After Photography.
By Fred Ritchin.
W W Norton & Company Inc, New York, 2008. 160 pp., 50 color illustrations., 6x8¼".
Publisher's Description
After Photography examines the myriad ways in which the digital revolution has fundamentally altered the way we receive visual information, from photos of news events taken by ordinary people on cell phones to the widespread use of image surveillance. In a world beset by critical problems and ambiguous boundaries, Fred Ritchin argues that it is time to begin energetically exploring the possibilities created by digital innovations and to use them to better understand our rapidly changing world.
Ritchin—one of our most influential commentators on photography—investigates the future of visual media as the digital revolution transforms images into a hypertextual medium, fundamentally changing the way we conceptualize the world. Simultaneously, the increased manipulation of photographs makes photography suspect as reliable documentation, raising questions about its role in recounting personal and public histories. In the tradition of John Berger and Susan Sontag, Ritchin analyzes photography's failings and reveals untapped potentials for the medium.
The text below could be useful for students (or other interested parties) in The Photograph as Language course. I'm going to try to find a copy and check it out - could be a nice companion to The Nature of Photographs and The Photographer's Eye.
How to Read a Photograph.
Lessons from Master Photographers.
By Ian Jeffrey.
Harry N Abrams-penguin/ Putnam, New York, 2008. 400 pp., 350 duotone and 50 color illustrations., 6¾x9½".
Publisher's Description
Ian Jeffrey is a superb guide in this profusely illustrated introduction to the appreciation of photography as an art form. Novices and experts alike will gain a deeper understanding of great photographers and their work, as Jeffrey decodes key images and provides essential biographical and historical background. Profiles of more than 100 major photographers, including Alfred Stieglitz, Bill Brandt, Henri Cartier-Bresson, Walker Evans, Paul Strand, Lazlo Moholy-Nagy, highlight particular examples of styles and movements throughout the history of the medium. Each entry includes a concise biography along with an illuminating discussion of key works and nuggets of contextual information.
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