- Gebundene Ausgabe: 177 Seiten
- Verlag: Bulfinch Press,U.S.; Auflage: 01 (3. Oktober 1996)
- Sprache: Englisch
- ISBN-10: 0821223666
- ISBN-13: 978-0821223666
- Größe und/oder Gewicht: 22,9 x 1,9 x 29,2 cm
- Durchschnittliche Kundenbewertung: 4 Kundenrezensionen
- Amazon Bestseller-Rang: Nr. 221.463 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)
Olympic Portraits (Englisch) Gebundene Ausgabe – 3. Oktober 1996
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For more than a quarter of a century, Annie Liebovitz's images have been rewriting the rules of celebrity portraiture and photojournalism. In her first book since "Annie Liebovitz: Photographs 1970-1990", she turns her lens to some of the world's most striking subjects: America's Olympians. She has created an Olympic portfolio for an exhibition at the 1996 Olympics, capturing the intensity, the drive and extraordinary physiques of athletes at the top of their sports. There are sprinters and swimmers, cyclists, archers and fencers, gymnasts, wrestlers and weight lifters. They include such luminaries as Gwen Torrance and Dennis Mitchell.
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The portraits are usually stunning, as might be expected. Many of the action photographs leave something or much to be desired. But that's part of what makes the book interesting. I came away with a new respect for those terrific sports action photographs that I love so much.
As Ms. Leibovitz says, "Each time I worked with an athlete I had two possibilities: . . . concentrate on the person or . . . on the sport." "Sometimes I was able to do both." And those moments when she did both are sublime!
The motion shots are the difficulty. She nicely states the problem. "If you see it, you've missed it." So you have to shoot with an expectation of what is likely to follow, and keep shooting. I suspect that she did not allow enough time to get enough of all the kinds of shots that sports photographers have led us to expect. "The fixed image . . . has to be just the right slice of time, [to] . . . stand for -- and suggest -- the whole movement."
Her talent as a portrait photographer serves her well. The young women and men take on superhuman auras in stunningly composed frames. By focusing on the preparations for the games rather than the games themselves (which are very commercial now), she harkens back to the original Greek ideal of sport as a way to pursue mental and physical perfection.
If I liked the work so much, why did I grade it down one star? As I mentioned earlier, many of the motion shots were either unexciting or below the standard I am used to seeing. In addition, the pages in this book are too small for the images so many photographs have a fold right through critical details. The design is quite weak in that sense.
Here are my favorite images:
Jon Olsen (p. 17)
Amy Van Dyken (p. 19)
Mark Lenzi (p. 21)
Mihai Bagiu (p. 35)
Dominique Moceanu (p. 37)
Dominique Moceanu and John Roethlisberger (p. 39)
Men's Eight (pp. 54-55)
John Godina (p. 66)
Esther Jones, Gwen Torrence, Carlette Guidry (pp. 80-81)
Gwen Torrence (pp. 88-89)
Julie Foudy (pp. 102-103)
Chanda Rubin (pp. 104-105)
Darrick Health (pp. 132-133)
Becky Dyroen-Lancer, Heather Simmons-Carrasco, and Jill Savery (pp. 134-135)
Kevin Burnham and Morgan Reeser (pp. 174-175)
I suggest that you take up Ms. Leibovitz's challenge yourself, by photographing children practicing sports. Your subjects will be delighted with the attention, and they will be easier to shoot because they don't move as fast as adult athletes.
Shoot first, and review the contact sheets later!
The pictures themselves are dark, somber, and far from showing any sort of triumphant spirit, portray the athleticism as a dismal exercise, and the athletes themselves as unattractive dullards.
There is also discourtesy to the reader and a tacit message that the athletes themselves are less important than the photographer: the photos are NOT accompanied by the athlete's name, sport, or anything else. The reader must go all the way to the back of the book where the publisher grudgingly provides ONLY the name and sport, in microscopic type.
If you like depressing books that speak of photographer's self-indulgence and disinterest in both the reader and the subject, this book will do nicely.
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