Looking at Photographs, Page 128

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I promised last week, when I wrote about the new reprint of John Szarkowski's essential Looking at Photographs: 100 Pictures from the Collection of The Museum of Modern Art [U.K. link here], that I'd post one of the 100 picture/essay combinations. This is neither the best nor the longest essay, and not the most appealing picture; it's intended as a representative sample of what the book's all about, to allow you to get a taste of it. (Note that the JPEG I've used here isn't the best; not all of the pictures are online in acceptable form.)

To say again: one of my very favorite photography books, warmly recommended.

Mike

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LISETTE MODEL
American, born Austria, 1906
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Gambler Type, French Riviera, 1938
13 7/8 x 10 1/4

Henry Miller said of Brassaï that his eye blinked at nothing, neither at beauty nor depravity. The eye of Lisette Model has been slightly more specialized. While one would not wish to label her favorite subjects depraved, it is certainly true that she has demonstrated no noticeable interest in anything resembling conventional beauty. Her most memorable photographs are of people whom one might suspect of being corrupt, mendacious, gluttonous, avaricious, hard-hearted, or cruel. It is not easy to be sure whether Model's role as a photographer should be thought of as that of a good witch, exorcising evil with a camera, or more simply that of a collector gathering material for a catalogue of the deadly sins.
    The gambler, tanned and sleek and self-contained, waits in the afternoon sun for the adventure of the night. His relaxation is provisional, like a cat's; his eyes watch the photographer as they would watch the dealer or the croupier, alert for a hint of sleight of hand. His own hands are held appropriately close to the vest, cupped as though to gather in his counters.
    Model has made her photograph from very close, and from a low vantage point, which foreshortens the gambler's figure. It is an unfamiliar and menacing perspective. If she moves one step closer, he may kick the camera neatly from her hands.

[John Szarkowski]

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Featured Comment by Sean Murphy: "I'm so pleased that you've highlighted this book. I can attest to its enduring qualities. It was used as a textbook for a college course in B&W I took lo these many years back. I come back to it again and again even after having read and looked at it since it came out. Seeing that it is available again just gave me another reason to take it out and just look."

Mike replies: I do the same, Sean. If anything I like it better now than when I first encountered it, many readings ago.

Comments

[Wilhelm]

My book came last week, and I was somewhat surprised by the tone of the texts.
I expected specific insight into the visual content of images, but found instead it was mostly descriptive of the particular photograper's personal history and style.
This excample you show by Lisette Model, (like that by Tina Moditi), was one of the few where he actually described elements of the photographs.
I'm not complaining, I think it was an excellent investment in photographic literature, but don't believe that it actually helps in "reading" photographs.
Thank you for recommending it, Mike.

[Doug Howk]

Received my copy and enjoyed the reading. However, Szarkowski's selections, his viewpoint and who he promotes has always puzzled me. For example, he selects an early abstract image by Brett Weston; yet Brett's best abstract work occurs after his military service. Similarly, Ansel Adams is poorly represented by a rather typical Old Faithful image. During his tenure at MOMA, Szarkowski promoted street photographers, conceptual and avant garde artists most of whom history will ignore.

[Mike Johnston]

"During his tenure at MOMA, Szarkowski promoted street photographers, conceptual and avant garde artists most of whom history will ignore."

I've always wondered who speaks for history. Now that I've got you here, why aren't the Weshington Redskins remembered as the team of the '80s?

Mike

[Jeff]

I ordered this book along with Helen Levitt's book. Thanks for the photo history lessons.

-jeff

[Roy]

...and how reassuring that the publishers had the good sense not to mess with the cover on this latest reprint - either in design or in choice of picture. Looks just like it did when I got my copy first time around.
There's something quite charming about that Stieglitz image on the cover.

All the image choices are good; my favourite though has to be the black and white postcard of a 'yard of apples' by an unknown photographer, sent in 1907 with the wonderful inscription "Miss Annie, How are these for apples?".

[photo retouching]

I really love the old images and the processes used to get these prints. Unfortunately those techniques seem to be lost forever, and no phot manipulating sofware comes even close to copying those results

[Mike Johnston]

photo retouching,
Most of the techniques aren't lost; in fact the only thing I can thnk of that's been lost is Woodburytype. There is a small but thriving subculture of alternative process work going on today. I know of people making carbro prints, platinum/palladium prints of course, daguerreotypes, gumoil, cyanotype, lith prints, albumen prints, photogravure, and so on. There's a considerable literature about it, workshops you can take, etc. Pick a process you really like and look in to it--chances are there's a group of people out there who are passionate about it.

Mike