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Rating: 
Summary: A Collection, New Yorker style
Review: A Collection, New Yorker style It is difficult to make a collection of photographs by different people and not make it haphazard, unless there is an underlying theme. The book consists of 100 pictures by 100 photographers in bw, taken in the 100 years or so up to 1960's, accompanied by a page of text each. The writing is insightful and while is not meant to be a systematic introduction to the history of photography, nonetheless is quite educational if you are interested in the subject. While the photographs range from the concrete to the abstract, the book is coherent helped largely by text. I enjoyed reading the text and looking at the photographs. The book's strength and its weakness is that it strives to be stylish and original; the writing is 'sophisticated' and snobbish, a la New Yorker. Some of the 'deep' comments I did not much care for. Perhaps more importantly, a majority of the photos chosen for the photographer are not the ones that are usually considered the photographers' most representative works. You should not read the book to study the history of photography nor to find the standard representative works of the famous photographers. I think people who are familiar with the rough history of photography and the more famous photographers will enjoy looking through the book - perhaps checked out from a library.
Rating:
Summary: A Collection, New Yorker style
Review: A Collection, New Yorker style It is difficult to make a collection of photographs by different people and not make it haphazard, unless there is an underlying theme. The book consists of 100 pictures by 100 photographers in bw, taken in the 100 years or so up to 1960's, accompanied by a page of text each. The writing is insightful and while is not meant to be a systematic introduction to the history of photography, nonetheless is quite educational if you are interested in the subject. While the photographs range from the concrete to the abstract, the book is coherent helped largely by text. I enjoyed reading the text and looking at the photographs. The book's strength and its weakness is that it strives to be stylish and original; the writing is 'sophisticated' and snobbish, a la New Yorker. Some of the 'deep' comments I did not much care for. Perhaps more importantly, a majority of the photos chosen for the photographer are not the ones that are usually considered the photographers' most representative works. You should not read the book to study the history of photography nor to find the standard representative works of the famous photographers. I think people who are familiar with the rough history of photography and the more famous photographers will enjoy looking through the book - perhaps checked out from a library.
Rating: 
Summary: See More . . . Through Photographs
Review: Although this book has much less female nudity than many photographic books, there are two such pages in the book. If this type of representation is offensive to you, either skip this book or avoid those pages. This book has modest purposes. "This is a picture book, and its first purpose is to provide the material for simple delectation." Beyond that, it is "a visual interim report [as of 1973] on the results of collecting photographs at The Museum of Modern Art." These purposes are magnificently fulfilled, and your eyes and mind will be filled with many useful new perspectives and thoughts as a result of your delectations here. Your life will be expanded by seeing much more, both in photographs and in life, as a result. Mr. Szarkowski, head of the photography collection at MOMA, points at that photography "has received little serious study." As a result, a language and analytical framework for considering photography are not yet developed. To overcome that limitation. Mr. Szarkowski has provided a number of perspectives in the one-page essays that accompany each page of photography. These perspectives include the utilitarian purpose of the image, the style of the photographer, the technology of the methods used, and the significance of the subjects or subject. He also draws your attention to detail or information that expand your knowledge. It is like having the best docent's photography tour of your life, as you go through the images. These essays are modestly described as simply "an attempt to describe photography from a somewhat more liberal and exploratory perspective." Well, they are much more than that. They are like turning the light on to see the photographs for the first time, unless you are a talented photographer already. In creating this book, a great decision was made to limit each photographer to one page of work. In this way, you get to see more types of images and styles. I think this added greatly to the knowledge and enjoyment that can be gained from this wonderful book. A great benefit of this approach was to allow selecting photographs that would reproduce well in this page size format. I heartily approve of that approach! In the book you will find portraits, sketches for painters, ways of recording far away places, Civil War reporting, aerial reconnaisance, methods of encouraging connections, insights into the physics of life, and efforts to be a successor to painting. As the author says, "Photography has remained . . . radical, instructive, disruptive, influential, problematic, and [an] astonishing phenomenon of the modern epoch." Here are my favorite images: D.O. Hill and W.B. Johnston, David Octavius Hill, Celotype, c. 1845 Baron Isadore Taylor, Nadar, Woodbury type, 1872 Madonna with Children, Julia Margaret Cameron, Albumen print, c. 1866 Sugar Bowl with Rowboat, Wisconsin Dells, Henry Hamilton Bennett, 1911 Avenue du Bois de Boulogne, Paris, Jacques Henri Lartigue Georgia Engelhard, Alfred Stieglitz, 1921 Torso of Neil, Edward Weston, 1925 Babe Ruth, Nikolas Muray, c. 1927 James Joyce, Berenice Abbott, 1928 Wes Fesler Kicking a Football, Dr. Harold E. Edgerton, c. 1935 A Boy with a Straw Hat with Flag Waiting to March in a Pro-War Parade, New York City, Diane Arbus, 1967 The Museum of Modern Art added a photograph to its collection as only the 23rd object acquired in April 1930. From the beginning, the museum has been committed to photography and was the first museum to establish its own independent department of photography. Invariably, there are copious hangings from the collection available for viewing whenever you visit MOMA. The museum should be proud of creating and now reproducing an improved version of this wonderful set of selections from its extensive collection. Perhaps it is time to create a larger version of this book that is more representative of the whole collection. After you finish expanding your vision through these marvelous essays and photographs, I urge you to do some photography of your own to express yourself. You will appreciate what you see even more when you create your own images. A good way to begin is to find a subject that is covered in this book and create your own version of that subject. In that way, you can get "inside of the camera" with the photographer. After your photographs can be seen, compare them with the book. Go back and try again. Repeat the process . . . until you have captured the image you were seeking. Like truth, images can be fleeting and transparent. See more and be more through your improved vision!
Rating:
Summary: See More . . . Through Photographs
Review: Although this book has much less female nudity than many photographic books, there are two such pages in the book. If this type of representation is offensive to you, either skip this book or avoid those pages. This book has modest purposes. "This is a picture book, and its first purpose is to provide the material for simple delectation." Beyond that, it is "a visual interim report [as of 1973] on the results of collecting photographs at The Museum of Modern Art." These purposes are magnificently fulfilled, and your eyes and mind will be filled with many useful new perspectives and thoughts as a result of your delectations here. Your life will be expanded by seeing much more, both in photographs and in life, as a result. Mr. Szarkowski, head of the photography collection at MOMA, points at that photography "has received little serious study." As a result, a language and analytical framework for considering photography are not yet developed. To overcome that limitation. Mr. Szarkowski has provided a number of perspectives in the one-page essays that accompany each page of photography. These perspectives include the utilitarian purpose of the image, the style of the photographer, the technology of the methods used, and the significance of the subjects or subject. He also draws your attention to detail or information that expand your knowledge. It is like having the best docent's photography tour of your life, as you go through the images. These essays are modestly described as simply "an attempt to describe photography from a somewhat more liberal and exploratory perspective." Well, they are much more than that. They are like turning the light on to see the photographs for the first time, unless you are a talented photographer already. In creating this book, a great decision was made to limit each photographer to one page of work. In this way, you get to see more types of images and styles. I think this added greatly to the knowledge and enjoyment that can be gained from this wonderful book. A great benefit of this approach was to allow selecting photographs that would reproduce well in this page size format. I heartily approve of that approach! In the book you will find portraits, sketches for painters, ways of recording far away places, Civil War reporting, aerial reconnaisance, methods of encouraging connections, insights into the physics of life, and efforts to be a successor to painting. As the author says, "Photography has remained . . . radical, instructive, disruptive, influential, problematic, and [an] astonishing phenomenon of the modern epoch." Here are my favorite images: D.O. Hill and W.B. Johnston, David Octavius Hill, Celotype, c. 1845 Baron Isadore Taylor, Nadar, Woodbury type, 1872 Madonna with Children, Julia Margaret Cameron, Albumen print, c. 1866 Sugar Bowl with Rowboat, Wisconsin Dells, Henry Hamilton Bennett, 1911 Avenue du Bois de Boulogne, Paris, Jacques Henri Lartigue Georgia Engelhard, Alfred Stieglitz, 1921 Torso of Neil, Edward Weston, 1925 Babe Ruth, Nikolas Muray, c. 1927 James Joyce, Berenice Abbott, 1928 Wes Fesler Kicking a Football, Dr. Harold E. Edgerton, c. 1935 A Boy with a Straw Hat with Flag Waiting to March in a Pro-War Parade, New York City, Diane Arbus, 1967 The Museum of Modern Art added a photograph to its collection as only the 23rd object acquired in April 1930. From the beginning, the museum has been committed to photography and was the first museum to establish its own independent department of photography. Invariably, there are copious hangings from the collection available for viewing whenever you visit MOMA. The museum should be proud of creating and now reproducing an improved version of this wonderful set of selections from its extensive collection. Perhaps it is time to create a larger version of this book that is more representative of the whole collection. After you finish expanding your vision through these marvelous essays and photographs, I urge you to do some photography of your own to express yourself. You will appreciate what you see even more when you create your own images. A good way to begin is to find a subject that is covered in this book and create your own version of that subject. In that way, you can get "inside of the camera" with the photographer. After your photographs can be seen, compare them with the book. Go back and try again. Repeat the process . . . until you have captured the image you were seeking. Like truth, images can be fleeting and transparent. See more and be more through your improved vision!
Rating:
Summary: Wonderful Images; Beautifully Written Commentary
Review: John Szarkowski has selected 100 worthwhile images and has crafted exceptionally well written commentary about each image. The value of the collection far exceeds the sum of the parts. The book is an education about photography. It doesn't matter how much you like an image or agree with the commentary because by seeing the image and reading the commentary you will learn about photography and about life.
Rating:
Summary: Wonderful Images; Beautifully Written Commentary
Review: John Szarkowski has selected 100 worthwhile images and has crafted exceptionally well written commentary about each image. The value of the collection far exceeds the sum of the parts. The book is an education about photography. It doesn't matter how much you like an image or agree with the commentary because by seeing the image and reading the commentary you will learn about photography and about life.
Rating:
Summary: The book I was REALLY hoping for !
Review: This book fills the reader with emotion and knowledge about photography and photographs. I will never look at a photograph the same way after having read it. The language is beautiful and inspiring and photographs wonderfully reproduced. Anyone who loves the subject or art in general will find excitement on every page. NOW I can begin to know which photographers to study first and how to approach an enormous subject.
Rating:
Summary: The book I was REALLY hoping for !
Review: This book fills the reader with emotion and knowledge about photography and photographs. I will never look at a photograph the same way after having read it. The language is beautiful and inspiring and photographs wonderfully reproduced. Anyone who loves the subject or art in general will find excitement on every page. NOW I can begin to know which photographers to study first and how to approach an enormous subject.
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