time adventures into pinhole photography. True beginners might appreciate a bit more detail in the construction of the three camera types but exploration is part of the fun. I should think the book highly suitable for younger readers especially. My daughter-in-law who is the photographer of the family managed a wonderful array of spectacular pictures using this book as a guide. Since I handicrafted her wooden pinhole camera, I also am pleased with the fact the the thing worked and that her pictures were so beautiful.



2. This is a wonderful introductory text to the world of pinhole photography; Mr. Shull is very clear, and provides easy to follow instructions and diagrams for creating simple pinhole cameras and printing the resultant images. His instructions are well-laid enough for even a photographic novice to use this books as a teaching text, for example for children, as a good science project for understanding light and/or basic photography.

   He keeps it simple enough that experienced pinholers will want to look elsewhere for detailed technical information or designs to push the edges of pinhole practice, but this is also the book's strength as a beginner's guide. Strongly recommended.




3. Jim Shull's second book is an expanded version of the first, 'The Hole Thing', which inspired me to pursue pinhole photography. The new version includes more information and fotografs. Just as the first book, it differentiates between photography and fotografy.

   In his folksy, non-technical style, Jim Shull explains the ins and outs of pinhole fotografy. Where technical information must be given, he does so in a very accessible manner. His guide contains essential information enabling beginners to construct and use pinhole cameras. It also shows the minimal equipment needed to process your on pictures and guides you through each step on how to do it.

   Many teachers will find Jim's guide an excellent reference.

   Thanks Jim! Excellent book!

5 comments about Sebastiao Salgado: Migrations.

1. Salgado is without a doubt the greatest photographer alive today. His pictures are like paintings in black and white, where he has taken the light and applied it with a paint-brush as if he were Rembrandt or Caravaggio. He is that good.
   
   But you must also take a step back at some point and remember what it is you are seeing: misery and suffering and depravity on a unbelievable scale.
   
   And that is the tension within Salgado's work and the source of the criticism of much of his work.
   
   His photographs of the Brazilian gold mines are unforgettable and feel as if you were witnessing something biblical. His photograph of the refugees in the Sudan, starving huddled under a tree with the sun streaking in behind them is a painting, of unparrelled mastery of light and shadow and raw human misery. His photograph of the a mother bouncing a her baby girl on her lab in a refugee camp for victims of Rawandan's genocide, the steam rising from the pot next to them, the sun rising over the mountains in the back, the other refugees shivering with their coats over their heads, and the little baby and her mother smiling broadly -- it is haunting.
   
   Salagado is a master -- there is no question about it. From someone who dreamt of being a photographer himself, when I saw his pictures for the first time, my immediate feeling was to throw away my camera. There was no competing. He is the best and the standard by which all photographer working today are to be judged against.



2. If you don't feel something while looking at the photos in this book you are dead inside.



3. I dont think Sebastiao Salgado needs any praise but this is the most beautiful book i have ever seen. The photographs are not only absolutely perfect but, most important, they tell us a story. the story of the movement of humanity. and make us think that we are only one, that borders should not matter.



4. Ex-economist Salgado keeps a rational mind while making exquisite emotional photographs, reproduced to the highest standard. As much as anyone could want to know about the world's unsettled peoples.



5. Sebastiao Salgado has earned numerous accolades for his dignified photographs of impoverished humanity. This, his latest book, covers work he has done over the last few years, documenting forced migrations and economic squalor throughout the world. He is certainly a keen observer of the human condition. However, I felt completely overwhelmed looking at his work from this book when it was exhibited a few months ago at New York City's International Center of Photography. Looking at this book allowed me to step back, and catch my breath, studying each image at my leisure. Those interested in looking at some of the finest current work in black and white documentary photography will not be disappointed with this excellent collection.

2 comments about Senses.

1. ...I won't say this book is bad, but personally, I prefer models with artistic pose, but Mulder's book has many "Playboy" style photos...I'm not sure if he is a contract photographer of Playboy or not, but somehow I'd recommend books from Bruno Bisang or Bruno Poinsard. But the design and making of this book is very good, good paper quality, good color, good printing..!!



2. Senses by Frank De Mulder is a very enjoyable nude photography book. The models seem very comfortable with themselves and their bodies. The photos highlight the models womanly curves and the facial expressions denote many moods and emotions. The photos are mainly black and white with some color photos interspersed, with a ratio of approximately 10:1. The photos were taken both indoors and outdoors. Most of the models are nude except for shoes and jewelry. If you enjoy seeing beautiful women in the nude then you will enjoy Senses.

5 comments about Patrick Demarchelier.

1. Patrick Demarchelier is one of the best artist of this age; his Photographs are pieces of history. Into this book you'll find his masterpieces: emotions in B&W!



2. A must own book for people that love b&w photography. Patrick is excellent at getting the perfect angle for the image. The way the natural light and shadows enhance the objects is great. The true persons are drawn by the way the pictures are taken.



3. My 12 year old saw this book on one of the display tables, picked it up... for the cover (naked lady) and glanced through it. He then later came running up to me saying... Please buy this book. The pictures are excellent. Well now, my son is interested in photography as a hobby.



4. This is one of the best books of portraits that it has been my pleasure to view.

   Before going further, let me observe that the book contains much female nudity that would earn an "R" rating if this were a motion picture.

   Glenn O'Brien in the book's introduction captures the essence of the book well, "The beauty standard is being raised once again."

   Whether the subjects are beautiful (and many are) or not, the result is the same -- a deep look into the personality and character of the model done in large, vivid detail in wonderfully contrasting duotone. One of the best tests for this book is to compare the celebrity images you see here with others you have seen of these same people. These images are more warm, more revealing, and more fun to see. Mr. Demarchelier has a light touch that gets out the happiest version of a person. You'll find yourself laughing and smiling your way through this collection, for sure.

   The portraits displayed here are uniformly of very high quality, and provide nice contrasts of subjects (nose rings, boulders, children, and elephants among the beautiful people).

   Here are some of my many favorites:

   Nude, St. Barthelemy, 1994

   Nude, St. Barthelemy, 1989

   Her Royal Highness, The Princess of Wales, London, 1993

   Warren Beatty, Annette Bening and their daughter, Los Angeles, 1994

   Versailles gardens, Versailles, France, 1994

   Gianni Versace, Paris, 1992

   Nude, New York, 1995

   Corbassiere, Paris, 1994

   Helena Christensen, New York, 1992 (second image)

   Cindy Crawford, Leh, India, 1989

   Jasper Johns and Leo Castelli, New York, 1993

   Roy Lichtenstein, New York, 1993

   Naomi Campbell, New York, 1990

   Isabella Rosselini, New York, 1994

   Robin Williams (4), New York, 1990

   Robert De Niro, New York, 1990

   Sisters, St. Barthelemy, 1991

   Christy Turlington, New York, 1990

   Alice Dodd, New York, 1994

   Natasha Kinski, New York, 1993

   Warren Beatty from "Dick Tracy," Los Angeles, 1989

   Elton John, Paris, 1992

   Janet Jackson, Miami, Florida, 1993

   Arthur Demarchelier, New York, 1991

   Patrick and Mia Demarchelier and their three sons, New York, 1987

   Meg Ryan, New York, 1994

   Claudia Schiffer, St. Barthelemy, 1991

   Paul Newman, Beacon, New York, 1994

   Elle Macpherson, New York, 1990

   Cindy Crawford, New York, 1990

   After you look closely at these images, notice how lines and flaws provide balance and perspective in the same way that perfect figures provide proportion. How can you create more waves of enjoyable symmetry?

   Drink deeply from the bubbling joy of humanity!




5. This depicts some of what we know and expect of Mr. Demarchelier. His ability to capture so much in a photograph, in a look, is what makes him so incredible as an artist. If you are a fan of his work, this work should be part of your collection.

5 comments about How to Succeed in Commercial Photography: Insights from a Leading Consultant.

1. Smart and insightful, this book describes, step by step how to achieve the kind of success most dream of but few accomplish.
   
   Selina Maitreya has written a no nonsense book that outlines the basic requirements for achieving success in one of the most competitive businesses around. Her approach is not only to achieve business and creative success, but to achieve some spiritual enlightenment along the way. In other words, she wants you to make money and create fabulous images, but says that those things do not make us happy without a deeper understanding of ourselves creatively.
   
   The point she makes in the end is, she can give you all the advice in the world but you have to make it happen on your own. She makes that clear with anecdotal success stories of some of her most determined clients who work through difficult times and personal tragedies, not necessarily to reach success beyond their wildest dreams, but to launch their business and begin to find clients who give them the work they dreamed of.



2. I was led to this book among a few others after asking for advice about how to get in the commercial / advertising industry. Since Amazon wouldn't let me peek inside the book and I couldn't find it locally to get a closer look, I took a chance and bought it.
   
   What a disappointment.
   
   Within the first few pages of the book, Selina states that her book is not a "How To" book. Why then, Selina, would you slap a "HOW TO" right in the f***in' title? Perhaps to sucker in a few more sales.
   
   This is a self-help book.
   
   I hate self-help books.
   
   You see, I believe that confidence and a positive outlook are acquired through specific knowledge of the industry you're in rather than the general suggestion of reconnecting with one's spirituality, something the book hammers on endlessly. Nothing inspires confidence in a photographer more than knowing exactly what to expect at a meeting with an Art Director, how to submit your book, how to price yourself competitively, how to plan a debut in the industry, etc. And besides, if reconnecting with one's spirituality is the only way to success, does that mean an atheist can never be a successful photographer? What about a Wiccan photographer? Or an agnostic photographer? The whole premise seems silly to me.
   
   If you want a simply awesome book, buy "Advertising Photography - A Straightforward Guide to a Complex Industry" by Lou Lesko. The advice there is much more practical and very easy to read. Other books I'd suggest are "ASMP Professional Business Practices in Photography" and even "Best Business Practices for Photographers" by John Harrington, although this last one is excruciatingly tedious to read through. Still, all three of these books would be far more useful to any photographer than Selina's book.



3. I am re-reading this book again. This book is more than some repeated advice, but it is a book that encourages you to succeed.
   I enjoyed the chapters on vision more than any of them. So many books on the business of photography attempt to drown you with negative doubtful comments that you ready to quit before you begin.
   Selina on the other hand delivers a honest look at the world of commercial photography, but filters it through a message of positive encouragement and strong faith.
   
   Tim Skipper
   Vision Photo Image
   www.visionphotoimage.com



4. This book is aimed at professional photographers seeking assignment work from photo buyers, art directors and the like. It will be of less use to the professional shooting fine art or stock, although someone in one of the latter categories might pick up a few tips. It's also of more value to someone who's already working in the business rather then just starting out.
   
   Maitreya, who is a marketing consultant to assignment photographers, provides a series of essays that are more inspirational then instructive. For example, she tells the assignment photographer that in today's marketplace he or she must provide the client with value and attempts to explain what value is. Perhaps it's my business background, but I always thought that assignment photographers had to provide value if they wanted business, but maybe most don't realize that, or at the very least had never considered that deeply.
   
   The author seems to move from the practical side to the spiritual side. For example, early in the book she tells the photographer that he must have a book (the phrase photographers use to describe the portfolio submitted to customers as part of the effort to influence the client to hire them) that will show the client how hiring the photographer will yield images that enhance the client's campaign. That means showing the client work that is the essence of the photographer, even at the risk of it not being consistent with the client's vision. The author believes that, if the portfolio is essential (my words, not hers) and the photographer keeps marketing, eventually he or she will be successful. She doesn't give many specifics about preparing such a book, perhaps because she has already covered that ground in an earlier book, "Portfolios That Sell: Professional Techniques for Presenting and Marketing Your Photographs".
   
   At the spiritual end she talks of developing faith in oneself, and using affirmations that will reinforce one's faith. Even though it sounds a bit mystical, I think that psychologists agree on the importance and usefulness of such things in marketing.
   
   Whether the author's approach will help the assignment photographer is not clear to me. I'm not an assignment photographer, but I think some of her points make sense even in fine arts photography. Whether the author's message will make sense to the particular assignment photographer, and whether she will convince him or her to try the suggestions, will ultimately depend on the personality of the photographer. On the other hand, for the assignment photographer who is interested in improving his business, this book might provide the necessary inspiration and, even if it does not, there is little to be lost in time or money in considering the author's approach.



5. This book is so much more than just a "how to" guide. Selina has pointed out many areas that need to be developed if you want to be successful in this field. From Values and vision to faith and persistence there are no topics left undiscussed.
   
   I would recommend this book to anyone who is looking for a simple guide to a very complex and confusing industry.
   
   -David Paul Larson
   www.davidpaullarson.com