Photography Books

I read a review in our local paper and bought this book for my husband as a stocking stuffer. I fell in love with it! We have a beagle mix and she makes some of the faces Lucy makes, but we could never be quick enough with our camera. This a keepsake for all dog owners. I look at it over and over and it's a real "feel good book". It's also a great, simple childrens' book. Great idea, great photgraphy.

I laughed at all the funny pictures he has of his dogs. Its a must have!

Welled up with tears as i turned each page. Geoff really got through on paper what it feels like to love a dog.

Geoff Hansen has a remarkable gift for capturing the broad range of emotions expressed by his charming beagle, Lucy. This talented photographer invites everyone to share in the pure joy of watching his little friend explore her world. This collection of photographs successfully combines art and dogs. Anyone who loves either should own this book. They won't be disappointed!

I read a review in our local paper and bought this book for my husband as a stocking stuffer. I fell in love with it! We have a beagle mix and she makes some of the faces Lucy makes, but we could never be quick enough with our camera. This a keepsake for all dog owners. I look at it over and over and it's a real "feel good book". It's also a great, simple childrens' book. Great idea, great photgraphy.

This is a beautiful book. Perfect for anyone who loves new york city.

I'm fascinated by "then and now" picture compilations. That said, this book does have some really good examples of the genre, however they are surrounded by much less interesting and really unimportant locations throughout NYC. It's a mix. If you like to see how a great city changes, this will have some utility. As a former native New Yorker, I found enough to make me glad I'd bought it but not enough to delight me.

Fascinating book! Berenice Abbott's photographs from the 30's alongside present-day photos of the same locations shot by Douglas Levere. A great way to experience the layers of history in New York.

Then and now photobooks of American cities are steady bookshop sellers but it is not until you turn over the pages of 'New York Changing' that you'll realise that this is how it should be done. Douglas Levere, with help from Berenice Abbott, has created a brilliant photo record of the world's premier city.

To start with Abbott created the perfect architectural record with the 1935 to 1939 WPA sponsored project when she shot just over three hundred photos of the city (you can see two hundred of these in 'Berenice Abbott: Changing New York', ISBN 1565845560) and Levere has retaken over a hundred of these with eighty-one appearing in his book.

Unlike other inferior books of the genre Levere has taken the utmost care with his project. Not only using the same type of camera and lens as Abbott but waiting until the same season and time of day to freeze the moment six decades later. A fascinating page of technical details at the back of the book explains more. The eighty-one photos are divided into four chapters with the majority taken in Manhattan. On each spread Abbott's photo is on the left and Levere's opposite, Bonnie Yochelson writes a straightforward caption for all of the images.

With the help of 200dpi printing, quality paper and elegant design these photos (and the book) look just stunning. The perfect photobook!

***FOR AN INSIDE LOOK click 'customer images' under the cover.

In the middle of the depression Berenice Abbott began a five year, WPA funded project to document in photographs New York's transformation from the 19th century to the modern metropolis of skyscrapers. The result was published as 'Changing New York.'

Sixty years later Douglas Levere went back to the same sites of 100 of Abbotts photographs and took another picture with the same angle, the same view, and usually even the same time of day (to get the same sun angle) of the same scene.

The result is this book, 'New York Changing' which shows these pictures arranged next to each other. That way, the only differrence between the pictures is the changes that have come about in the basic structure of the city.

This is a beautiful coffee table book, except that seeing one set of pictures makes you want to turn to the next set, and you've soon gone through the whole book.

Highly recommended.

This is a collection of black and white photographs mostly taken during the Prohibition and Depression eras for the tabloid "The Daily News". Most of what could be said about this book is already here in the reviews listed, nevertheless, it is worth repeating that "New York Noir" is an important addition to any collection of books on photography, and essential for anyone with an interest in the history of photojournalism. It would also be useful for anyone with an interest in social history; particularly of big city life during the American 1930s, 40s & 50s.

Most of the photos here are of crime scenes, and a few suicides thrown in. Crime scenes are mysteries; we all sense there is a story there. But the real mystery in this book is who were the guys who took these photographs? Whoever they were, they had no idea they were setting down an arena for further developments in creativity - in film, in fiction and in graphic design. This was working class photography and these guys were simply on the job, trying to outdo each other in the quest for a better shot in time for the next issue, sparing little thought over notions of higher-order art. Except perhaps for Arthur Fellig (aka Weegee), who was apparently more astute when it came to ensuring acknowledgement for his work, most of the guys who worked for the newspapers were largely unheralded. They are now just names, long dead and forgotten. Many of the shots reproduced in this book are only credited with a surname, or are simply credited as "Daily News" photos - nobody can work out now who took the shot.

[...]The conditions under which these guys were working forged a new creative genre, now commonly known as `NOIR'. It was an oppressive era, politically and socially, equipment was still heavy and unwieldy, they had to contend with light (additional lighting was used where it was deemed necessary to illuminate, not for artistic effect) and weather variables and while access to crime scenes were not yet barred to newspaper folks, access was sometimes restricted for other reasons. Check "The Trigger's Squeezed" and "Empire State Suicide"; both demonstrate how restricted access forced the photographers to use unusual camera angles, resulting in distant shots with long lines and deep, extended shadows which, together with the subject matter concerned, creates a sense of oppressiveness, of callous unconcern, of cold doom, and of finality (this can be keenly sensed in "Killer's End"); these are what are now regarded as the essential ingredients of good, classic noir film and associated imagery.

What makes a photograph (and for that matter, any piece of good art) a `classic' is that it alludes to a story, or it at least contains something that will intrigue viewers through the ages. While much of the information for the shots in this book, including the names of the persons involved could be traced (the corresponding synopses are listed at the back), there remain unanswered questions. How was it that the two ladies could tolerate each other's presence at the grave of their man in "A Bigamist Mourned"? What was it that a pretty doll such as Anna Downey saw in John Collins, a hardened killer? ("Until Death Do Us Part"). Why did the gangsters have such flippant attitudes? Check the aspect of Louis Capone on his way to Sing Sing in "En Route To The Chair".

There are other questions for which answers could have been provided in the book somewhere, after some further research. It would have been helpful to know the process and exactly why some of the photos were "touched-up" to ensure they were fit for publication. And who were some of these photographers? And what was the system for acknowledgement and payment? Something could have been said about the cops; perhaps some reasoning for their attitudes and conduct with the public. [...]

Regardless of all of this, the book is very exciting. The images reflect the developments in technology, particularly with the flash; first the bar flash, then the bulb, and then finally the `flash gun'. The sharper and clearer shots, including those taken under brilliant light are perhaps the most striking, and what are most easily recognized as `noir' imagery. All together, these are shots of a period in history which will never return. The assemblage of ephemera of that age; the hats, the shoes and clothing styles, the hair styles, the cars, the buildings and everything else can never be reproduced. And there is something very sexy about it all.

For a further exploration in this photography genre, I strongly recommend "City of Shadows: Sydney Police Photographs 1912-1948"; with shots of folks who were colder, cheaper and meaner, and where things seem even more surreal. To see how such newspaper shots influenced photography in a creative sense, see if you can find "Retail Fictions: The Commercial Photography of Ralph Bartholomew Jr." - still around in some `seconds' bookshops.

I got this for my sister-in-law and was afraid it might be too graphic for her (she's a bit squeamish about blood). It's not nearly as explicit as I feared. Unfortunately, it's not as interesting as I'd hoped, either. Lots of pictures of rather anonymous people in very sharp clothing. I think she'll like it, but if you're already fairly used to postmortem or morgue photos, you won't be very impressed.

The "Daily News" debuted in New York City in 1919. It was to be a newspaper for the common man, which meant not especially literate and frequently immigrant. Its currency was images, the more sensational the better. Nothing sold like sex, murder, and mayhem, graphically illustrated. By 1925, the "Daily News" was the best-selling newspaper in the nation. By 1930, twenty-three per cent of its pages were devoted to crime.

"New York Noir" is a selection of about 125 images from the "Daily News" archives, taken from the 1920s through the 1950s. Some are sad, some comical, some grotesque. They're an interesting comment on American urban culture of the time. Many of these photos would spark outrage if any newspaper were to print them today. Their lurid content earned the "Daily News" pointed criticism from many a moralist at the time. But that never hurt business. The style of the photographs had an immistakable influence on cinema and popular culture which continues to this day. The technical limitations that produced starkly flashed foregrounds and pitch-black backgrounds are instantly recognizable in Hollywood films, just as the corruption displayed in the photographs was reflected in popular entertainment. The demeanor of gangsters and thugs -often posed for the photographers- became iconic. Tabloid photojournalists may have wanted only to get the shot that no one else could, but they produced some incredible -and incredibly influential- photographs that have only become more fascinating with time.

Luc Sante introduces "New York Noir" with an essay about the history of tabloid journalism. Editor William Hannigan follows with a history of the "Daily News" and its influence on Film Noir. Both of these essays are very readable and worthwhile. The photographs are mostly one-to-a-page and quite sharp. They are all captioned. There is a section of "Synopses" in the back of the book, which provides further information about the stories behind each photograph, when available. I really appreciate this section, which is conveniently organized by page number. Some of the photos really leave the reader hanging, wondering who those people are and how things turned out. You can find out by turning to the back of the book.

I recommend "New York Noir" to photography and film noir buffs. Some of these evocative photographs are not for the squeamish, but they have made , and continue to make, quite an impression.

If you are a fan of photography, this book is definately for you. NEW YORK NOIR is chock full of amazing photographs that were the staple of the "New York Daily News." In this book, you get to see some of the poignant images that help define the term noir, and its connection to the silver screen industry, not to mention its effects on tabloid journalism. Many of these same black and white photogrpahs were often used as references to assist in making modern day motion pictures, helping to give a look into the past. From the days of "Three-Gun" Turner to the electrocution of Ruth Snyder, this book captures New York's horrid crime life in a candid, in-your-face style. There is nothing but unhidden truth in each and every photograph. NEW YORK NOIR is a well designed book loaded with powerful images and somewhat detailed descriptions. It is fascinating, riveting, and gives you a decent look at the roots of photojournalism. You can't help but be intrigued by the gritty, graphic photos that once graced the pages of a daily newspaper. It is one amazingly good book.

Warning: don't expect this book to be easy on the eyes, it is far from that. This is not for children, weak stomaches, or people with heart conditions. The shock is enough to make your heart race when viewing some of these photos. Yet you find yourself staring, sometimes maybe wondering what the photographer was thinking as he took these shots. The book is well done, but you have to be interested in true crime to, if you will, appreciate this collection of photos. It also helps if you appreciate life, then these photos will really have an effect on you, but it also shows you that society really did not change that much since these photos were taken. NOT a good coffee table book, though.

Just buy it. You won't be sorry. Great images and lots of informative discussion of imagery.

I am using this book as a text in school and I am quite impressed. I bought this book (hardcover) for half the price of the paper back version sold at my school. The text in interesting, not dry. The images are good reproductions. The only thing that I don't admire about the book is that some of the images are printed in black and white.

I think that I am like many people in that my knowledge of the Renaissance Art of Northern Europe comes from a few lectures in a college art history survey course. A few iconic images from the likes of Bosch, Holbein,Durer and Breugel are all that come to mind. I knew the era was important but the details were sketchy.

"Northern Renaissace Art" is everything you could want to deepen your knowledge of this important period of history. The book is 750 pages long and has over 680 illustration of which 250 are in beautifully reproduced color. James Snyder does an excellent job of explaining why those iconic paintings that everyone knows are great and deserve to be remembered 500 years after they were painted. More importantly, Snyder takes those second tier masters out of obscurity and elevates them to their proper place in history. Before reading this book, I had never heard of such masters as Jan Gossaert, Jean Fouquet and Petrus Christus. It was a exciting to get know their work. By no means is "Northern Rensaissace Art" a reasonably priced book. But it is the type of book that will give you great pleasure for many years.

I am using this book as a text in school and I am quite impressed. I bought this book (hardcover) for half the price of the paper back version sold at my school. The text in interesting, not dry. The images are good reproductions. The only thing that I don't admire about the book is that some of the images are printed in black and white.

Books on the Renaissance can be quite confusing to non-specialists. For example, Shakespeare classes in English schools discuss him as a Renaissance writer. Yet art teachers describe his near contemporary, Rubens, as the quintessential Baroque artist!
So exactly what does Northern Renaissance Art cover? Is it an age that can be separated, marked out and surveyed by political or religious activities? And by northern what is meant? Is Switzerland the home of northern art? Can it be made in Italy? And what makes it significant and different from the universally recognized world of Italian Renaissance Art, where the term 'art' is always capitalized?
Well, the truth lies pretty much with all of the above. As Snyder shows, several distinct cultures fall into this very large historical category. If you're buying this book as a student for a class, I can only hope you have more than one semester to give to the material. Northern Renaissance Art covers an enormous time period and many countries. It approaches in diversity the far better known works and ideas of the Italian Renaissance. No one seriously discusses the Italian Renaissance in a single semester - the material is taught in a series of classes. The same limitations and requirements should apply to teaching the Northern Renaissance. Art history today no longer focuses on aesthetic questions of style; as a result a student faces a lifetime's study of a period's culture and history.
However, there are some basics. If one word could define what separates the two worlds of the Italian and Northern Renaissance - that word would have to be naturalism. Northern European artists revel in achievements of realism that far surpass the Italians, who, while perfectly capable of such stylistic work, prefer a more intellectually formalized approach. Indeed, Michelangelo dismissed northern artist's attention to nature and care for photographic details as incidental, and excessively ephemeral, when contrasted to his Italian art which used images for projecting deeper spiritual values. The public, however, was delighted with the landscapes, and their non-abstract openness. Many artists from the north specialized in landscape, and it became a manner so associated with them that it was not uncommon for Italian painters to hire Northern artists to fill in the 'less important' landscape backgrounds of their larger canvases.
The Italian Renaissance differed also in that it was singularly connected to the revival and reappreciation of ancient 'pagan' works of art. These antiquities provided a challenge, as well as a reawakening, for the artists and thinkers of Italy. In the north artists did not have at hand magnificent works of ancient architecture or sculpture: as a result intellectual challenges were quite different; though initially tied to the Italian thinking, the northern artists more and more shifted focus onto their own immediate world. As the fifteenth century closed they became attuned to newer discoveries from the exploration of new (not ancient)worlds by sea, and the individuals emancipation brought about through the beginnings of Protestant thought. For moderns this means that the Northern Renaissance often appears closer to us and our own post photographic record of the world. The artist's sense of intimacy with nature seems little different than what most of us know as landscape art. Their religious works also convey a striking ease with space less contrived than our eyes find the representation of space in most Italian painting of the same era. All made the more attractive for being so accessible. Some of this difference marks profound religious and philosophical differences - northern art has about it some of the fervor of emancipation - there is here a reflection of the Armana naturalism revolting against the old art of a more dogmatic less individualistic Egypt. Eventually Italian artists would adapt to this new naturalism, especially in the north of Italy in Venice, in the works of Bellini, Giorgione, and Titian.
This book introduces the reader to the early Flemish master painters, such as Van Eyck and Rogier van der Weyden, the later great German artists, such as Durer and Holbein and Grunewald, and the strange inner universe of Bosch. Topping off the age are the works of one of the grandest of all humanists, Pieter Bruegel the elder. And these are just some of the great painters! There remains a wealth of sculpture and architecture, drawing and craft work. Moreover, the Northern Renaissance is also an artistic universe filled with fresh new theories and a milieu profoundly effected by the great religious upheaval of the Reformation.
Snyder gives as good an overview of so much material as one could hope for - his work replete with an enormous number of images, many of which have for nearly half a millenium been accepted as iconic. The text treats the material with a practised consideration, born of many years study. However; the impetus of the book is to direct the reader further afield, and this is indisputably the author's greatest achievement and the point of such a survey work. The real jewels for readers will be enlarging these discoveries by travel and on site awareness, these efforts made more satisfying through study of specific texts directed at the new artists whose work transforms your view of what the Renaissance was.

Richard Steinheimer has often been described as the "dean of railroad photographers" and I see no reason to argue. It takes an artist to convey well what Stein's images in this book convey: the relation of man to machine, the romantic quality of machinery (why railfans love trains) and the beauty and harmony of man's mechanical devices with nature.

This is a very good book, reasonably priced, and serves as a showcase for some of Stein's classic work.

"DW" critiqued this book because of the quality of reproduction. I agree it is not what it could be, but some of these photographs have appeared in other publications with reproduction quality far inferior to what appears here.

Richard Steinheimer has captured in black and white the everyday life and romance of railroading in a bygone era with an incite that earns him a prominent place in recorded railroad history. As a rail buff and life member of the Waterford Township Historical and Preservation Society in Waterford, Michigan, I recommend that anyone who is drawn to the sound and thrill of railroad action should experience atleast one of Richard's publications to place a picture in their minds eye.

Black and white photography's superior ability to communicate both detail and atmosphere is dramatically demonstrated by Richard Steinheimer's A Passion for Trains.

This is one of the most totally satisfying railroad books I own, and I own over a hundred.

Steinheimer has a unique ability to display both the railroad and the faces and geography of its environment. Landscape and nature over conspire against railroaders, as Steinheimer frequently demonstrates in A Passion for Trains, yet the weather never quite overwhelms the trains or the men who keep them moving.

The photographs contain detail you can just about feel. Text on most pages is limited to a single line identifying the location. Thumbnails at the back of the book contain an additional paragraph about each photo.

If you have a passion for trains, you'll love this book. It covers a wide variety of railroads, geographic environments, and weather. Many of the photos will soon become your favorites. In fact, I considered getting a second copy, just to be able to frame some of the pages!

The term "coffee table book" is often used derogatorily. Yet, what's wrong with a book so fine that you'll want to keep it on your coffee table where you, and your friends, can frequently enjoy it?

The photographs capture more than trains, but never less. They capture the beauty of the land that trains opened up. They bring us people, both on and near the trains. His sense of composition draws us into the scene and makes us want to look at it again and again.

As the antique dealer haughtily remarked to a customer who expressed shock at the astronomical price of an exquisite 1780 Philadelphia Highboy, "My dear sir, it is sufficient that it is available."

So it may be said of Richard Steinheimer's big new book of railroad photographs, A PASSION FOR TRAINS. The images are superb, indeed, in a class by themselves. These are pictures that anyone who is interested in great photography will admire, regardless of whether or not they care about railroads and trains.

It is regrettable, therefore, that the reproduction of Steinheimer's photographs in this volume aren't far better than they are. The problem is that the blacks are consistently too dense, with a disturbing loss of shadow detail in nearly every instance. Furthermore, the whites are generally grey and flat when they should be bright and buoyant.

It is difficult to tell from the book whether these defects are a result of poor printing, poorly made, excessively contrasty photographic prints or a combination of the two. However, flaws notwithstanding, it can safely be predicted that many railroad enthusiasts and some photography buffs will snap this work up (as I did myself), gratefully acknowledging that it is sufficient that it is available.

For nonpareil examples of photograph reproductions as they should be, see CALIFORNIA (Adams, Little, Brown, 1997), IN THE LAND OF LIGHT (Smith, Houghton, Mifflin, 1983), COURT HOUSE (Pare [ed], Horizon Press, 1978), NEW YORK, EMPIRE CITY 1920-1945 (Stravitz, Abrams, 2004) and THE CHRYSLER BUILDING (Stravitz, Princeton Architectural Press, 2002).

Very good guide to all the photogenic spots in the entire PA as opposed to only specific parts of PA. There is very in depth suggestions for the serious photographers (of which I am not) that "point and shoot" photographers are really not going to use, but can at least use his recommendations for site location for the scene. I found the rating system very useful to help me decide which hikes were worth my time seeing on limited time. See also:

Pennsylvania Mountain Vistas: A Guide for Hikers and Photographers

Really well written, beautifully photogaphed, and easy to understand guide, I absolutely love this. He tells you everything you need to know in order to get great shots at significant PA waterfalls. I'm a PA transplant currently living in Atlanta and bought this book for my trip next week. There's tons of falls I've never seen or heard of listed in the guide. I typically go to Ricketts Glenn every time I return home but im going to some of these other spots instead on this trip. BTW, his self portriats are really funny.

Pennsylvania Waterfalls is an excellent book on waterfalls in the Keystone state. While he doesn't cover every known falls in PA, Scott Brown hits almost all of the major, publicly accessible waterfalls. His inclusion of GPS coordinates, maps, and written directions makes them very easy to find (in most cases). His skill as a photographer is readily apparent throughout the entire book, and his insight into the composition of and equipment used for each picture should aid budding photographers. The book is well written, well researched, and covers a subject that's of interest to many but rarely published.

I did find a number of mistakes in the GPS coordinates and/or written driving directions to some of the falls, however. As a geocacher, I rely on accurate coordinates to find locations and in one instance I couldn't find the falls mentioned in the book. East Branch falls in Sullivan County wasn't in the location described by the book; it was actually 4/10ths of a mile away. The book's map was accurate but the coordinates and driving directions were not, and I missed out seeing that waterfall when I was in the area since I ran out of time hunting for it. Other falls where I've found the coordinates to be incorrect in the book include Second Falls, Logan Falls, and Seven Tubs. Still, in a book of 50+ falls, a few mistakes are bound to slip through. Unless you're using a GPS to navigate as I do, you'd probably never even notice most of these mistakes.

Even with the few errors, this book is extremely valuable for waterfalls hunters. I've added it to my own library, and I'd recommend anyone in the Keystone state with an interest in the magnificent beauty of falling water do the same.

Well written, put together so we could easily choose which hikes were for us. Excellent directions to some outstanding out of the falls. I can't rate this book highly enough. Just got back from our trip which this book planned.

Bob (Southern Illinois)

This book made my insatiable quest for waterfalls very easy with great directions. Ricketts Glen State Park is one awesome hike!!

This is the kind of book that makes you appreciate all animals and humans as friends. I felt like this is how life should be. No harm, no hate,only LOVE.

Loved this book beautiful expression of love . Anyone with any pet will appreciate and love this book . A GREAT gift book ! Bonus. Mark from Peaceful Valley Donkeys has a wonderful picture of him lying with donkeys, the most amazing animals ever !!

Jill is a photographer who truly understands the importance and therapeutic value of a person's closeness with their pet(s). It shows in her work and in her writing. Bonding with another living creature, not a human, is something really special. Thanks, Jill, a beautifully illustrated and sensitive book.

Jill Fineberg, a successful professional photographer recently retired to New Mexico, assembled this collection of portraits that illustrate the unique bond people can have with the animals that share their lives. Not all of the subjects by any means are actually asleep with their pets (I don't really see how one could sleep with a gecko or scorpion anyway) but many of the shots display a no less remarkable level of intimacy and trust, for example the dust jacket illustration of a man balancing bareback on his horse, or the couple posing with their lion and tiger. The pictures are followed by the frequently touching stories of their subjects and an afterword about the proven health benefits of having animals around. Fineberg shows us that in reaching out to creatures not like ourselves we can only become more human. The only regret one can feel perusing this charming collection is that the book as a whole could not have been larger, to present the frequently beautiful photos in more detail.

PEOPLE I SLEEP WITH?! The title and an eye-catching dust jacket cover should make you stop and look at this book at least twice. when you pick it up and turn the pages, you'll discover that photographer and writer Jill Fineberg loves animals. Hers sleep on her bed. So she took her camera and pen and went looking for other folks who loved their four-legged and feathered friends as much as she did. Then she photographed the people and their animals-or maybe the animals and their people, judging from the book's title--at their most intimate and vulnerable moments-sound asleep together. The result? A tender, funny, warm, and loving set of essays and absolutely stunning black-and-white photos called PEOPLE I SLEEP WITH. I don't want to describe too much for you--except to say that in this tender document of peoples' relationships to their animals, each photo has an essay telling something about the person and the animal in the picture. Many make you laugh. Others make you think. Some wrench your gut. But if you're an animal lover like me, or a photographer, or both, Man (Woman) or (Child), you gotta have this one. PEOPLE I SLEEP WITH is a teriffic coffee table book.

I found the photographs in this book nothing short of astounding. It may be because I'm a graphic artist. The art which the people of Kau live within is jarringly beautiful; indeed, their tatoos and face painting did not cover or mark the human canvases, but instead enhanced and brought out the very soul of them. My hair stood on end.

The best photography book I ever had. Wonderful book.

I first discovered Leni in the early 80's. As an amateur photographer for many years, Leni's work provided the drive for me to work hard for an image, wait for the light. Leni's photojournalistic ability has been an inspiration. In my opinion, Leni makes a person want to record their observations on film.In terms of ability and true gutsiness she is unique. Her insight and sensitivity into the culture of the People of Kau provides a startling immediacy to their unique way of life. Leni's drive to provide a record, a tangible proof of the horrible beauty of their lives moved me to breathlessness. Her level of communciation through the use of film is singular. This book is a must have. It is a must read. For a photographer it is a must do.

I felt priveleged to join Leni, through her stunning photography, on a voyage to a place in time and history that may by now have already been changed forever. It is difficult to conceive of cultures that today are so unlike our own, yet give us glimpses into how our own forebearers may have lived out their lives.

I found this book in a library in the mid/late seventies. I was a poor surfer dude in those days and never bought books. It was the first time I just went out and forked out a huge dollop of cash for a book. I never have regretted it for one moment. Never!
As someone else in the reviews says, "Just get it!" Go on!

Matt worked on several shoots for me while he was assisting one of the top photographers in the country. Matt's knowledge of his craft is exceptional. He is the consummate professional in every aspect. One of his finest qualities is to be tireless, or appear to be while on the job. Working long hours, he never complained about the ridiculous tasks being asked of him and always offering suggestions on how to improve a shot. I hope to work with him once again someday and every assistant could learn something good from this remarkable person.

A little background: I'm a freelance photographer, not an assistant. I bought this book right after I got out of photography school as a means of learning more about the industry and what potential photography-related jobs might be available to me. What I came to understand is this: if you think being an assistant is a cool part-time job or just something you'll do until you can start making money as a photographer, think again. The most compelling reason to work as a studio assistant is to learn how studio photography works (and doesn't work), and it takes time to do this -- generally years and not months.

Also, if you have no intentions of getting into studio photography, this book may be of limited use to you. While various disciplines are discussed at one point, they are not covered in enough detail to really help you understand what's going on. In short, this book is about helping photographers to set up a scene (either in a studio, a church or an office building) and photograph that scene. Some examples would be fashion photography, weddings, food, products, still lifes, etc.

That said, Proulx gives a wealth of information about what it's like to be on the set of a photo-shoot and generally leaves no stone unturned. You quickly realize that buying a box of doughnuts or cleaning a bathroom sink will be just as much a part of your job as setting up backdrops or strobe lights. It's not glamorous and it's not high-paying, but if you want to learn how a successful studio operates (so that you can run your own one day) there's no better way. Perhaps the most valuable asset this book provides are all the little tips and tricks of the trade...how to negotiate terms of pay, what kind of tape you need, how to keep your tools organized, etc.

However, I find it a little disconcerting that Mr. Proulx cosiders himself as still learning the trade even though he's been doing assitant work for over ten years (if memory serves me correctly). That is not typical I can assure you and I think it is something the author overlooks in terms of his advice to people starting out. The bottom line is, you can learn a lot from being an assistant for a couple of years and it will help you tremendously when setting up your own business, .... It would seem Proulx never made the decision to "take the last step" and start a business of his own.

.... If you're interested in studio photography, get this book.

Super book! I don't live in a big city so it's hard to get this information from other assistants. There aren't any here. This is time well spent. Matt knows his stuff and gives us a good insider's glimpse of how to work the jobs and, best, how to keep learning.

His section on interviews with assistants who are working with the really big names in the business broadens the scope of information. These people are the best of the best (like Matt) and he has pulled their words and experiences into the lessons for us to read. Super!

Apparently, the reader (here) from Lake Villa, IL misses the point when she/he claims that by working as an assistant for ten years, Matt is somehow lacking. She/he goes on the say that's not typical. Well, I know assistants who have worked longer and wonder why it's a negative to work as an assistant for a long time? Some of us work for two months and some work for fifteen years. What difference does it make? Matt's term as an assistant obviously qualified him to write the best book on the subject. I'm sure business is good in Lake Villa, but I wonder if having "made the step" as soon as she/he did means anything at all? Did it help her/him to become good enough to write a book?

Some assistants, like photographers, keep learning for years and years. It's never "done." It's about a process. Matt has spent the time well, becoming the best in the business (according to some of the reviewers) and I'm just glad he wrote this book to share the good stuff with us.

"Lake Villa" reviewer writes "Proulx never made the decision to "take the last step" and start a business of his own."

I attended a recent seminar given by Matt and I saw his portfolio and some recent jobs. He's started his career in a big way. Maybe in a few years, he'll write the book for those of us who (hopefully) are becoming "people" shooters for advertising.

In the meantime...thanks for the head start, Matt.

Ellie H

I am the author of The Location Photographer's Handbook and have been a photographer for thirty years. I've just enjoyed my first reading of The Photographic Assistant Handbook.

It is, of course, thorough and informative as one would expect from Matt Proulx. It's also written in a breezy yet crisp, clear, and professional manner. I think it goes a long way to putting readers at ease about the stress of photographic apprenticeship, a valuable service in itself.

There were many things I learned, from a trick about monitoring flashes placed far from the camera, to better ways to cut seamless paper, to a clever idea for checking in luggage carts on flights.

Matt's book should be part of any assistant's standard kit, along with the sharpies, scissors, and gaffers tape. It wouldn't hurt those of us who have graduated to careers to stock it as well.

This book is an absolute must-read for anyone looking at becoming a photographer's assistant. Matt has worked for many different photographers in the New York area. His advice is right-on and his long list of humiliating accidents covers the full gamut of what NOT to do. I didn't come to this book as a prospective assistant but rather as a professional photographer hoping to pick up a few tips and tricks from the author's experience with other photographers, a good spy novel in other words. Therefore, I was most looking forward to Chapter 9, Tips and Tricks. I found a few neat ideas, but nothing that Earth-shattering. Of course, mileage may vary and I readily admit the target audience is for assistants-to-be. If you are coming from that perspective, you unquestionably want to read this book and break out a box of highlighters. It would also be a great read and general overview for high school students thinking about entering the field. The only downside is that the book doesn't cover the digital era, so there is a lot of information about digital workflow and different photographer's preferences in that area which is missing.

annie's book is an incredible collection of celebrity images with a series of text that describes her ascent to the top in her field

Annie Leibovitz's name is as recognizable as her photos. This collection spans two decades filled with her best work mostly from Vanity Fair and Rolling Stone, but including some previously unpublished ones. She has the knack to bring out the side of a celebrities personality unexpected, and a way to turn a comic photo on it's side for another uplift of laughter. Some serious, some funny and many sentimental, Annie Leibovitz's photos invoke thought, humor, tenderness and empathy in every frame. A woman from modest beginnings shows the world what she has accomplished so far. It is an impressive feat.

Annie Leibovitz has searching eyes which catch the light, the action, the expression of people the way Ansel Adams had the eyes for nature. In this beautiful coffee table book, one of the favorite pics is of Whoopi Goldberg. The contrast of her dark caramel skin peeking through the surface of a bright white milk bath is astounding. The curved artistic forms of Yoko Ono & John Lennon show them as they were--as one. You just want to slowly trace your finger over their shapes.

There are over 200 photos to delight the senses. Most are of famous people which Ms. L has had contacts with from her work at Rolling Stone and other venues. These performers seem to open up to this photographer and are willing to show something more than their "star" profile. Even people who are not into art or photography, like this book.

A grand illusionary celebration.

Thanks for your interest & comment vote--CDS

Seeing so many celebrity photographs from the beginning of Ms. Leibovitz's career unveils many of the most effective methods that she uses to create her deep insights into the subject of the portrait. Although you may feel the subtlety of her work viscerally, these comparisons make it easier to appreciate the purposefulness of how the effects are brilliantly captured. If you are like me, this book will enhance your already deep appreciation of her work.

Before going into all the reasons I like this book, let me mention that the book contains tasteful nudity and sexual situations that would probably cause an R rating for a motion picture (or possibly something a bit stronger, like an R plus). Many parents would be uncomfortable with some of their children seeing these images. So judge the appropriateness of this wonderful book for your own family.

First, Ms. Leibovitz is looking for the soul of the person. Who are they at the core? This is captured by establishing a composition that overtly expresses this inner kernel of truth. For Roseanne Barr and Tom Arnold, this is captured by mud wrestling. For Muhammad Ali, you see a fully confident, capable man fully comfortable with himself and the world.

Second, she captures the subject's personality with posing and expression within the composition. Whoopi Goldberg's playfulness is captured by a composition that has little bits of her beautiful blackness emerging from a milk bath, with a characteristicly wry, happy smile.

Third, she shows the social mask that the subject uses. Lily Tomlin's face poses behind a television set image. Diane Keaton is shown wandering around with her face averted from the camera to capture her preference for privacy and appearance of shyness. Keith Haring appears wearing nothing but his painted on designs.

Fourth, she connects her subject to another person where that helps to establish part of the person's reality. John Lennon appears in foetal position with Yoko Ono, in that famous image from this book's cover. The Rolling Stones are literally flying through the air at the same time while performing. The Grateful Dead are asleep on each other's shoulders. Interestingly, she is usually able to do this with a humorous, light touch that dispells some of the celebrity power of the person.

Fifth, she lets a little slip in composure or a little blemish show where that adds to the underlying reality. Louis Armstrong looks scared in one classic portrait pose, while totally relaxed and in control in a less formal setting. Mick Jagger's partially healed scar is shown in another image. Jodie Foster puts on an intelligent expression that shows the Yale graduate rather than the young female star.

Sixth, she captures motion in ways that give the kinesthetics of the person and situation wonderfully. For example, a group of prisoners and family members hug at Soledad Prison in California at Christmas in 1971. You see many different relationships in this one image. It's like a microcosm of all humanity.

Here are my favorite images:

John Lennon, New York City, 1970

Louis Armstrong, Queens, New York, 1971

Christmas, 1971, Soledad Prison, California

The Grateful Dead, San Rafael, California, 1971

Ray Charles, San Francisco, 1972

Lily Tomlin, Los Angeles, 1973

Richard Pryor, Los Angeles, 1974

Andy Warhol, New York City, 1976

Tennessee Williams, Key West, Florida, 1974

Ron Kovic, Santa Monica, California, 1973

The Rolling Stones, Philadelphia, 1975

Brian Wilson, Malibu, California, 1976

Muhammad Ali, Chicago, 1978

Robert Penn Warren, Fairfield, Connecticut, 1980

John Lennon and Yoko Ono, New York City, December 8, 1981

Greg Louganis, Los Angeles, 1984

Bruce Springsteen, Asbury Park, New Jersey, 1987

Whoopi Goldberg, Berkeley, California, 1984

Twyla Tharp, New York City, 1989

Michael Jackson, Los Angeles, 1989

Mikhail Baryshnikov, New York City, 1989

After you have enjoyed the book, I suggest that you make a drawing that does a similar unveiling of someone you know well. You might even consider a self-portrait. Ms. Leibovitz says those are the hardest to do.

Look deeply into those all around you and see the truth . . . as well as the fictions.

No-one captures the human face of celebrity on film like Annie Liebowitz (except for the brilliant Herb Ritts). This softback book is a wonderful chronological history of Annie's work over a 20 year period.

From the playful magic of Whoopi Goldberg in a bath of milk, Bette Midler under a blanket of roses and Sting baked in mud, this book shows the wit and insight of Annie Liebowitz. To lovers of either photography and/or celebrity this book is a must. Reasonably priced at $40 USD it also features the "foetus" shot of John Lennon and Yoko Ono. To students of photography, this book demonstrates her inventiveness and ability to portray the 'human' behind icons and public creations. A book you can leaf through time and time again whilst delighting in Ms Liebowitz's art.