” …There are two prominent myths about photography: the myth that it tells the truth and the myth that it doesn’t.” This quote, from artist Jeff Wall, is from a deceptively small book with some big ideas, “Photography: A Very Short Introduction,” by Steve Edwards. The semiotics of photography has never had such an accessible vehicle as this book, which is largely the structure of it: the nature and meaning of the photographic artifact and act. That tension between truth and artifice, across the duality of documentary and artistic intent, has existed from the beginning of photography and before, and still confounds us. There is no one answer, only paradox and ambiguity.
Thanks to J.P. Caponigro for turning me on to this wonderful book. There’s a deeper look into the book over at “Politics, Theary and Photographs.”
That duality has also been on Colin’s mind lately; see Personal Expression?
Now for the hard question: leaving aside the fun it can be to read and think about this issue, do you think it has changed the photographs you take? If so, can you describe how? I’m not trying to bait you, I just wonder if you have some articulation of it you can throw to the rest of us swimming out here.
Whether or not it changes how I photograph is beside the point. It may make a difference in how I perceive and judge my work. I can talk about my work with a deeper context in mind. I have a bigger place within which to talk about other work, a greater range for my ability to articulate a response. All of which is going to loop back into how I respond with my camera, but, map it from A to B? I don’t think so.
Doug,
I don’t know about the book, but your description of it is fascinating. I’m going to have a look. Thanks for passing on the title.
I am wrestling with
perspective and linearity, and natural vision and framing
in photography versus painting. An example of what I mean are images 4, 5 and 6 in
June’s photo and two water colors of Dick Creek Road,
Doug,
How does it compare to Camera Lucida by Barthes? I also enjoy John Berger’s thoughts on photography and perception in general. Do you have other favorites?
I was afraid someone was going to catch me up on how not-well read I am on the literature of photographic criticism. I have tried and failed to get excited by A.D. Coleman’s work. Robert Adams has written some interesting, and maddening, books, sometimes provoking a “You idiot, that’s not how it is,” response in me. Then I find myself nodding my head in agreement in the next paragraph. I do remember reading Sontag’s “On Photography” when it came out, and it had such an impact on me that I dropped photography for a couple of years.I have since resolved the conundrum.
“I was afraid someone was going to catch me up on how not-well read I am on the literature of photographic criticism.”
I didn’t mean it that way:) This book just looks interesting and I thought I’d see what else you like.
Leslie,
I agree John Berger is one of the best popular writers on perception and semiotics; sounds like you know his Ways of Seeing. There has been amazingly little written for the general public on photography by photographers. The thoughtful books by Robert Adams, mentioned by Doug, are the exception. There are some good books written for photographers, typically in narrower areas of the subject, like landscape photography. Most of what is written by non-photographers is more about the social life of images, not about making photographs. Intriguing, but may not be what you’re looking for, and often off-target when talking about the doing of photography. John Paul Caponigro has some brilliant statements on his web site and some interesting interviews with photographers. I also really like Sean Kernan, a photographer who writes about art in general, art school, commercial art, criticism, etc here.
Steve,
Thanks. I will check those out.
I have order the Steve Edwards book from the library.
I read a whole lot of Doug’s blog.
I have spent an hour reading at Caponigro’s ideas.
I have looked at and wanted more of Sean Kernan’s essays.
And now I suppose I have to go back and order something by Robert Adams.
Ah the life of the uneducated — what a joy to have all this ahead of me
@Steve Durbin. I think it’s missing the point a bit to think that the book, or books like it, are intended to improve our photography. What they do best (and this is one of the best IMO)is give us a framework within which to begin understanding photographs. The world/internet is bursting with images, but there is a real paucity of informed comment about them. We need more
Richard,
I absolutely agree with what you say. But whether intended or not, I think that anything that helps us better understand photographs has a chance of also making us better photographers. “Better” is a pretty slippery term that perhaps we can leave to each individual photographer, but I’m not talking about simple technical things in operating a camera.
For my part, I am certainly interested in the deeper context that Doug mentioned, but I am also always trying to work out ways to apply my growing understanding to make images I am more satisfied with. Mostly these days I am reading painters and poets.