Here are 100 books that More Than A Snapshot fans have personally recommended if you like
More Than A Snapshot.
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Growing up in the 1970s, I loved my family’s cheap plastic Polaroid OneStep camera and the magic pictures that developed right before my eyes. Thirty years later, I was incredibly lucky to be the first researcher to get access to the Polaroid archive just as the company was going bust. For me, the key to Polaroid photography is that it is fun, and all the books on my list are, in one way or another, about the lighter, playful side of photography. I hope that they take you off the beaten track of the history of popular photography and into some quirky and interesting corners.
I wish I’d written this book. I’ve always been fascinated by instructional guides for amateur photographers and the rules they set out to get a ‘good picture.’ I’ve followed many of these rules myself over the years, but what this great book shows is that the rules are constantly changing.
What made a good picture in 1930 is not the same as in 1950 or 1970. This book tells this story in fifty short and punchy chapters, and it has great pictures on virtually every page.
A picture-rich field guide to American photography, from daguerreotype to digital.
We are all photographers now, with camera phones in hand and social media accounts at the ready. And we know which pictures we like. But what makes a "good picture"? And how could anyone think those old styles were actually good? Soft-focus yearbook photos from the '80s are now hopelessly-and happily-outdated, as are the low-angle portraits fashionable in the 1940s or the blank stares of the 1840s. From portraits to products, landscapes to food pics, Good Pictures proves that the history of photography is a history of changing styles.…
Growing up in the 1970s, I loved my family’s cheap plastic Polaroid OneStep camera and the magic pictures that developed right before my eyes. Thirty years later, I was incredibly lucky to be the first researcher to get access to the Polaroid archive just as the company was going bust. For me, the key to Polaroid photography is that it is fun, and all the books on my list are, in one way or another, about the lighter, playful side of photography. I hope that they take you off the beaten track of the history of popular photography and into some quirky and interesting corners.
When I was writing my book on Polaroid photography, people often asked me about Polaroid as an art form. I gave some examples but said there’s so much more to it than that. I’m interested in the ways that photography isn’t just something we look at but something that makes things happen, changing who we are, what we do, and where we go.
This book shows us how much more there is to photography than art. I especially like how the book does this in short, stylish essays, introducing lots of different voices and perspectives, including photographers, curators, scientists, publishers, writers, and anthropologists.
Photography Changes Everything-drawn from the online Smithsonian Photography Initiative-offers a provocative rethinking of photography's impact on our culture and our lives. It is a reader-friendly exploration of the many ways photographs package information and values, demand and hold attention, and shape our knowledge of and experience in the world. At this transitional moment in visual culture, Photography Changes Everything provides a unique opportunity to better understand the history, practice, and power of photography. The publication harnesses the extraordinary visual assets of the Smithsonian Institution's museums, science centers, and archives to trigger an unprecedented and interdisciplinary dialogue about how photography does…
Growing up in the 1970s, I loved my family’s cheap plastic Polaroid OneStep camera and the magic pictures that developed right before my eyes. Thirty years later, I was incredibly lucky to be the first researcher to get access to the Polaroid archive just as the company was going bust. For me, the key to Polaroid photography is that it is fun, and all the books on my list are, in one way or another, about the lighter, playful side of photography. I hope that they take you off the beaten track of the history of popular photography and into some quirky and interesting corners.
I’ve always loved the portraits the photographer Félix Nadar made of nineteenth-century Parisian celebrities such as Victor Hugo and Charles Baudelaire.
I went to this book—Nadar’s memoir—to learn more about the making of those pictures. There is a little bit of that, but what really gripped me was the weird and wonderful shaggy dog stories Nadar tells about his adventures in ‘aerostatic photography’—taking pictures from balloons.
The first complete English translation of Nadar's intelligent and witty memoir, a series of vignettes that capture his experiences in the early days of photography.
Celebrated nineteenth-century photographer—and writer, actor, caricaturist, inventor, and balloonist—Félix Nadar published this memoir of his photographic life in 1900 at the age of eighty. Composed as a series of vignettes (we might view them as a series of “written photographs”), this intelligent and witty book offers stories of Nadar's experiences in the early years of photography, memorable character sketches, and meditations on history. It is a classic work, cited by writers from Walter Benjamin to…
Growing up in the 1970s, I loved my family’s cheap plastic Polaroid OneStep camera and the magic pictures that developed right before my eyes. Thirty years later, I was incredibly lucky to be the first researcher to get access to the Polaroid archive just as the company was going bust. For me, the key to Polaroid photography is that it is fun, and all the books on my list are, in one way or another, about the lighter, playful side of photography. I hope that they take you off the beaten track of the history of popular photography and into some quirky and interesting corners.
This has been an incredibly important book for my thinking about photography. I always knew how instrumental Kodak advertising had been to popular ideas about amateur photography, but I learnt from this book how Kodak’s advertising changed over time.
In its early years, it emphasised the sheer pleasure of taking pictures, while only later did it start to promote photography as a tool of memory. It was those early years that interested me most because they pointed to another history of photography as playful and fun.
The advertising campaigns launched by Kodak in the early years of snapshot photography stand at the centre of a shift in American domestic life that goes deeper than technological innovations in cameras and film. Before the advent of Kodak advertising in 1888, writes Nancy Martha West, Americans were much more willing to allow sorrow into the space of the domestic photograph, as evidenced by the popularity of postmortem photography in the mid-19th century. Through the taking of snapshots, Kodak taught Americans to see their experiences as objects of nostalgia, to arrange their lives in such a way that painful or…
Against all odds, women journalists have built a robust tradition of telling the truth and getting to the heart of the story no matter the obstacles. In a world where the Fourth Estate is ever more crucial, the history of female reporters is all the more relevant as a source of information and inspiration for the next generation of correspondents. As a woman’s historian and passionate supporter of freedom of the press I’m always on the lookout for great histories of these intrepid reporters whose lives also happen to make for great reads.
As a kid, I wanted to be Lauren Bacall when I grew up. I watched To Have and Have Not almost weekly, emulating her sultry moves as “Slim” and wishing that I too could one day undermine the Nazis in a little black dress.
I don’t regret my choice of teenage role model, but I do wish I had known about Lee Miller back then, who would have offered a real-life example of a femme fatale fighting for good with her talents. However, rather than grit and charm, Miller used her camera to expose the true cost of fascism.
Carolyn Burke's biography takes us on an extraordinary journey through Miller’s life—from her days as a model to her work as a war correspondent. Miller had an uncanny ability to connect with the subjects of her photographs, creating a bridge between their world and ours.
Lee Miller's life embodied all the contradictions and complications of the twentieth century: a model and photographer, muse and reporter, sexual adventurer and domestic goddess, she was also America's first female war correspondent. Carolyn Burke, a biographer and art critic, here reveals how the muse who inspired Man Ray, Cocteau, and Picasso could be the same person who unflinchingly photographed the horrors of Buchenwald and Dachau. Burke captures all the verve and energy of Miller's life, from her early childhood trauma to her stint as a Vogue model and art-world ingenue, from her harrowing years as a war correspondent to…
I first read Swann’s Way when I was seventeen. Throughout the following five decades, In Search of Lost Time has always remained within reach, a parallel universe more enriching than words can express. As a painter, I’m drawn to Proust’s subtle use of paintings to reveal and mystify the relationship between what we see and what we know. I’ve spoken on Proust at Berkeley, the Museum of Fine Arts in Boston and Houston, and was invited to give the annual Proust lecture at the Center for Fiction in New York as well as the Amon Carter Lecture on the Arts at the Harry Ransom Center in Austin.
When the Hungarian-French photographer Brassai arrived in Paris in 1924, he taught himself French by reading Proust. As a photographer, he was fascinated by a similarity between his own impulse to make pictures and how the novelist used the photographic process as a metaphor for establishing or obscuring his character’s inner and outer worlds, as if both he and Proust were developing images in their respective darkrooms. Proust, Brassai saw, “used his own body as an ultra-sensitive plate, managing to capture and register thousands of impressions.” He was like a reporter with a camera—sometimes a portraitist, a landscapist, and, “sometimes Proust rivals the paparazzi.”
One of the most original and memorable photographers of the 20th century, Brassai was also a journalist, sculptor and writer. He took great pride in his writing, and he loved literature and language - French most of all. When he arrived in Paris in 1924, Brassai began teaching himself French by reading Proust. Captured by the sensuality and visual strategies of Proust's writing, Brassai soon became convinced that he had discovered a kindred spirit. Brassai wrote: "In his battle against Time, that enemy of our precarious existence, ever on the offensive though never openly so, it was in photography, also…
I am a hopeless photographer. But I have a passion for looking at photographs, for trying to understand how good ones work. They are not just momentary slices of life but structured artefacts, sometimes technically interesting, that in myriad ways reflect the society that produced them. I studied aspects of US cultural history at three universities. After devoting the first part of my academic career to American literature, in the second half – during which, supported by wonderful fellowships, I spent much time rooting in archives – I gave myself up to American photography. I have learnt much from each of the books I commend here.
This book is a lively, questioning, and comprehensive survey of American photography, from its beginnings to the present. It analyzes achievements in each of the genres, from portraiture, through landscape, to documentary, fashion, etc. It treats individual photographic artists, from Avedon to Weegee, from the views of New York taken by Berenice Abbott to J.T. Zealy’s likenesses of enslaved Africans. American Photography is always concerned to underscore what photographs have to tell us about major aspects of American culture: race and ethnicity, gender and identity, business and technology, religion, and region. It also has numerous well-reproduced images; illuminating sidebars and boxes on such topics as the daguerreotype or picture magazines; a helpful timeline; and notes on further reading and viewing. The book was expanded and retitled as Photography in America in 2015, but the first edition still holds up.
This lively new survey offers fresh insights into 150 years of American photography, placing it in its cultural context for the first time. Orvell examinines this fascinating subject through portraiture and landscape photography, eamily albums and memory, and analyses the particularly 'American' way in which American photographers have viewed the world around them. Combining a clear overview of the changing nature of photographic thinking and practice in this period, with an exploration of key concepts, the result is the first coherent history of American photography, which examines issues such as the nature of photographic exploitation, experimental techniques, the power of…
As an educator and author with more than 35 years of experience in outdoor education, I’ve come to realize that children need nature more than ever. I wonder if children are more lonely today because they feel disconnected from the very life systems that nourish us all. There are rising levels of anxiety, depression, and mental health concerns. At the same time, more studies are showing the tremendous health benefits of time spent outside. I hope that all of us take the time to connect to our “neighbourwood,” and that we come to recognize that our community is more than the buildings, houses, and streets and also consists of plants, animals, insects, birds, water, and air. Let us create spaces where both people and nature can thrive so we can create a greener, healthier tomorrow.
What an imaginative, colourful and fun way to engage children with nature! This book helps children look at nature with fresh eyes by showing them how you can create beautiful crafts using only natural materials.
Eye-catching photography and clear descriptions help readers to easily follow the steps involved in creating each craft. There is a nature craft for every week of the year!
Take a leaf out of this book and combine connecting with nature with crafting at home. Using materials foraged sustainably from the great outdoors, Barbora Kurcova shows you how to create beautiful, visually inspiring art, gifts, and home accents and accessories.
This collection of clever ideas is packed with small, no-fuss projects that are demonstrated using step-by-step photography, with one engaging project for each week of the year - all of which are easily achievable and great for family crafting.
I am an Oxford local historian, and the only Oxford guide endorsed by the Lewis Carroll Society. I have helped shape Oxford’s annual Alice’s Day since the first one in 2007, and have participated in French, Dutch, Canadian, Brazilian and British TV and radio documentaries, most notably for BBC 2 and BBC Radio 4. My interest is mainly the many Oxford realities which are hidden away within the apparent fantasy of the ‘Alice’ books, an angle which has enabled me to lecture on this internationally famous topic as far away as Assam in India. Subsequently, my appreciation of Carroll’s versatility as a mathematician, photographer, inventor, diarist, and letter writer has grown steadily over the years.
Mention the name ‘Lewis Carroll’ and most people will immediately think of the two Alice books. Very few would equate the name to Charles Dodgson, the photographer. This, however, is the aspect of the multi-talented Oxford don which Gernsheim, a professional photographer himself, appraised in his 1949 first edition for the very first time, concluding that Dodgson was ‘the most outstanding photographer of children in the nineteenth century. Many of the black and white plates substantiate this claim, but equally, Dodgson’s mastery of this new invention enabled him to meet and photograph (sometimes uniquely) numerous famous writers and artists, as well as many Oxford contemporaries. As an aside, Edward Wakeling’s 2015 Catalogue Raisonné is a comprehensive listing of every one of Dodgson’s hundreds of known photographs.
My interest in photography began as a student at Pratt Institute, a preeminent art school, and I have worked in the field my entire adult life, not as a photographer but as a picture editor and photography critic. I was the Page One Picture Editor of The New York Times and wrote regularly about photography for the paper. I have published two biographies: one on Richard Avedon, among the more significant artists of the 20th century, and another on Sam Wagstaff, one of the earliest collectors who established the art market for photography; a book of collected reviews and essays called Photography After Frank; and essays on individual photographers for museum catalogues and artist’s monographs. I produced the 2011 documentary, Bill Cunningham New York.
As the legendary curator of photography at the Museum of Modern Art, John Szarkowski was instrumental in elevating photography’s stature to an equal among the fine arts. He is eloquent in his explanation about the meaning of photography and illuminating in his descriptions of each of the one hundred photographs published in this book from MoMA’s sterling collection of photographs. There is no better guide to an awakening of your own eye than Szarkowski.
`This is a picture book, and its first purpose is to provide the material for simple delectation', wrote curator John Szarkowski in this first survey of The Museum of Modern Art's photography collection. Since 1930, when the Museum accessioned its first photograph, it has assembled an extraordinary and wide-ranging collection of pictures for preservation, study and exhibition. A visually splendid album, Looking at Photographs is both a treasury of remarkable photographs and a lively introduction to the aesthetics and the historical development of photography. This reissue, with new digital duotones, enhances a classic volume and makes it available to a…
