Product Description: This brief text is designed to help both beginning and advanced students of photography better develop and articulate thoughtful criticism. Organized around the major activities of criticism (describing, interpreting, evaluating, and theorizing), Criticizing Photographs provides a clear framework and vocabulary for students' critical skill development. The fourth edition includes new black and white and color images, updated commentary, a completely revised chapter on theory that offers a broad discussion of digital images, and an expanded chapter eight on studio critiques and writing about photographs, plus examples of student writing and critique. .
Getting Better When I reviewed the third edition of this book several years ago, I didn't rate it highly, but I thought that perhaps the fourth edition might be a better book, and it is.
Despite its subtitle, which might lead you to believe it is about understanding pictures, the bulk of this book is directed at formal criticism of photographs. After an introductory chapter on the nature of criticism, Barrett suggests a process for criticizing photographs that includes description, interpretation and judgment. The author also suggests a classification scheme for photographs which he believes could be useful in forming judgments, although I found it no better then many other taxonomies and at times difficult to apply to many photographs. Throughout he mentions many schools of analysis, like formalism and feminism and shows how these schools might influence criticism. He then launches a foray into photographic critical theory which is concise but accurate and which deals with such questions as the truth and morality of photography. He finally talks about the act of writing criticism and also about critiquing photographs.
Barrett illustrates his points with many helpful examples of written criticism. Most of the examples deal with pictures of the modern or post-modern school, but the information is transferable to other kinds of photography. The book is illustrated with both color plates and black and white plates, although the black and white plates are spread throughout the book, which leads to a lot of page flipping. It would be nice if the next edition included a page number when these plates are referred to.
The subtitle, "An Introduction to Understanding Images" might lead one to expect that there would be some insights into how and why photographs work but I became aware that Barrett presumed his audience would have some prior knowledge of this. Thus while he spoke of the importance of a photographer's technique in understanding a photo, there was no mention of how technique might be used to convey a photographer's vision. In the earlier edition, I found this a serious weakness, but it now seems clear that the author expects that this kind of information will come from somewhere else. On the other hand, the careful reader will derive some idea of what to look for in a photograph by reading the many examples.
No one wanting to come to an understanding of how to read a photograph from a single volume will learn to do so from this book. In fact, no one volume is likely to do that, although a book like "The Photographer's Eye" by John Szarkowski would be a good place to start. On the other hand, for the individual who knows something about the nature of photography, or within the context of a larger course of study, this is a good book to begin to learn how to write photographic criticism.
Not Recommended This book was require for my college level digital photography course, but I felt that it did not do an adequate job of explaining the concepts it covers. The book is dull and merely lists other photographs as examples (they are not included in the text).
decent book this book is probably going to be one of the required books for photography in college but it's not a horrible book. not the most exciting, but definitely has enough to get one started with critical thinking about photography and such.
Yecch! I am sorry I bought this book. It was written by a college professor for students, readers that have no choice but to buy the book, and it reads that way. The author does not use his own vision and voice to criticize and to explain criticism but instead relies on a survey of methods used by critics. The writing was wooden, and the book had an overwhelming emphasis on staged, "arty" photographs. I could not bring myself to finish this book and have given it to my local library for their book sale.
Goes on and on Includes miles of intellectual blather. Fits well into sexually charged point of view of photography. Uses most horrific and grotesk as examples. On page 33 in third edition author mentions head decapitation as one photographer's "external" influences. Uses sexual pictures as examples. Generally a politically correct lightly negative type discourse on photography. I feel sorry for the students subjected to this pulp.
Anything Goes Trivia
Megaton Man
Trevor
