Download PDF Diana and Nikon: Essays on Photography, by Janet Malcolm
Download PDF Diana and Nikon: Essays on Photography, by Janet Malcolm
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Diana and Nikon: Essays on Photography, by Janet Malcolm
Download PDF Diana and Nikon: Essays on Photography, by Janet Malcolm
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Amazon.com Review
Janet Malcolm takes nothing for granted. In complicated but lucid prose she sets out to change our perceptions of photographers and photography in this highly regarded volume, now in an expanded edition. She looks at Alfred Stieglitz's pioneering efforts on behalf of the medium as an art form, considers Edward Weston's "psychic journey" to Mexico, and reflects on how these men fared at the hands of recent biographers. Malcolm also examines misconceptions about Richard Avedon's fashion photography and analyzes the motives behind his often distressing celebrity portraits. In a new essay, she discusses the charges of exhibitionism leveled at the provocative work of Sally Mann.
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From Library Journal
This expanded version of Malcolm's 1980 collection of essays on photography includes five new essays, greater use of photo images, and a new preface to supplement the original. Malcolm, a staff writer for The New Yorker and a talented photography critic, takes images for intellectual rides that sometimes end in surprising places. Still eager to analyze the snapshot style that emerged in the latter half of this century, Malcolm sees these works as art but closer to literature than they are to craft. The newest essays in this collection are by no means her strongest, but they do expand the value of this book by offering more of the connections that the writer makes so well, between the choices made by photographers, reality, the arts in general, and the essence of the visuals she probes. However, even with more images than the original edition, their relative scarcity remains a weakness. Still, this is recommended for photography collections.?David Bryant, New Canaan P.L., Ct.Copyright 1998 Reed Business Information, Inc.
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Product details
Hardcover: 224 pages
Publisher: Aperture; Aperture ed. edition (September 15, 1997)
Language: English
ISBN-10: 0893817279
ISBN-13: 978-0893817275
Product Dimensions:
5.8 x 0.9 x 8.6 inches
Shipping Weight: 1.1 pounds
Average Customer Review:
4.7 out of 5 stars
3 customer reviews
Amazon Best Sellers Rank:
#502,227 in Books (See Top 100 in Books)
The review by C. Amari on these pages is much more erudite than mine could every hope to be. I enjoy studying photographs immensely, and like to read about the art of making great photographs. I greatly enjoyed Malcolm essays, especially in this well laid out and attractive edition, where the photographs and text are beautifully presented.Malcolm recently had a precious article in the NYRB about a nondescript photograph of a man and a woman on a tennis court. Her husband had kept it on his desk for years, not because he knew the people but because "he had no idea [who they were]. He had plucked the picture from a pile of rejects on their way to the wastebasket. It had leaped out at him as an example of an outstandingly terrible snapshot, one that had everything the matter with it. The couple had their backs to the camera; the tennis court showed a few white lines; there were undifferentiated shrubs and trees edging one side of the asphalt. That was all. I saw what my husband saw and laughed with him. There was no reason for the existence of this picture. Keeping it was a wonderful exercise in absurdism."One of the essays in this book discussed "avant-garde photography that took its inspiration—and to all intents and purposes was indistinguishable—from the home snapshot. Robert Frank, Garry Winogrand, Emmet Gowin, Lee Friedlander, Joel Meyerowitz, and Nancy Rexroth were among the practitioners of this school of deliberately artless photography that had recently been celebrated in a book called The Snapshot published by Aperture. In his introduction, the editor, Jonathan Green, felt impelled to inform the reader that the photographers represented in the book were “not snapshooters but sophisticated photographers.†The most sophisticated among them, perhaps, was Rexroth, who used a $1.50 toy camera called the Diana (thus my title) that also came in a model that squirted water when you pressed the shutter. In "Diana and Nikon" I reproduced four pictures from The Snapshot to illustrate the new aesthetic. Except that one of the pictures was not actually from the book, but from Gardner’s desk: the snapshot of the couple on the tennis court."Malcolm writes that no one noticed the wild card in midst of the artistic images."Then something occurred that gave me more pleasure than perhaps anything has before or since. A reviewer of my book, one who did not like it and was particularly irked by the “Diana and Nikon†essay, singled out the Botsford picture as a demonstration of my wrongheadedness, my pathetic inability to differentiate a work of art from an artless snapshot. I wish I had kept the review and could quote from it. But its delicious condescension is indelibly etched in my memory."And then, Malcolm writes, another delicious moment: “Snapshot or imitation?†King writes in his book on photography."These eight photographs are either anonymous snapshots or professional examples of “Snapshot Chic†photography. Can you guess which is which?…the answers are given on p. 212."On p. 212 we learn that only three of the images are anonymous snapshots. The others—by William Eggleston, Joel Meyerowitz, Tod Papageorge, and Gardner Botsford—are “professional studies which are in important collections or which have been published.†I had built better than I knew. I look forward to the day when the picture of the couple on the tennis court will assume its place in an important collection, and I will take up mine in the annals of horsing around."This essay is not in the book, but is a wonderful example of how well Malcolm writes and how interesting her take on photography can be.Robert C. RossJuly 2018
This is a good, well written book and, unlike most books of photo criticism, this Aperture edition is thoughtfully laid out with well-indexed reproductions of a decent number of prints referenced in the text. My title for this review is an admittedly snide reference to the fact that many of the essays seem in most respects to explain the author's efforts to digest the ideas of John Szarkowski, as reflected in his writings and curatorial efforts. I should hasten to add that this is not a case of uncredited "borrowings" of another's ideas, such as the parts of Sontag's "On Photography" that appear to be lifted nearly whole from Barthes. Rather, Malcolm credits and elaborately praises Szarkowski early and often. But, as in the real series of "... for Dummies" books, one has to question whether going to the source might not be a better idea.I'm happy to have any good writing on photography and this collection is an enjoyable read. Using Szarkowski as one's personal North Star when trying to get one's bearing on the field of photography is not a bad idea, and I respect Szarkowski's contributions very much. Nevertheless, as source of terrific photo writing that, to understate it, doesn't exactly regard Szarkowski in the same mythopoetic terms, some of the collected writings of A.D. Coleman can be recommended as a healthy counterpoint.
Excellent
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