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Produktbeschreibungen
Kurzbeschreibung
This title deals with masters and monographs. This is an encyclopedia of 20th century photographers and their finest publications. This is a comprehensive overview of the most influential photographers of the last century and their finest monographs. Arranged alphabetically, this biographical encyclopedia features every major photographer of the 20th century, from the earliest representatives of classical Modernism right up to the present day. Richly illustrated with facsimiles from books and magazines, this book includes all the major photographers of the last hundred years - especially those who have distinguished themselves with important publications or exhibitions, or who have made a significant contribution to the culture of the photographic image. The 400 entries include photographers from North America and Europe as well as Japan, Latin America, Africa, and China. "Photographers A-Z" focuses on photographic images and culture, but also features photographers working in 'applied' areas, whose work goes beyond the merely illustrative, and is regarded as photographic art or is conserved by major museums, such as Julius Shulman, Terry Richardson, Cindy Sherman, and David LaChapelle, etc. Featured photographers include: Ansel Adams, Manuel Alvarez-Bravo, Nobuyoshi Araki, Diane Arbus, Richard Avedon, David Bailey, Elmer Batters, Peter Beard, Cecil Beaton, Werner Bischof, Guy Bourdin, Bill Brandt, Robert Capa, William Claxton, Anton Corbijn, Robert Doisneau, William Eggleston, Masahisa Fukase, Ron Galella, Nan Goldin, Jean-Paul Goude, John Heartfield, Eikoh Hosoe, George Hoyningen-Huene, Seydou Keita, William Klein, Nick Knight, Neil Leifer, Peter Lindbergh, Man Ray, Robert Mapplethorpe, Inez van Lamsweerde & Vinoodh Matadin, Jean-Baptiste Mondino, Helmut Newton, Martin Parr, Irving Penn, Pierre et Gilles, Bettina Rheims, Leni Riefenstahl, Sebastiao Salgado, Andres Serrano, Cindy Sherman, Kishin Shinoyama, Jeanloup Sieff, Lord Snowdon, Bert Stern, Larry Sultan, Mario Testino, Wolfgang Tillmans, Ellen von Unwerth, Andy Warhol, Bruce Weber, Weegee, Gary Winogrand and many more.
Über den Autor
Hans-Michael Koetzle is a Munich-based freelance author and journalist, focusing mainly on history and the aesthetics of photography. He has published numerous books on photography, including Die Zeitschrift twen (1995), Photo Icons (2001), Das Lexikon der Fotografen (2002), and Rene Burri (2004).
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Format:Gebundene Ausgabe
Nach einem knappen Vorwort des Herausgebers und Autors Hans-Michael Koetzle widmet sich das Buch der Vorstellung von 400 Fotografinnen und Fotografen ganz unterschiedlicher Couleur. Vertreten sind hier kommerzielle Werbe- und Modefotografen ebenso wie Bildjournalisten und experimentelle Fotokünstler. Die Auswahl orientiert sich vornehmlich an den Größen der Fotografie-Geschichte in den USA und in Europa. Aber auch einige Hot Shots der afrikanischen, lateinamerikanischen und vor allem japanischen Fotografenszene haben Aufnahme gefunden. In alphabetischer Reihenfolge finden sich auf jeweils einer, maximal zwei Seiten zunächst die Lebensdaten der Fotografen und eine Kurzbiografie, in der auch knapp auf die Arbeitsschwerpunkte sowie die technischen und künstlerischen Eigenarten des Werkes hingewiesen wird. Eine Würdigung der Besonderheit des jeweiligen Künstlers findet ferner durch den Abdruck eines Zitats ganz unterschiedlicher Autoren, Journalisten oder Kunstkritiker zu seinem Werk statt. Weitere Angaben gibt es, so vorhanden, zu den Ausstellungen und Publikationen, die dem jeweiligen Fotografen bislang gewidmet worden sind. Als Bildmaterial sind diesen Daten Nachdrucke von Buchcovers und in Ausstellungskatalogen oder auch in Zeitschriften und Magazinen abgedruckten Fotografien beigefügt.
"Fotografen A-Z" ist beides: einerseits informatives Lexikon, dessen knapp gehaltene Inhalte lediglich einen gezielten Überblick über das Werk eines bestimmten Fotografen geben und zur weiteren Vertiefung anregen sollen, andererseits ein Buch zum ziellosen Blättern durch die Fotografiegeschichte und zum ungeplanten Verweilen bei einzelnen Künstlern, die man bereits kennt oder dadurch erst kennen lernt.
Was man als Stärke des Buches sehen kann, kann man genauso gut als Schwäche sehen. Die Entscheidung, eine möglichst große Bandbreite an Fotografen in einen Band zu packen, bringt es selbstredend mit sich, dass der Platz, der den einzelnen Personen gewidmet werden kann, sehr begrenzt ist. So mussten sich die Herausgeber sowohl bei den Informationen als auch bei den teils doch recht klein gehaltenen Beispielfotografien auf das Allernötigste beschränken. Dieser Umstand wird für viele unbefriedigend sein, vor allem für jene, die bereits einen guten Überblick über die westliche Fotografiegeschichte haben oder zumindest auf einige großformatige Abbildungen der berühmtesten Fotografien hoffen, in denen man sich vertiefen kann. Der Vorteil dieser Gestaltung liegt auf der Hand: So kann ein Lexikon entstehen, das einen groben Überblick verschafft und als Appetizer für eine weitergehende Beschäftigung mit einzelnen Fotografen fungieren kann. Nicht mehr und nicht weniger, und das ist einiges.
"Fotografen A-Z" ist beides: einerseits informatives Lexikon, dessen knapp gehaltene Inhalte lediglich einen gezielten Überblick über das Werk eines bestimmten Fotografen geben und zur weiteren Vertiefung anregen sollen, andererseits ein Buch zum ziellosen Blättern durch die Fotografiegeschichte und zum ungeplanten Verweilen bei einzelnen Künstlern, die man bereits kennt oder dadurch erst kennen lernt.
Was man als Stärke des Buches sehen kann, kann man genauso gut als Schwäche sehen. Die Entscheidung, eine möglichst große Bandbreite an Fotografen in einen Band zu packen, bringt es selbstredend mit sich, dass der Platz, der den einzelnen Personen gewidmet werden kann, sehr begrenzt ist. So mussten sich die Herausgeber sowohl bei den Informationen als auch bei den teils doch recht klein gehaltenen Beispielfotografien auf das Allernötigste beschränken. Dieser Umstand wird für viele unbefriedigend sein, vor allem für jene, die bereits einen guten Überblick über die westliche Fotografiegeschichte haben oder zumindest auf einige großformatige Abbildungen der berühmtesten Fotografien hoffen, in denen man sich vertiefen kann. Der Vorteil dieser Gestaltung liegt auf der Hand: So kann ein Lexikon entstehen, das einen groben Überblick verschafft und als Appetizer für eine weitergehende Beschäftigung mit einzelnen Fotografen fungieren kann. Nicht mehr und nicht weniger, und das ist einiges.
6 von 7 Kunden fanden die folgende Rezension hilfreich
Format:Gebundene Ausgabe
A fascinating book about four hundred photographers that obviously invites comparison with Phaidon's `The photography book' (ISBN 0714836346) which featured five hundred alphabetically. Both books come from European publishers and reflect a world view of the art though I thought Koetzle's was perhaps a more personal choice.
There is an important visual difference between the two books that might be relevant to potential buyers. The Phaidon book has a simple format of one large photo a page and some short biographic detail about the photographer and it works well enough. The Taschen title presents the photos as facsimiles from the photographer's published books so the actual shots are really large thumbnails, very similar to Parr and Badger's two volume history of the photo book. As a publication designer I love this format but it might not suit everyone especially if they expect to see large photos in their art books.
As well as the book spreads each photographer has a hundred words or so biography and a selective exhibition and book listing. The four hundred chosen by Koetzle for inclusion do seem to me rather personal. Jack Delano and Russell Lee are not included, Julius Shulman is but not Ezra Stoller. Magazine art directors Alexander Liberman and Alexey Brodovitch are here and so is painter David Hockney but James VanDeZee isn't. Still, there are a lot of European and Japanese camera folk I'm not familiar with so turning the pages was a pleasant bit of photographic serendipity.
The really big names, for example: Capa; Cartier-Bresson; Frank; Lartique; Leibovitz; Renger-Patzsch; Rodchenko get two pages with spreads from two or three books or magazines (oddly Walker Evans only gets a page with two spreads from Fortune magazine). The book's production is the quality one would expect from Taschen, a matt art with 175 screen printing. I found a slight annoyance with some of the text setting, though. The biographies are set in one long block with no paragraphs and the book and exhibition listings are printed in a grey tint making them a bit hard to read in artificial light. Nicely all the book and magazine facsimiles have a tone drop shadow which gives them a slight dimensional feel on the page.
The Phaidon and this one are both reference books to great photographers but presented in two different formats. I like looking through both but have a preference for Koetzle's edition.
There is an important visual difference between the two books that might be relevant to potential buyers. The Phaidon book has a simple format of one large photo a page and some short biographic detail about the photographer and it works well enough. The Taschen title presents the photos as facsimiles from the photographer's published books so the actual shots are really large thumbnails, very similar to Parr and Badger's two volume history of the photo book. As a publication designer I love this format but it might not suit everyone especially if they expect to see large photos in their art books.
As well as the book spreads each photographer has a hundred words or so biography and a selective exhibition and book listing. The four hundred chosen by Koetzle for inclusion do seem to me rather personal. Jack Delano and Russell Lee are not included, Julius Shulman is but not Ezra Stoller. Magazine art directors Alexander Liberman and Alexey Brodovitch are here and so is painter David Hockney but James VanDeZee isn't. Still, there are a lot of European and Japanese camera folk I'm not familiar with so turning the pages was a pleasant bit of photographic serendipity.
The really big names, for example: Capa; Cartier-Bresson; Frank; Lartique; Leibovitz; Renger-Patzsch; Rodchenko get two pages with spreads from two or three books or magazines (oddly Walker Evans only gets a page with two spreads from Fortune magazine). The book's production is the quality one would expect from Taschen, a matt art with 175 screen printing. I found a slight annoyance with some of the text setting, though. The biographies are set in one long block with no paragraphs and the book and exhibition listings are printed in a grey tint making them a bit hard to read in artificial light. Nicely all the book and magazine facsimiles have a tone drop shadow which gives them a slight dimensional feel on the page.
The Phaidon and this one are both reference books to great photographers but presented in two different formats. I like looking through both but have a preference for Koetzle's edition.
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12 von 13 Kunden fanden die folgende Rezension hilfreich
Snap
19. März 2011
Format:Gebundene Ausgabe
A fascinating book about four hundred photographers that obviously invites comparison with Phaidon's The Photo Book which featured five hundred alphabetically. Both books come from European publishers and reflect a world view of the art though I thought Koetzle's was perhaps a more personal choice.
There is an important visual difference between the two books that might be relevant to potential buyers. The Phaidon book has a simple format of one large photo a page for each photographer plus some short biographic detail and it works well enough. The Taschen title presents the photos as facsimiles from a photographer's published books so the actual shots are really large thumbnails, very similar to Parr and Badger's two volume history of the photo book. As a publication designer I love this format but it might not suit everyone especially if they expect to see large photos in their art books.
As well as the book spreads each photographer has a hundred words or so biography and a selective exhibition and book listing. The four hundred chosen by Koetzle for inclusion do seem to me rather personal. Jack Delano and Russell Lee are not included, Julius Shulman is but not Ezra Stoller. Magazine art directors Alexander Liberman and Alexey Brodovitch are here and so is painter David Hockney but James VanDeZee isn't. Still, there are a lot of European and Japanese camera folk I'm not familiar with so turning the pages was a pleasant bit of photographic serendipity.
The really big names, for example: Capa; Cartier-Bresson; Frank; Lartique; Leibovitz; Renger-Patzsch; Rodchenko get two pages with spreads from two or three books or magazines (oddly Walker Evans only gets a page with two spreads from Fortune magazine). The book's production is the quality one would expect from Taschen, a matt art with 175 screen. I found a slight annoyance with some of the text setting, though. The biographies are set in one long block with no paragraphs and the book and exhibition listings are printed in a grey tint making them a bit hard to read in artificial light. Nicely all the book and magazine facsimiles have a tone drop shadow which gives them a slight dimensional feel on the page.
The Phaidon and this one are both reference books to great photographers but presented in two different formats. I like looking through both but have a preference for Koetzle's edition.
>>>LOOK INSIDE THE BOOK by clicking 'customer images' under the cover.
There is an important visual difference between the two books that might be relevant to potential buyers. The Phaidon book has a simple format of one large photo a page for each photographer plus some short biographic detail and it works well enough. The Taschen title presents the photos as facsimiles from a photographer's published books so the actual shots are really large thumbnails, very similar to Parr and Badger's two volume history of the photo book. As a publication designer I love this format but it might not suit everyone especially if they expect to see large photos in their art books.
As well as the book spreads each photographer has a hundred words or so biography and a selective exhibition and book listing. The four hundred chosen by Koetzle for inclusion do seem to me rather personal. Jack Delano and Russell Lee are not included, Julius Shulman is but not Ezra Stoller. Magazine art directors Alexander Liberman and Alexey Brodovitch are here and so is painter David Hockney but James VanDeZee isn't. Still, there are a lot of European and Japanese camera folk I'm not familiar with so turning the pages was a pleasant bit of photographic serendipity.
The really big names, for example: Capa; Cartier-Bresson; Frank; Lartique; Leibovitz; Renger-Patzsch; Rodchenko get two pages with spreads from two or three books or magazines (oddly Walker Evans only gets a page with two spreads from Fortune magazine). The book's production is the quality one would expect from Taschen, a matt art with 175 screen. I found a slight annoyance with some of the text setting, though. The biographies are set in one long block with no paragraphs and the book and exhibition listings are printed in a grey tint making them a bit hard to read in artificial light. Nicely all the book and magazine facsimiles have a tone drop shadow which gives them a slight dimensional feel on the page.
The Phaidon and this one are both reference books to great photographers but presented in two different formats. I like looking through both but have a preference for Koetzle's edition.
>>>LOOK INSIDE THE BOOK by clicking 'customer images' under the cover.
5 von 9 Kunden fanden die folgende Rezension hilfreich
A Pantheon of Premier Photographers
14. September 2011
Format:Gebundene Ausgabe|Von Amazon bestätigter Kauf
This an encyclopedic presentation of premier photographers in alphabetic order from Aarons to Zwart.
The author describes it as a "sort of pantheon" of photographers whose works are recognized internationally and who have contributed to the "culture of the photographic image."
As I reviewed it, I wondered for whom it was being published? For those photographers who were lucky enough to be listed, for other professional photographers, or for the general art loving audience? As it is presently organized you need to know you are looking for, like looking for a word in a dictionary. Moreover like searching for a word, you frequently miss the opportunity to find other words. Only by happenstance will you discover new ones.
I believe Quetzal could have improved the value of this fine collection if he organized it into certain genres or types of photography, i.e., landscape, fashion, commercial-advertising, exotic, people, animals, portraiture, urban, rural, era, etc. That way the user could discover artists of a similar bent by searching within that category. Of course, comparisons could also be facilitated. It could help the editor as well by identifying any gaps or under-representations in a well-rounded pantheon.
In deference to other professional photographers who may be looking at the works of their idols in this book, he could have included some insight as to their technique, equipment or philosophy used. This could "up the value proposition" of the book for that audience enormously.
Finally, for the general art audience perhaps a bit more information could have been offered on just what is so unique about the individual photos. For non-photographers it is not clear what makes a great photograph.
Just some thoughts.
The author describes it as a "sort of pantheon" of photographers whose works are recognized internationally and who have contributed to the "culture of the photographic image."
As I reviewed it, I wondered for whom it was being published? For those photographers who were lucky enough to be listed, for other professional photographers, or for the general art loving audience? As it is presently organized you need to know you are looking for, like looking for a word in a dictionary. Moreover like searching for a word, you frequently miss the opportunity to find other words. Only by happenstance will you discover new ones.
I believe Quetzal could have improved the value of this fine collection if he organized it into certain genres or types of photography, i.e., landscape, fashion, commercial-advertising, exotic, people, animals, portraiture, urban, rural, era, etc. That way the user could discover artists of a similar bent by searching within that category. Of course, comparisons could also be facilitated. It could help the editor as well by identifying any gaps or under-representations in a well-rounded pantheon.
In deference to other professional photographers who may be looking at the works of their idols in this book, he could have included some insight as to their technique, equipment or philosophy used. This could "up the value proposition" of the book for that audience enormously.
Finally, for the general art audience perhaps a bit more information could have been offered on just what is so unique about the individual photos. For non-photographers it is not clear what makes a great photograph.
Just some thoughts.
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