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.

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Bibliographic Details

Title: Why It Does Not Have To Be In Focus: Modern Photography Explained
Publisher: Thames & Hudson Ltd, United Kingdom, London
Publication Date: 2013
Language: English
ISBN 10: 0500290954
ISBN 13: 9780500290958
Binding: Paperback
Condition: Very Good
Weight: 499 grams

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Synopsis

Paperback. Pub Date :2013-09-16 Pages: 224 Language: English Publisher: Thames Hudson 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 controve...

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