Writings & Reviews
Over the years I’ve written a lot about photobooks. Many of my writings have been collected in The Mysteries of Light. The book is filled with my reviews for (mostly) Photobookstore Magazine, for which I’ve been writing regularly since 2015. Links to the reviews are below and to the right.
Also in The Mysteries of Light are two longer pieces included here, below and to the left: “Why I Love Photography” and “Why I Love Photobooks.”
Another new book is out now: Mirrors and Smoke, about how I became a photographer. I’m including a few excerpts here, too.
Especially dear to me is a three-part piece from my first trip to Japan, in 2018, mainly to hunt rare Japanese photobooks. These pieces are here, here, and here.
Enjoy!
Writings
It all begins with a long breath, whssssped in as soon as I hit the street. A deep inhalation, air lifting my nostrils, tilting back my head, focusing my eyes—my eyes zeroing in on everything in front of me. My head clears and I start to not simply see the street in front of me, I see a flow of shapes, forms, colors—I begin to see possible photographs…
It all starts with one photo. The jukebox in the New York City bar in Robert Frank’s The Americans, by my count, the fourth jukebox pictured in the book, the one that’s pure light, glowing top and middle and bottom-sides, its no-doubt candy-colored exuberance turned into simple black and white, highly contrasted, the light framing a man’s arm thrusting into the photo from the right, a bar sign also reduced to pure light floating above a couple at a checkered-cloth table, nursing their beers …
People often say to me, You sure make a lot of photobooks. What’s up with that?
I get it, sometimes it can feel odd even to me, as if I’m churning out too much work. Yet I believe all of my photobooks are as strong and tightly edited as they can be, and all are singular expressions. So what gives?…
Reviews
I love color photography. That’s all I shoot, and whenever I can get a rich explosion of color into a photo, I feel like I’m doing my job. I also love color shots at night. I often joke that I spend more time in Times Square (at least pre-pandemic) than any other New Yorker. The furious abundance of colors, the neon energy, the packed-in souls out for fun or at least diversion … pictures galore!
Which means that Joshua K. Jackson’s “Sleepless in Soho,” from Setanta Books, is right up my alley (or at least my narrow twisting street)….
What a sad and jubilant career Saul Leiter had! From some success shooting fashion (and fashioning his own groundbreaking color shots) back in the 1950s and ’60s, he went quiet as a photographer until 2006, when Steidl put out “Early Color,” in which we got one lovely, delicate, mysterious color shot after another. Every photo in the book was strong, and Leiter’s reputation was made. He was suddenly celebrated widely, and in effect he became an overnight Old Master of the photobook.
In his ninth decade, at age 82, Daido Moriyama keeps on trucking. If anything, he seems busier than ever…
I’m always intrigued by how a timeless photobook comes together. Most often it’s the artist setting out to create a book following their personal vision, and after a lot of work—and perhaps many hours on press—accomplishing that. But sometimes great photobooks come from just a bunch of photos lying around, then edited down to the right shots and put in the right order by someone else, and it works…
As I was planning out this second piece on Stephen Shore’s new Mack book, “Transparencies,” I started thinking about the road trips that created the book, and, hmmn, decided I could call my piece “Getting Your Kicks on Route 66,” after the Bobby Troup song from 1946, first made a hit by Nat King Cole, before it jumped into various generations of rock and roll, from Chuck Berry to the Stones to Depeche Mode…
In the 2017 book “Stephen Shore: Selected Works, 1973-1981,” put out right before Shore’s last grand solo MoMA show, the photographer Paul Graham writes, “When writing about photography, a constant temptation is to weave a theme from the images, to hitch them together like clanking boxcars tethered to some conceit, to suit ourselves, to suit the mood of the times, to suit the author’s whims…
I wasn’t anywhere close to Japan when Daido Moriyama’s first book, “A Photo Theater,” dropped in 1968, but I like to think its effect on the Japanese photography world was like the Beatles’ “I Want to Hold Your Hand” hitting America four years earlier. As in, “What was that? Wow, everything is different now—and always will be.” …
There are plenty of photobooks of punk rock days, it being such a visually wild time that it’s hard to not have them filled with vibrant photos, skinheads squeezed in at the front of a Ramones or Sex Pistols concert, tatted-up bodies leaping left and right, fists flying, teeth bared, blood erupting … powerful shots, but most of the books made from them are essentially music and star shots from clubs…
In my last piece for Photobookstore Magazine I wrote about Jeff Mermelstein’s “Hardened,” his grand exploration of all things shot out on the street. I mentioned some coincidences between Mermelstein’s street work and my own, and also wrote about what separates photographers simply snapping pictures on the street from those who create masterful books of street photography…
What do you do if you’re into Instagram, but want to move beyond selfies and shots of food truck delicacies? How about becoming a street photographer? I mean, everybody carries a phone, which of course has a camera, and there the streets are, with people on them, sometimes doing something kind of interesting; so why not snap, snap, snap?…
No question, Masahisa Fukase was one crazy cat…
Few things are as interesting when it comes to artists than watching them discover their true work, what they’re supposed to do, who they’re supposed to be. When I first moved to New York City many moons ago I used to plop myself in front of Les Demoiselles d’Avignon at MoMA as often as I could, watching in one painting Picasso discover cubism…
When you think about it, it’s surprising there aren’t more photobooks that simply set out to tell an actual story, with photos ordered to move the plot along, sort of like a comic book, or an old Mexican fotonovela. I can’t think of too many serious ones that do, at least after Ed van der Elsken’s “Love on the Left Bank.”…
In Part 1 of this piece on Laura El-Tantawy’s work, I quoted her as saying, “Trying not to repeat myself, every project deserves its own visual language. What that language will be and how I will consistently apply it across a body of work so it feels cohesive is always a challenge”—and I added, Not simply a challenge for her but for us…
Laura El-Tantawy’s most recent work, “A Star in the Sea,” the latest in her string of highly artful self-published book productions, raises for me a most interesting question. One thing that makes serious photobooks unique is that we’re looking at both photography and bookmaking, and where the line of emphasis between the two can shift from book to book…
How ambitious can a photobook be? In a handout to accompany the publication of Jason Eskenazi’s two new books, “Black Garden” and “Departure Lounge”—the completion of a trilogy launched by “Wonderland” in 2008 (to be reprinted in October of this year)—Eskenazi tells us: “I’ve always seen bookmaking as cinematic and in musical terms…
In Part 1 of my piece on Alec Soth’s new book, “I Know How Furiously Your Heart Is Beating,” I wrote about how Soth, to get the book going, set out looking for subjects with singular presences, “to have an encounter that is visually strong.” He says he wanted to shoot people who filled up the spaces in their own homes…
In the promo materials for Alec Soth’s long-awaited, and quite wonderful, new photobook, “I Know How Furiously Your Heart Is Beating,” Soth says, “I went through a long period of rethinking my creative process. For over a year I stopped traveling and photographing people. I barely took any pictures at all.”…
It’s pretty old-school. Just bang out photos, taken on the street, and let them amass, then put them out in an inch-thick book of four hundred and thirty shots, and have virtually every one of them be interesting and telling, placed next to another photo that makes them together even more interesting and telling … and have the whole book simply blow you away…
I’ve come to not like the term street photography. I feel in a way it’s time is over; it’s what Robert Frank and William Klein and Garry Winogrand and Joel Meyerowitz did so well fifty or sixty years back (put nicely in historical perspective by the book Bystander: A History of Street Photography, by Meyerowitz and Colin Westerbrook)…
So in Part Two of my Japan journal we left off with it being Sunday and my not knowing what to do. Well, I really didn’t do much. Sunday, you know. Walked around some, snagged a couple strong photos, bought a couple more Beatles LPs, but went back to the hotel early to rest up for my final week in Tokyo…
When I travel, I like to hit extremes, so here I am going from Kinosaki Onsen, a sedate town near the western coast in which the whole point is to wander from one hot-springs spa to the next (the only question being: how many baths does one person need, or can bear, a day? In my case, three) back to Tokyo for Halloween night…
I’m taking a short break from reviewing photobooks for the magazine here, off to Japan, traveling with my wife, with three main purposes: to look for classic Japanese photobooks to bring home; to take enough pictures to make a book of my own; and to write about it all here. The following is Part 1 of my Tokyo Journal…
Here’s the thing with street photography, it’s too easy to just take pictures of people walking down the street. And pictures simply of people walking down the street, or bunched up on it, or even a solo soul taking in the sun, are just about as interesting as walking down the street yourself…
In my last review for Photobookstore Magazine, I wrote of Morten Andersen’s roughly 8 x 12–inch, 300-plus-page, full-bleed-color photobook on his travels to the so-called Third World. Here I’m writing about Nick Sethi’s roughly 8 x 12–inch, 400-plus-page, full-bleed-color photo book simply of India…
Here’s one way to make sense of the world now, the unsettling of the old order, the historical tipping point we all seem to be on…
The dream springs eternal. Hit the highway (preferably along fabled Route 66) and discover America. Jack Kerouac did it, so did Robert Frank. So what that was over sixty years ago … the soul of America has to be out there somewhere, right?…
In my last review for Photobookstore magazine I looked into how story works in photobooks. By story I meant something less than an out and out narrative, but also something with a shape reminiscent of a story: a beginning, an end, and at least the feel of a narrative arc as we move through the book. In effect I was talking about the photobook as a form of literature…
How important is an actual story to a photobook? By story here I mean almost literal narrative, with characters and situations: a mini-movie or a play in photos. Clearly the best photobooks carry aspects of story such as theme, structure, motion, even narrative drive—can’t wait to turn to the next picture. But an actual story?…
Nobuyoshi Araki doesn’t need me to write about him. He probably doesn’t need anybody to write about him at this point, five hundred or so books in (or is it five thousand?), and a long, serpentine, impressive career behind him (with, one hopes, much more to come). I mean, what is there to say anyway?…
There’s a very helpful quote on the back of the reissue (finally!) of Christer Strömholm’s 1967 masterpiece, Poste Restante, from a contemporary review in the Swedish evening tabloid Expressen. “As far as I know,” the review goes, “this is the first time a book publisher (Norstedts) has dropped all demands that a photobook must have a subject in the ordinary sense—or at least that it must work on a social, documentary, or generally decorative level…
In my fiction writing class, after a piece has been read out loud, the first question we ask is: What’s the story? I like to have the students kick around what they think the story they’ve just heard is, how it sets out, where it takes us, how it turns, twists, resolves. That question gets to the center of the writing, and from that the rest of the piece opens up…
The first time I met Daido Moriyama, I told him I thought of him as the Bob Dylan of photography. A small smile, an undisclosing nod. I can’t say how he felt about my comment…
Fun times! In this review, I’m looking at books from my own growing-up world, the celebrated/ridiculed San Fernando Valley suburbs north of Los Angeles/Beverly Hills proper. Turns out Mike Mandel, author of the recent People in Cars, was in my high school class! How do I know?…
True story: I was twenty, on a beach in San Diego, California, reading Moby-Dick, Herman Melville’s sprawling God/devil-bedizened tale of Ahab’s obsession with his white whale, when I read a sentence so beautiful and powerful I pulled my gaze away from the page, lifted back my head, and a shaft of light beamed from the sky straight at me…
Imagine: There’s a novel that towers over all of 19th-century American literature, there’s a group of French poems that takes you where no other poetry book does, there’s an album of dark tunes by Britain’s (the world’s?) second-greatest rock band at the height of their powers … and you can’t read or listen to any of it…
Perhaps it’s because I’m a novelist, because I studied lit in college, but what moves me most in a potentially great photobook is what moves me with a great novel or poetry collection (or even record album): shape, depth, coherence, narrative, flow … simply a reason for all the shots to be there other than that of a catalogue or some artist’s current work gathered up. But of course more than that, too: vision, enlightenment, and emotions larger than we ourselves can imagine.
One of the rarest, most interesting of photobook genres: I’m a talented young photographer, I’m doing wild, socially deviant stuff, throwing myself all the way into a crazy scene, and I’m taking my camera along.
Photographer Shane Lavalette had the good fortune (and as we’ll see, the tough climb) to be commissioned by the High Museum of Art in Atlanta do a study of America’s South. (He’s from upstate New York.) The book that resulted is One Sun, One Shadow, published by Lavalette’s own publishing house…
We open the new book 36 Views, by Russian photographer Fyodor Telkov and published by Ediciones Anómalas, to find a shot of a Soviet Realist painting depicting heroic miners deep underground, followed by a historical photo of the pride of Soviet young womanhood parading with flags through the small mining town of Degtyarsk, no doubt celebrating those heroic miners…
In my last review for Photobookstore Magazine, I talked about autobiography in photobooks, how all photobooks in a way chart a photographer’s life, since he or she physically takes the pictures, but how an actual autobiographical photobook is rare, because it demands an intention to deeply examine one’s own life, then to tell that story, and well…
What is autobiography in a photobook? On one level all photobooks are autobiographical, since a photographer has to be there to take a shot, thus has to have lived it in some way. But most photobooks tell us how a photographer sees, how they understand their art and pursue it. A true autobiography—a work set out to capture actual events in a photographer’s life—is much rarer than you might think…
The first question with Mikiko Hara’s and Stephen Dixon’s Change is how to read it. The photobook, the first published by the Gould Collection, interleaves Hara’s photographs with a short fiction by the novelist Stephen Dixon. The photos are printed on a fine white semi-gloss paper; the pages of the story are on a blue rag paper and an inch shorter on the far side than the rest of the book. The two papers keep words and pictures nicely distinct.
In my last review for PhotoBookstore Magazine, I looked at Renato D’Agostin’s Archaeologies: Los Angeles, and took it to task for the limitations of its intentionality: How it set out on purpose to capture the city of Los Angeles in photographs and ended up with a book notable for its lack of surprise and abundance of shots of typical L.A. totems: palm trees, freeways, Watts towers, etc.
I wanted to write about Renato D’Agostin’s new book Archaeologies: Los Angeles because I was born and raised in L.A., and on trips back to the city I’m always trying to find the best way to shoot it. My own photo work is mostly based on my perambulations around my longtime home of New York City (see my latest book, New York Street), where I have a tight city to shoot, with an abundance of unexpected subject matter…
What do we do with black and white these days? Photographers can of course still shoot film, process it, print it; they can chase masters such as Garry Winogrand and Bruce Davidson as if it’s still forty, fifty years ago. But if a photographer wants to bring black and white into the current century—modernize it, exploit all the current possibilities—then what to do?
It’s one thing simply to reissue a classic photobook, as Steidl did recently—and exemplarily—with Cartier-Bresson’s Decisive Moment, but it’s a bit more to put out a great book in a new, amended edition, as the same publisher did this year with Chris Killip’s In Flagrante Two.
The afterlife of Masahisa Fukase continues apace. In the last year I’ve picked up Slaughter (staged shots of his first wife, Yoko, posing in a slaughterhouse in 1962) and Wonderful Days (cat photos), and now from Mack comes a new book, Hibi…
If you love Japanese photography, as I do, the new book Provoke: Between Protest and Performance is essential—and a godsend…
Marcelo Greco’s Sombras Secas (Dry Shadows, in Portuguese) is a black-and-white Provoke-era-style photobook comprised of 35 recent shots from Greco’s home city of São Paulo, Brazil. The Provoke influence intrigues…
Jacob Aue Sobol’s new book, By the River of Kings, plants him in Bangkok. Last year he put out a Leica tie-in book called Arrivals and Departures, composed of shots from his travels across Asia. Sobol’s an impressive photographer, and his work is always strong and vivid…
Although in most ways I’m an analog kind of guy, when I shoot for my photobooks, I shoot digital—unapologetically…
Robert Dunn has kindly shared his photobook picks from the past year (2015)