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Alex Webb and Rebecca Norris Webb on Street Photography and the Poetic Image: The Photography Workshop Series, by Alex Webb, Rebecca Norri
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In this series, Aperture Foundation works with the world's top photographers to distill their creative approaches, teachings, and insights on photography—offering the workshop experience in a book. Its goal is to inspire photographers of all levels who wish to improve their work, as well as readers interested in deepening their understanding of the art of photography. Each volume is introduced by a well-known student of the featured photographer. In this book, internationally acclaimed color photographers Alex Webb and Rebecca Norris Webb, offer their expert insight into street photography and the poetic image. Through words and photographs—their own and others'—they invite the reader into the heart of their artistic processes. They share their thoughts about a wide range of practical and philosophical issues, from questions about seeing and being in the world with a camera, to how to shape a complete body of work in a way that's both structured and intuitive. Award-winning novelist Teju Cole, a student of the Webbs, provides the introduction.
- Sales Rank: #398709 in Books
- Published on: 2014-06-30
- Original language: English
- Number of items: 1
- Dimensions: 9.90" h x .50" w x 7.50" l, .0 pounds
- Binding: Paperback
- 128 pages
Review
As a reading experience, the books feel more like monographs with expansive captions than generic how-to guides. –Eye Magazine
About the Author
Alex Webb is best known for his vibrant and complex color photography, often made in Latin America and the Caribbean. He has published eleven books, including Violet Isle: A Duet of Photographs from Cuba (with Rebecca Norris Webb) and The Suffering of Light, a collection of thirty years of his color work. Alex became a full member of Magnum Photos in 1979. His work has been shown widely, including at the Metropolitan Museum of Art and the Whitney Museum of American Art, New York, and at the High Museum of Art, Atlanta. He’s received numerous awards, including a Guggenheim Fellowship in 2007. His work has appeared in the New York Times Magazine, National Geographic, and GEO, among other publications.
Rebecca Norris Webb, originally a poet, has published three photography books that explore the complicated relationship between people and the natural world: The Glass Between Us, Violet Isle: A Duet of Photographs from Cuba (with Alex Webb), and My Dakota. Her fourth book, Memory City (with Alex Webb), is a meditation on film, time, and the city of Rochester, New York, in what may be the last days of film as we know it. Her work has been exhibited internationally, including at the Museum of Fine Arts, Boston; George Eastman House, Rochester, New York; Ricco/Maresca Gallery, New York; and Robert Klein Gallery, Boston. Her work has appeared in the New Yorker, Time, National Geographic, and Le Monde Magazine.
Teju Cole was born in the United States to Nigerian parents and raised in Nigeria. He is the author of two works of fiction: Every Day is for the Thief, a novella, and the novel Open City, which won the PEN/Hemingway Award and the Internationaler Literaturpreis. Cole, a contributor to the New York Times, the New Yorker, and other publications, is also an art historian and a photographer.
Most helpful customer reviews
41 of 48 people found the following review helpful.
Hate to say this, but a big disappointment
By Philip T. Ewing
Webb and Norris Webb are brilliant photographers, so it pains me to criticize their book, but you should know what you're getting into here. "The Poetic Image" is an apparently random -- sometimes almost slapdash -- collection of photos, musings and anecdotes. It's unhelpful for students. What I hoped the photographers would do is show one of their beautiful and distinctive images and write: "OK. There I was in Port-au-Prince. I had an assignment to cover X. I chose this scene because of Y. I made Z number of exposures and I liked this one the best because the boy turned to me and smiled." Etc. Instead Webb and Norris Webb ruminate and pontificate, at times in "poetic" terms, in a way that might be interesting to hardcore fans but does not deliver on the book's promise of being a "workshop" in print.
I really admire their work, so I was really let down here.
No one expects Garry Kasparov to describe how the chess pieces move. We expect him to write about how he evaluated a position or an opponent and how it made him act. We don't need Webb and Norris Webb to tell us about f-stops and shutter speeds, or the merits of RAW v JPEG. Even with these concessions, however, the practical advice here is severely limited, and at times, borderline insulting.
For example, in one layout Webb prints the beautiful image of a street in Bombay that includes two giant eyes, apparently part of advertising placards, staring back at the viewer. A young girl peeks out from behind another advertisement -- a photo so strong it was the cover of his book "The Suffering of Light." The text is not about the creative choices he made that yielded the photo, why he chose to frame it this way, or what he was trying to communicate. Instead he gives some broad advice about how what works in photographing one place doesn't work in others. In Morocco, most people don't like having their picture taken. In India, many do. Takeaway: Photography depends on where you are. Thanks for that.
In another section, Webb describes how he follows the "smell" of an image. It's a familiar phrase photographers use, but here is the famous Magnum image-maker describing it. Fantastic. So what sets off his Spidey sense? He doesn't say. "It all depends on what the world gives me on a particular day," he writes. Probably true, but he might as well have written: In order to make good photographs, be a good photographer. Also true -- but c'mon.
In another layout, Webb talks about one of his trademarks: His "crowded" images, some of which, he suggests, approach visual "chaos." Finally! So how does he put them all together? Is it pure luck that requires hundreds of frames? Does he ask people to stay in place in order to build additional layers in front of or behind them? Does he use a long lens to compress scenes to create the complexity he wants, or work within a wider-angle perspective? This is a "workshop series" book, but there's no workshop here -- all Webb says is he likes complicated pictures because "the world I experience is a complicated and ultimately inexplicable place."
The process that went into creating these images is, apparently, also inexplicable.
Sam Abell will tell you how he creates Sam Abell pictures in his The Life of a Photograph. Steve McCurry will tell you how he creates Steve McCurry photos in Untold: The Stories Behind the Photographs. But in this book, Alex Webb will just not tell you how to create Alex Webb pictures.
23 of 27 people found the following review helpful.
heavy on introspection, light on practical guidance
By eaglet
I am a big fan of Alex Webb's work. This book offers plenty of mind-bending imagery by AW and by Rebecca NW, his wife. Their discussions, centered on each image, emphasize their inner journey toward that image rather than some practical guidance about photographic specifics concerning that given image. The most frequent words in the book are "poem" and "poetic" that are appropriate descriptors of their own work. A few tidbits like "color is emotion" or "every city has its own shape" and walking to exhaustion and being patient is the way to go for "street photography" add very little to our understanding of how they each approach an assignment, and more to the point, how one arrives at a successful image. This is probably no surprise as one can't "explain" poetry either. You either get it or you don't.
There is plenty of thoughtful discourse throughout this slim volume about their work, and the overall message seems to be that intuition, more than anything else, guides the creative process. And, by implication, you have to go find your own inspiration to produce such stellar images like theirs.
Those who are expecting a master lesson from this book might be disappointed. However, the work included in the book is certainly inspirational.
11 of 14 people found the following review helpful.
Unique and powerful source of inspiration by two of the most recognised photographers and educators of our time
By Mr K Rinzing
"On Street Photography and the Poetic Image" is a unique and powerful source of inspiration and reflection for photographers in particular, but also for anyone in general who is interested in the creative process and delightful, soulful imagery. Alex Webb and Rebecca Norris Webb offer guidance through their own images (as always, beautifully reproduced by Aperture) paired with insightful words: personal accounts, stories, practical advice, analogies and quotes. The authors have also included some photographs by some equally inspiring master photographers, such as Henri Cartier - Bresson, Andre Kertész, Josef Koudelka, Lee Friedlander amongst others.
The authors' often exquisitely layered, ambiguous images leave ample space for interpretation and pondering; each viewer can find or impute meaning subjectively by connecting the dots, making associations in their own particular way. At the same time the photographs of Rebecca and Alex intimately represent and express their personal journey, their inner and outer explorations and their view of the world. I perceive each page of this book as indirect encouragement and invitation for the reader / viewer to experience the joy and meaning of a deeper exploration of their journey in the world through contemplation, and creative, intuitive visual expression.
On a more personal note, I have been trying to attend one of Alex and Rebecca's workshops for over two years now, but I work in education with no flexibility over my holidays and all workshops seem to be organised during term times. I was overjoyed, then, when I discovered this book and I can wholeheartedly recommend it to anyone who wishes to be inspired and guided by two of the most recognised photographers and educators of our time.
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