Why It Does Not Have To Be In Focus

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9780500290958: Why It Does Not Have To Be In Focus
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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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9783791348513: Why It Does Not Have to be In Focus: Modern Photography Explained

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ISBN 10:  3791348515 ISBN 13:  9783791348513
Publisher: Prestel, 2013
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Jackie Higgins
Published by Thames & Hudson Ltd, United Kingdom (2013)
ISBN 10: 0500290954 ISBN 13: 9780500290958
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Book Description Thames & Hudson Ltd, United Kingdom, 2013. Paperback. Condition: New. Language: English. Brand new Book. 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 Higgins's book proves once and for all that there's much more to the art of photography than just pointing and clicking. Seller Inventory # HUK9780500290958

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Jackie Higgins
Published by Thames & Hudson Ltd, United Kingdom (2013)
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Book Description Thames & Hudson Ltd, United Kingdom, 2013. Paperback. Condition: New. Language: English. Brand new Book. 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 Higgins's book proves once and for all that there's much more to the art of photography than just pointing and clicking. Seller Inventory # CBL9780500290958

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Book Description Thames & Hudson Ltd. Paperback / softback. Condition: New. New copy - Usually dispatched within 1 working days. 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. Seller Inventory # B9780500290958

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Book Description Thames & Hudson Ltd, 2013. Condition: New. 2013. 01st Edition. Paperback. 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. Num Pages: 224 pages, 100 colour illustrations. BIC Classification: AJ. Category: (G) General (US: Trade). Dimension: 204 x 148 x 19. Weight in Grams: 498. . . . . . Seller Inventory # V9780500290958

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Book Description Thames & Hudson Ltd. Condition: New. 2013. 01st Edition. Paperback. 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. Num Pages: 224 pages, 100 colour illustrations. BIC Classification: AJ. Category: (G) General (US: Trade). Dimension: 204 x 148 x 19. Weight in Grams: 498. . . . . . Books ship from the US and Ireland. Seller Inventory # V9780500290958

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