Why Photographs Work: 52 Great Images: Who Made Them, What Makes Them Special and Why available in Paperback
Why Photographs Work: 52 Great Images: Who Made Them, What Makes Them Special and Why
- ISBN-10:
- 1933952709
- ISBN-13:
- 9781933952703
- Pub. Date:
- 01/28/2011
- Publisher:
- Rocky Nook
- ISBN-10:
- 1933952709
- ISBN-13:
- 9781933952703
- Pub. Date:
- 01/28/2011
- Publisher:
- Rocky Nook
Why Photographs Work: 52 Great Images: Who Made Them, What Makes Them Special and Why
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Overview
Every photographer, from weekend enthusiast to professional, can learn by studying the "greats". In Why Photographs Work, author/photographer George Barr analyzes 52 striking images by some of the world's top photographers. Accompanying Barr's analysis of each image is an explanation by the photographer describing the circumstances of making the image, including not only the how, but also the why. Also included is each photographer's biography, a reference to his or her websites and publications, and brief technical descriptions of the equipment used in making each image.
With guidance from Barr, we learn to decipher that certain intangible "something" that makes an image go beyond the ordinary. As we gain an understanding of and appreciation for the elements that make an image truly great, we are bound to improve our own images as well.
Included are images by:Charles Cramer, Bruce Barnbaum, Harald Mante, Dan Burkholder, Nick Brandt, Hans Strand, Roman Loranc, Huntington Witherill, Susan Burnstine, Ryuijie, Beth Moon, Phil Borges, Shaun O'Boyle, David Ward, Michael Levin, Michael Reichmann, Michael Kenna, Cole Thompson, George Jerkovich, Bengt Ekelberg, Sandra Davis, Brian Kosoff, Joe Lipka, Gordon Lewis, Lawrence Chrismas, Craig Richards, and many more.
Product Details
| ISBN-13: | 9781933952703 |
|---|---|
| Publisher: | Rocky Nook |
| Publication date: | 01/28/2011 |
| Pages: | 228 |
| Product dimensions: | 10.00(w) x 10.00(h) x 0.50(d) |
About the Author
George Barr is a photographer living in Calgary, Canada. Serious about photography since age 12, working initially with a WWII Zeiss Ikonta in a basement-bathroom "darkroom", he has progressed through medium format, 4X5, and now digital SLR's. He earns his living as a family doctor with a special interest in psychiatry but his primary passion has always been the fine art print.
Major milestones include learning to make quality prints from Fred Picker, learning to really "see" photographs from Hubert Hohn of the Edmonton Art Gallery, looking at Edward Weston prints bare, attending workshops, working with galleries, and being published.
George has had his images published in the magazines Black and White Photography, Black and White, Focus, Lenswork, and Outdoor Photography.
By the time George closed his darkroom, he was making very high quality prints and carried on this quality with digital cameras and inkjet printing, producing some of the finest inkjet prints made, surprising many traditional 4X5 photographers with the level of quality.
Throughout his life George has been a teacher of medical students & residents, patients, and fellow photographers. A writer of understandable patient newsletters and handouts, it was a short step to writing essays on photography. George has bravely tackled the challenging subjects of aesthetics, seeing, and composing in a style that is clear, practical, and applicable to many.
Table of Contents
Dedication;Introduction;
Chapter 1: Circular Chimney;
1.1 George’s Analysis;
1.2 The Photographer’s Perspective;
1.3 Biography;
1.4 Technical;
Chapter 2: Iparo;
2.1 George’s Analysis;
2.2 The Photographer’s Perspective;
2.3 Biography;
2.4 Technical;
Chapter 3: Elephant Drinking;
3.1 George’s Analysis;
3.2 The Photographer’s Perspective;
3.3 Biography;
3.4 Technical;
Chapter 4: Glowing Autumn Forest;
4.1 George’s Analysis;
4.2 The Photographer’s Perspective;
4.3 Biography;
4.4 Technical;
Chapter 5: Tree and Pond in Fall;
5.1 George’s Analysis;
5.2 The Photographer’s Perspective;
5.3 Biography;
5.4 Technical;
Chapter 6: Bridge To Nowhere;
6.1 George’s Analysis;
6.2 The Photographer’s Perspective;
6.3 Biography;
6.4 Technical;
Chapter 7: Pillow of Sickness;
7.1 George’s Analysis;
7.2 The Photographer’s Perspective;
7.3 Biography;
7.4 Technical;
Chapter 8: Two Cape Breton Miners;
8.1 George’s Analysis;
8.2 The Photographer’s Perspective;
8.3 Biography;
8.4 Technical;
Chapter 9: Traigh Eais Barra;
9.1 George’s Analysis;
9.2 The Photographer’s Perspective;
9.3 Biography;
9.4 Technical;
Chapter 10: Tree Detail, Autumn, Zion Valley, Utah;
10.1 George’s Analysis;
10.2 The Photographer’s Perspective;
10.3 Biography;
10.4 Technical;
Chapter 11: Stones in Window;
11.1 George’s Analysis;
11.2 The Photographer’s Perspective;
11.3 Biography;
11.4 Technical;
Chapter 12: Moore Hall Interior # 1;
12.1 George’s Analysis;
12.2 The Photographer’s Perspective;
12.3 Biography;
12.4 Technical;
Chapter 13: Shiprock Storm;
13.1 George’s Analysis;
13.2 The Photographer’s Perspective;
13.3 Biography;
13.4 Technical;
Chapter 14: Manipulation;
14.1 George’s Analysis;
14.2 The Photographer’s Perspective;
14.3 Biography;
14.4 Technical;
Chapter 15: Sleeping Halls;
15.1 George’s Analysis;
15.2 The Photographer’s Perspective;
15.3 Biography;
15.4 Technical;
Chapter 16: Comp 16/07;
16.1 George’s Analysis;
16.2 The Photographer’s Perspective;
16.3 Biography;
16.4 Technical;
Chapter 17: White Delphinium;
17.1 George’s Analysis;
17.2 The Photographer’s Perspective;
17.3 Biography;
17.4 Technical;
Chapter 18: Caixa 1;
18.1 George’s Analysis;
18.2 The Photographer’s Perspective;
18.3 Biography;
18.4 Technical;
Chapter 19: The Temple Of Godless Aphaia;
19.1 George’s Analysis;
19.2 The Photographer’s Perspective;
19.3 Biography;
19.4 Technical;
Chapter 20: Sunflower Coal;
20.1 George’s Analysis;
20.2 The Photographer’s Perspective;
20.3 Biography;
20.4 Technical;
Chapter 21: Fugue;
21.1 George’s Analysis;
21.2 The Photographer’s Perspective;
21.3 Biography;
21.4 Technical;
Chapter 22: Huangshan Mountains, Study # 19;
22.1 George’s Analysis;
22.2 The Photographer’s Perspective;
22.3 Biography;
22.4 Technical;
Chapter 23: Three Crosses;
23.1 George’s Analysis;
23.2 The Photographer’s Perspective;
23.3 Biography;
23.4 Technical;
Chapter 24: Code;
24.1 George’s Analysis;
24.2 The Photographer’s Perspective;
24.3 Biography;
24.4 Technical;
Chapter 25: Bluefin Trevally Herding Akule;
25.1 George’s Analysis;
25.2 The Photographer’s Perspective;
25.3 Biography;
25.4 Technical;
Chapter 26: Precipitation;
26.1 George’s Analysis;
26.2 The Photographer’s Perspective;
26.3 Biography;
26.4 Technical;
Chapter 27: Labyrinth 01;
27.1 George’s Analysis;
27.2 The Photographer’s Perspective;
27.3 Biography;
27.4 Technical Information;
Chapter 28: Franciscan Church, Vilnius;
28.1 George’s Analysis;
28.2 The Photographer’s Perspective;
28.3 Biography;
28.4 Technical;
Chapter 29: Color Prayer Flags – 2;
29.1 George’s Analysis;
29.2 The Photographer’s Perspective;
29.3 Biography;
29.4 Technical;
Chapter 30: Fire & Ice;
30.1 George’s Analysis;
30.2 The Photographer’s Perspective;
30.3 Biography;
30.4 Technical;
Chapter 31: Terminal Mirage 8;
31.1 George’s Analysis;
31.2 The Photographer’s Perspective;
31.3 Biography;
31.4 Technical;
Chapter 32: Two People/Two Doors – Carlow, Ireland;
32.1 George’s Analysis;
32.2 The Photographer’s Perspective;
32.3 Biography;
32.4 Technical;
Chapter 33: Dancer;
33.1 George’s Analysis;
33.2 The Photographer’s Perspective;
33.3 Biography;
33.4 Technical;
Chapter 34: Sir Edward James Garden Sculpture;
34.1 George’s Analysis;
34.2 The Photographer’s Perspective;
34.3 Biography;
34.4 Technical;
Chapter 35: Trumpet Plant;
35.1 George’s Analysis;
35.2 The Photographer’s Perspective;
35.3 Biography;
35.4 Technical;
Chapter 36: Asylum Doors;
36.1 George’s Analysis;
36.2 The Photographer’s Perspective;
36.3 Biography;
36.4 Technical;
Chapter 37: Waiting;
37.1 George’s Analysis;
37.2 The Photographer’s Perspective;
37.3 Biography;
37.4 Technical;
Chapter 38: Front Towards Enemy;
38.1 George’s Analysis;
38.2 The Photographer’s Perspective;
38.3 Biography;
38.4 Technical;
Chapter 39: Melange Un;
39.1 George’s Analysis;
39.2 The Photographer’s Perspective;
39.3 Biography;
39.4 Technical;
Chapter 40: A June Evening, Hornby Island;
40.1 George’s Analysis;
40.2 The Photographer’s Perspective;
40.3 Biography;
40.4 Technical;
Chapter 41: Vincente, Nebaj El Quiché;
41.1 George’s Analysis;
41.2 The Photographer’s Perspective;
41.3 Biography;
41.4 Technical;
Chapter 42: Dancing in Bubbles;
42.1 George’s Analysis;
42.2 The Photographer’s Perspective;
42.3 Biography;
42.4 Technical;
Chapter 43: Black Oaks, Morning Mist, Yosemite Valley, California;
43.1 George’s Analysis;
43.2 The Photographer’s Perspective;
43.3 Biography;
43.4 Technical;
Chapter 44: River, South Coast, Iceland;
44.1 George’s Analysis;
44.2 The Photographer’s Perspective;
44.3 Biography;
44.4 Technical;
Chapter 45: Auschwitz # 14;
45.1 George’s Analysis;
45.2 The Photographer’s Perspective;
45.3 Biography;
45.4 Technical;
Chapter 46: Fe2O3 # 6, Kos, Greece;
46.1 George’s Analysis;
46.2 The Photographer’s Perspective;
46.3 Biography;
46.4 Technical;
Chapter 47: Times Square;
47.1 George’s Analysis;
47.2 The Photographer’s Perspective;
47.3 Biography;
47.4 Technical;
Chapter 48: Mrs. Nishimoto;
48.1 George’s Analysis;
48.2 The Photographer’s Perspective;
48.3 Biography;
48.4 Technical;
Chapter 49: Birch and Window, Colmar, France;
49.1 George’s Analysis;
49.2 The Photographer’s Perspective;
49.3 Biography;
49.4 Technical;
Chapter 50: Chrome Handle;
50.1 George’s Analysis;
50.2 The Photographer’s Perspective;
50.3 Biography;
50.4 Technical;
Chapter 51: Descending Angel;
51.1 George’s Analysis;
51.2 The Photographer’s Perspective;
51.3 Biography;
51.4 Technical;
Chapter 52: Tulips #55;
52.1 George’s Analysis;
52.2 The Photographer’s Perspective;
52.3 Biography;
52.4 Technical;
Recommended Photographers;
A;
B;
C;
D;
E;
F;
G;
H;
I;
J;
K;
L;
M;
N;
O;
P;
R;
S;
T;
U;
V;
W;
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