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Synopsis
An engaging, thoroughgoing and enlightening reappraisal of contemporary photography that shows that there’s much more to the art of photography than just pointing and clicking
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About the Author
Jackie Higgins is a writer, journalist and filmmaker whose work embraces a range of subjects. She was a contributing writer to Photography: The Whole Story, also published by Thames & Hudson.
From the Back Cover
Why take a self-portrait but obscure your face with a lightbulb (Lee Friedlander, Provincetown, Cape Cod, Massachusetts (1968)? Or deliberately underexpose an image (Vera Lutter, Battersea Power Station, XI: July 13 , 2004)? And why photograph a ceiling (William Eggleston, Red Ceiling , 1973)? In Why It Does Not Have To Be In Focus , Jackie Higgins offers a lively, informed defence of modern photography. Choosing 100 key photographs with particular emphasis on the last twenty years she examines what inspired each photographer in the first place, and traces how the piece was executed. In doing so, she brings to light the layers of meaning and artifice behind these singular works, some of which were initially dismissed out of hand for being blurred, overexposed or badly composed. The often controversial works discussed in this book play with our expectations of a photograph, our ingrained tendency to believe that it is telling us the unadorned truth. Jackie Higginss book proves once and for all that theres much more to the art of photography than just pointing and clicking.
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Why It Does Not Have To Be In Focus: Modern Photography Explained
Published by
Thames & Hudson Ltd, United Kingdom, London, 2013
ISBN 10: 0500290954
ISBN 13: 9780500290958
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Seller: WorldofBooks, Goring-By-Sea, WS, United Kingdom
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Paperback. Condition: Very Good. Why take a self-portrait but obscure your face with a lightbulb (Lee Friedlander, Provincetown, Cape Cod, Massachusetts (1968)? Or deliberately underexpose an image (Vera Lutter, Battersea Power Station, XI: July 13 , 2004)? And why photograph a ceiling (William Eggleston, Red Ceiling , 1973)? In Why It Does Not Have To Be In Focus , Jackie Higgins offers a lively, informed defence of modern photography. Choosing 100 key photographs with particular emphasis on the last twenty years she examines what inspired each photographer in the first place, and traces how the piece was executed. In doing so, she brings to light the layers of meaning and artifice behind these singular works, some of which were initially dismissed out of hand for being blurred, overexposed or badly composed. The often controversial works discussed in this book play with our expectations of a photograph, our ingrained tendency to believe that it is telling us the unadorned truth. Jackie Higginss book proves once and for all that theres much more to the art of photography than just pointing and clicking. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged. Seller Inventory # GOR005801450
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Why It Does Not Have to Be in Focus : Modern Photography Explained
Published by
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ISBN 10: 0500290954
ISBN 13: 9780500290958
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Why It Does Not Have to Be in Focus : Modern Photography Explained
Published by
Thames & Hudson, Limited, 2013
ISBN 10: 0500290954
ISBN 13: 9780500290958
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Why It Does Not Have To Be In Focus (Paperback)
Published by
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ISBN 10: 0500290954
ISBN 13: 9780500290958
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Paperback. Condition: new. Paperback. Why take a self-portrait but obscure your face with a lightbulb (Lee Friedlander, Provincetown, Cape Cod, Massachusetts, 1968)? Or deliberately underexpose an image (Vera Lutter, Battersea Power Station, XI: July 13, 2004)? And why photograph a ceiling (William Eggleston, Untitled (Greenwood, Mississippi, 1973)?In Why It Does Not Have To Be In Focus, Jackie Higgins offers a lively, informed defence of modern photography. Choosing 100 key photographs - with particular emphasis on the last twenty years - she examines what inspired each photographer in the first place, and traces how the piece was executed. In doing so, she brings to light the layers of meaning and artifice behind these singular works, some of which were initially dismissed out of hand for being blurred, overexposed or 'badly' composed.- Discover why Gillian Wearing's Self-Portrait at 17 Years Old not the straightforward photobooth snap that it first appears to be. - Find out what lies behind Hiroshi Sugimoto's decision to use a 19th-century large-format camera for his work - an apparently perverse choice, given his intention to throw the images it creates out of focus.- And explore what prompted Richard Prince to begin photographing existing photographs - an act that saw him pilloried by some critics for lazily profiting from other people's work.The often controversial images in this book play with our expectations of a photograph, our tendency to believe that it is telling us the unadorned truth. Jackie Higgins proves once and for all that the art of photography is much more sophisticated than it at first may seem. Choosing 100 key photographs, the author examines what inspired each photographer in the first place, and traces how the piece was executed. She brings to light the layers of meaning and artifice behind these singular works, some of which were initially dismissed out of hand for being blurred. Shipping may be from multiple locations in the US or from the UK, depending on stock availability. Seller Inventory # 9780500290958
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Published by
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ISBN 10: 0500290954
ISBN 13: 9780500290958
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Paperback. Condition: new. Paperback. Why take a self-portrait but obscure your face with a lightbulb (Lee Friedlander, Provincetown, Cape Cod, Massachusetts, 1968)? Or deliberately underexpose an image (Vera Lutter, Battersea Power Station, XI: July 13, 2004)? And why photograph a ceiling (William Eggleston, Untitled (Greenwood, Mississippi, 1973)?In Why It Does Not Have To Be In Focus, Jackie Higgins offers a lively, informed defence of modern photography. Choosing 100 key photographs - with particular emphasis on the last twenty years - she examines what inspired each photographer in the first place, and traces how the piece was executed. In doing so, she brings to light the layers of meaning and artifice behind these singular works, some of which were initially dismissed out of hand for being blurred, overexposed or 'badly' composed.- Discover why Gillian Wearing's Self-Portrait at 17 Years Old not the straightforward photobooth snap that it first appears to be. - Find out what lies behind Hiroshi Sugimoto's decision to use a 19th-century large-format camera for his work - an apparently perverse choice, given his intention to throw the images it creates out of focus.- And explore what prompted Richard Prince to begin photographing existing photographs - an act that saw him pilloried by some critics for lazily profiting from other people's work.The often controversial images in this book play with our expectations of a photograph, our tendency to believe that it is telling us the unadorned truth. Jackie Higgins proves once and for all that the art of photography is much more sophisticated than it at first may seem. Choosing 100 key photographs, the author examines what inspired each photographer in the first place, and traces how the piece was executed. She brings to light the layers of meaning and artifice behind these singular works, some of which were initially dismissed out of hand for being blurred. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability. Seller Inventory # 9780500290958