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Photography is not dying and has not died. It has been an ever-changing medium since its earliest days, and while near-obsession with the technology of the day may have defined photography over the course of its existence, photography is so much more than hardware and software. Photography is communication, whether chemical or digital, tangible or ephemeral in form.
Photography Beyond Technique is a compelling selection of essays and images that reveal the thoughts and methods of some of today’s most exciting contemporary photographers. These artists employ alternative, historical, or handmade processes and techniques, and they share a comprehensive view of the medium: that the choice of photographic process is just as important as the selection of subjects. While other books concentrate solely on process, or theory, or artistic intent, none focus on photography in which these decisions are considered inseparable.
These 20 essays, originally presented at the annual F295 symposium and seminar series, provide a thought-provoking read for anyone interested in photography as an art form and as a medium through which to view the world. Includes:
- "Looking Backward, Seeing Forward: Reframing Visual History" by Robert Hirsch
- "Mystery, Memory, and Narrative" by Martha Casanave
- "Finding Confidence: Combining Process with Purpose" by Mark Osterman
- "Photograph, Material, and Metaphor" by Jerry Spagnoli
- Sales Rank: #1068394 in Books
- Published on: 2014-01-21
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x 7.50" w x .75" l, 1.41 pounds
- Binding: Paperback
- 256 pages
About the Author
Tom Persinger is a photographer, writer, and the founder of F295. His photographs have been shown in numerous exhibitions and are in private collections in the United States, Europe, and Japan. His work has been featured in many publications, including Afterimage, Ag, Photo.net, View Camera, and books on photographic technique and processing. Persinger has lectured at colleges and universities, leads hands-on workshops, and is a member of Freestyle Photographic’s Advisory Board of Photographic Professionals. He lives in Pittsburgh, Pennsylvania, with his wife and two sons.
www.tompersinger.com; www.F295.org
Most helpful customer reviews
5 of 5 people found the following review helpful.
Artistic essays on historical techniques
By William W. Hughes
Photography Beyond Technique is a collection of essays compiled from lectures presented for F295, an organization dedicated to historic photographic processes. The continuing theme of the book is that, converse to the doom and gloom bemoaning the "end of photography" owing to developments in digital technology, the art of photography is currently more alive than ever, and in fact may be experiencing a new golden era.
Photography as an art form is itself little more than 150 years old, very young by most standards. In those few decades, photographic technology has undergone multiple revolutions, each one described by the previous technology's adherents as the end of the art form. For example, early in the 20th century, when Kodak introduced the first film camera that could be afforded and used by the masses, professional photographers versed in wet plate techniques saw it as the end of the world.
The essays in this book are written by artists using traditional technologies to produce unique works of art. That is to say that the artists are using historical technologies to produce a given result that is unique to that technology. Wet-plate, pin-hole, tin-type, daguerreotype, and several other physical, non-digital techniques are described that are used to create images with unique characteristics. Rather than using these historical techniques for sentimental, or nostalgic reasons, it is important to understand that the artists are using these techniques for the specific qualities they bring to the image, and that often cannot be reproduced by modern digital cameras.
This book however is not a guide book. You will not find information about how to prepare the chemicals required for the daguerreotype process for example. Rather, the essays describe why any particular artist chooses to use the daguerreotype as a medium.
Because this book is a collection of essays by various authors, there is no consistency of writing style. I found some of the essays very enjoyable to read, while others were honestly a bit of a struggle. This is of course to be expected with this type of book.
3 of 3 people found the following review helpful.
Good Stuff
By A Customer
If you teach photography at any level this is a book you should use in your classroom. As a teacher, I understand the importance of reading and writing in all disciplines, but most of the texts for beginning photography focus heavily on the technical aspects of the medium—EXTREMELY important, but there are a few problems with traditional photography textbooks: They are becoming increasingly financially prohibitive for many students, and they devote little room for the creative process, which is so important to the art of photography. In my experience, this is true for both analog and digital photography textbooks. Given the vast pool of technical information available to students and faculty via the open source Internet, the need for textbooks that focus exclusively on technique seems antiquated. Photography Beyond Technique introduces students to the thought processes of twenty photographers working in a wide range of photographic processes. All of these photographers understand the importance of the technical aspects of photography, but they also clearly understand the importance of the conceptual and creative aspects of the medium. The essays are thought provoking and will be of interest to student (or anyone) who practices analog or digital photography. Many of these photographers included in this collection of essays use a combination of digital and analog processes to create their final works. Photography Beyond Technique in conjunction with a well-designed open source technical “text” will prove to be a very powerful learning experience for students at all levels of the curriculum.
2 of 2 people found the following review helpful.
A brief history of photography and so much more...
By Timothy B. Anderson
“Photography is not dying and has not died. In fact, it is more vigorous than ever,” writes Tom Persinger in the Introduction to Photography Beyond Technique.
Along with this optimistic opening, Persinger offers readers a brief history of photography. He tells us not to look at photography as “…simply a process, artifact, or gesture.” Instead he suggests that we view it expansively, as a tool for communication, for sharing. His personal view of the history of our shared passion (photography) is well worth the price of the book, itself.
There are essays by some of the best and the brightest of contemporary photography, who have included insight and images that serve to clarify and inform us about what it means to be involved in photography beyond technique.
“It (Photography Beyond Technique) is about a photographic practice that exists beyond technique. The art that can occur in the critical juncture where process, content, and subject merge with an active, inquisitive investigation of light, time, and the apparatus in an effort to create something brilliantly exciting,” Persinger writes.
There is no discussion about technique. We are not brought in the fold to discuss theory. No act of process is mentioned. There are 20 essays that convey the “pursuit of expansive inquiry of contemporary photographic and artistic practice.” From Dan Estabrook to France Scully Osterman to Dan Burkholder we are asked to tag along on a journey that may take us places that require thought and introspection.
We may be tasked to open the envelope completely in an effort to discover how much more there is to our passions and our pleasures.
writes in her section, “Sleep,” that “When the image has something to say and the artist has picked the right medium to express it, the combination can be magical.”
“It’s the 21st- century photographer’s task to make art within that ever-increasing distance, honoring and revealing the past as only the future can,” Dan Estabrook suggests in his section, “Notes on the Art of Failure.”
In “There is No Future in Difficulty,” Dan Burkholder ofers that “You don’t get points for doing it the hard way; you get points for making prints that stop us in our tracks to consider the visual wonder that photography reveals when used by talented practitioners.”
Each essay could easily be a book on its own. Each section could easily be read as a stand-alone, suffused with poetic insights and personal offerings that enable the reader (if he/she chooses) to become more than a photographer; more than a technician.
Photography Beyond Technique allows us to become true artists.
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