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Rating: 
Summary: housewife scratches an image and calls herself artist
Review: This a book dealing with nothing more than a technique and has nothing to do with art. Her Polaroid manipulations are awful, demeaning the entire creative process. It tries to be a how to book and it is. But, like I said, her work falls tremendously short of good.
Rating:
Summary: housewife scratches an image and calls herself artist
Review: This is a book of manipulated Polaroid SX70 images. The author in three succinct pages describes why and how she manipulates the photos and encourages us to try the process to "awaken the creative spirit." She presents 61 manipulated--often also painted--images in five subject categories (Seascapes, Gardens, Architecture and Exteriors, Still Lifes and Interiors, and People). There's a section of notes on the pictures and, in six short pages, a remarkable amount of information to help one get started in SX70 manipulation. There were a few disconcerting points, the photo, Solace Beside the Waterlily Garden, described as on the back cover was not found anywhere in this edition, a reference to Cibachrome (now Ilfochrome) prints being made from internegatives rather than positive transparencies, and I found it awkward flipping back and forth between notes and pictures. More important, however, Ms Murray does an extraordinary job of sharing her passion and technique in few words and, primarily, in images that may well inspire you to try the process. It's got me trying to remember where I put that old SX70 camera.
Rating: 
Summary: Inspiration for the "creative spirit"
Review: This is a book of manipulated Polaroid SX70 images. The author in three succinct pages describes why and how she manipulates the photos and encourages us to try the process to "awaken the creative spirit." She presents 61 manipulated--often also painted--images in five subject categories (Seascapes, Gardens, Architecture and Exteriors, Still Lifes and Interiors, and People). There's a section of notes on the pictures and, in six short pages, a remarkable amount of information to help one get started in SX70 manipulation. There were a few disconcerting points, the photo, Solace Beside the Waterlily Garden, described as on the back cover was not found anywhere in this edition, a reference to Cibachrome (now Ilfochrome) prints being made from internegatives rather than positive transparencies, and I found it awkward flipping back and forth between notes and pictures. More important, however, Ms Murray does an extraordinary job of sharing her passion and technique in few words and, primarily, in images that may well inspire you to try the process. It's got me trying to remember where I put that old SX70 camera.
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