Download PDF Believing Is Seeing: Observations on the Mysteries of Photography, by Errol Morris
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Believing Is Seeing: Observations on the Mysteries of Photography, by Errol Morris
Download PDF Believing Is Seeing: Observations on the Mysteries of Photography, by Errol Morris
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Review
"Morris brings an insatiable and contagious curiosity throughout to the convolutions that arise between art and truth telling." -Publishers Weekly (starred review) "...Morris's book feels less like traditional photography criticism than like the novels of W. G. Sebald, which are similarly obsessed with truth, memory and war. We get odd, absorbing pictures of Mayan ruins, of Picasso and his mistress, of the high heels worn by Morris's tour guide in Crimea: shanks, shoes, a shadow (presumably the photographer's) falling across the once boot-trodden road. Like extra problem sets in a textbook, these photos offer us additional opportunities to practice the art of looking, while simultaneously multiplying the scale of, as Morris's subtitle puts it, 'the mysteries of photography.'" -New York Times Book Review "Believing Is Seeing is an important book: It reminds us, at a time when it is remarkably easy to manipulate images and we are daily inundated with more and more of them, to ask: 'What, after all, are we looking at?'" -Wall Street Journal "[A]n elegantly conceived and ingeniously constructed work of cultural psycho-anthropology wrapped around a warning about the dangers of drawing inferences about the motives of photographers based on the split-second snapshots of life that they present to us. It's also a cautionary lesson for navigating a world in which, more and more, we fashion our notions of truth from the flickering apparitions dancing before our eyes." -Los Angeles Times "Delightfully conversational..." -Boston Globe "...simultaneously bewildering and thrilling, like finding a fathomless secret world hidden behind the seeming simplicity of everyday life." -Salon "Morris' assiduous and profound inquiry into the relationship between reality and photography is eye-opening, mind-expanding, and essential in this age of ubiquitous digital images." -Booklist (starred review) "Students of photography-and fans of CSI-will find this a provocative, memorable book..." -Kirkus Reviews
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About the Author
Errol Morris is a world-renowned filmmaker-the Academy Award- winning director of The Fog of War and the recipient of a MacArthur "Genius" Award. His other films include Standard Operating Procedure; Mr. Death; Fast, Cheap, and Out of Control; A Brief History of Time; and The Thin Blue Line.
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Product details
Hardcover: 336 pages
Publisher: Penguin Press; 1st edition (September 1, 2011)
Language: English
ISBN-10: 1594203016
ISBN-13: 978-1594203015
Product Dimensions:
7.5 x 1 x 9.4 inches
Shipping Weight: 2.2 pounds
Average Customer Review:
4.3 out of 5 stars
35 customer reviews
Amazon Best Sellers Rank:
#155,273 in Books (See Top 100 in Books)
Though it was published earlier, this is the best book I read in 2014. It has flaws - the last third isn't nearly as good as the first two thirds - but Morris' discussion of the authenticity of the famous Crimean War picture, the scope of his intellectual engagement, his detective work, the careful approach he took to his subject is absolutely breathtaking. Consider this a seven star review minus two stars for the last section. Highly recommended.
This is not a book for a tipical or amateur photographer. This is a book por people who care very seriously about photography. This is the kind of book for people who keeps thinking about what photography really is, the importance of photography, the influence of photography, the history of photography, the mass media manipulation using photography. In other words, don't buy this book if you don't care about photography's theory. And if you do, don't miss it!
While most photographers, myself included, just take what we do for granted, Errol Morris points out the manipulative nature of all photographs. Artists do much the same thing. The very act of "selecting" what to capture in an image and what to leave out is an act of selective vision that we use to inform or impress our viewers. But, since we are not all taking images to be used in a court room in a legal case, or to document a war, that is fine. His observations will make you think more deeply about what you photograph, but certainly won't change my methods or intent.
As a photographer, I appreciated Errol Morris' book on several levels. He examines several case studies, specific photographs since the advent of photography which have in some way affected the perception of history; his choices in themselves are intreguing. Morris' style of writing manages to read as both academic and personal, and he takes advantage of all the research options available, both human and otherwise. His central point, that an image can be manipulated by both the artist and the viewing public to become something more, makes you question all of modern media.
Errol Morris is a documentary cinematographer. In this book, he offers up meditations on truth and still photography. His perspective is unremittingly that of a documentarian -- he has very little interest in aesthetic issues in this volume. They may impinge tangentially, as he considers issues of arranging the objects being photographed, but they are never his focus.The style of the book reminded me of a Studs Terkel book -- he interviews people who have some relationship to each of a half-dozen photographs that comprise the nominal topics for the book's chapters. The interview approach keeps the material accessible and rather chatty, even when it delves into arcana of image processing or forensic analysis of photographs. AFAICS, there is no main point that the book is trying to put forth. Rather, it is a series of ruminations on the topic of photographs as historical (or news) artifacts.I thoroughly enjoyed the explorations, in the way that I enjoyed the movie "My Dinner with Andre" -- I would have liked to have been present during the interviews, and reading the book is the next best thing. There are times when I was less than convinced of the correctness of points being made -- for example, the big conclusion of the first photographs examined was that it is the accidental and unimportant aspects of a photograph that are the reliable indicator of truth within it. While there may be some validity to that observation, there was also considerable value in the alternative ideas that were examined along the way.Morris' expectation that there should be one irrefutable standard for establishing truth in a photograph was what was flawed, not the particlar standards that were put forward. The fact that they all led to the same conclusion was a much more reliable basis for believing that conclusion than any one of them in isolation, including the one he finally settled on.But the value of ths book is not that it presents unassailable conclusions. Rather, it is in the questions with which it chooses to wrestle. If you have any interest in photo journalism, documentary photography, or history, this book will be an engaging exploration of ways in which photography can enlarge our appreciation of historical events and the ways in which it may be an impediment to that appreciation. It is well worth a read.
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