در جهانی که تصاویر آن را احاطه کرده، عکس تقریبا چیزی نامرئی گشته که دیگر به چشم نمیآی�. ما عکس میگیریم� به طور سیری ناپذیری تماشایش میکنی� و آنه� را همه جا با خود به همراه میبری�. آنه� یکی از رایجتری� اشیایی هستند که همه روزه دست به دست میشون�. چنین موقعیت متعارفی، دشواری و پیچیدگی نهفته و ریشها� آنه� را از یاد میبرد� و همواره این پرسش ابتدایی و متغیر باقی میمان� که: حقیقتا عکس چیست؟
Read for the first year of my photography degree, lots of wonderful information but a lot to read at once. The language is extremely descriptive and perhaps "over-the-top" however still worth the read for reference, some wonderful work in there.
This was my first taste of the Oxford History of Art series.
The good: I learnt about some interesting photographers like Diane Arbus, Chris Killip, Martin Parr, Brassaï, André Kertész, and Ernst Haas. There was a range of different photographic styles and sometimes the interpretation/criticism helped to explain what makes photos 'good'.
The bad: the writing style! A few snippets: "Phenomenologically, there is a primary concern with the thingness of things", "...a complex typology as to how space is suggestive of the mythology of possibility and freedom, and historical and sociological realities", and "The image is concerned with the quizzical nature of presence". Also, the book focuses heavily on black and white photography, and most of the works are somewhat dated (the book was published in 1995 but even so, most examples were from the early to mid 20th century).
Some opinions didn't seem to make sense when taking the viewer into account. The writing was not always easy to read, I was particularly irritated by his use of 'basic to' in place of core to or essential to or key to. The photographs are great though and I was introduced to a couple of names that I will investigate further.
Some wonderful photos to illustrate the progression of photography and the book explores diverse themes of the craft, but the narrative comes across as a bit pompous.
Ottima storia soprattutto per come sottolinea l'aggettivo "culturale" del titolo. Al di là dell'efficace progressione per temi e della scelta (buona) di autori e foto, quel che più funziona sono le considerazioni di carattere sociologico. Il che mette questo testo una spanna sopra molto altre storie della fotografia.