This book is composed of:
•50 essays of about 350 words each laid out across from
•a full page photograph
•and note about the picture itself.
THE IDEA
The full-page images thoughtfully relate to the texts. They are not an attempt to illustrate the text but to ask questions about image-making .
There are portraits, landscapes, still-lives, and documentary images. The book is 112 pages,
218 mm x 218mm, bound to lay flat on opening.
Its natural audience are students of the medium including amateurs;
*it is appropriate for university level discussions and for advanced amateurs,
and for those who appreciate the beauty of the medium.
It is entertaining and educative but not overly technical, appropriate for artists, writers and theatre practitioners of other media.
The essays are:
LOOKING AND SEEING CURIOSITY FIRST CURIOSITY AND MYSELF
WHY PHOTOGRAPH DISCOVERING THEMES I AM MY THEMES
THEMES, CONTENT AND SUBJECT MATTER A RIGHT TO PHOTOGRAPH
AN ACT OF LOVE MUSE PRE-VISUALIZATION PASSION AND ILLUSION
REPORTING OR COMMITTING IBIZA (or Learning What’s Important To Photograph)
THE LOAM OF STORYTELLING A STORY ABOUT STORYTELLING
STORYTELLING AND THE BRAIN WE NEED A STORY OF OURSELVES
REALISM VS NATURALISM SIX KINDS OF PHOTO-ESSAYS DEEP SONG
DUENDE CONTRIBUTING WITH MY CAMERA MEMORY AND FORGETTING
A STORY FOR GENERATIONS I ASK THIS PRESERVING TRADITIONS
PHOTOGRAPHING HISTORY BEAUTY STYLE SEARCHING FOR GRACE
THE DECISIVE MOMENT DISCOVERING EQUIVALENT’S
MYSTERIES OF MEANING LIGHT (The First Material) TIME (The Second Material)
HISTORY IS NOW SENDING A QUIET MESSAGE A JOURNEY TOGETHER
RHYTHM IS AT ITS HEART THE SELFIE UNIMPORTANT THINGS
MOVEMENT IN PHOTOGRAPHS TWO WAY PORTRAITS THE MOST HEARTENING
PHOTOGRAPHING THEATRE STREETS AND THEATRES PHOTOGRAPHING A PROJECT
MAKING THE INVISIBLE, VISIBLE A FINAL THOUGHT
Inhaltsverzeichnis
LOOKING AND SEEING CURIOSITY FIRST CURIOSITY AND MYSELF
WHY PHOTOGRAPH DISCOVERING THEMES I AM MY THEMES
THEMES, CONTENT AND SUBJECT MATTER A RIGHT TO PHOTOGRAPH
AN ACT OF LOVE MUSE PRE-VISUALIZATION PASSION AND ILLUSION
REPORTING OR COMMITTING IBIZA (or Learning What’s Important To Photograph)
THE LOAM OF STORYTELLING A STORY ABOUT STORYTELLING
STORYTELLING AND THE BRAIN WE NEED A STORY OF OURSELVES
REALISM VS NATURALISM SIX KINDS OF PHOTO-ESSAYS DEEP SONG
DUENDE CONTRIBUTING WITH MY CAMERA MEMORY AND FORGETTING
A STORY FOR GENERATIONS I ASK THIS PRESERVING TRADITIONS
PHOTOGRAPHING HISTORY BEAUTY STYLE SEARCHING FOR GRACE
THE DECISIVE MOMENT DISCOVERING EQUIVALENT’S
MYSTERIES OF MEANING LIGHT (The First Material) TIME (The Second Material)
HISTORY IS NOW SENDING A QUIET MESSAGE A JOURNEY TOGETHER
RHYTHM IS AT ITS HEART THE SELFIE UNIMPORTANT THINGS
MOVEMENT IN PHOTOGRAPHS TWO WAY PORTRAITS THE MOST HEARTENING
PHOTOGRAPHING THEATRE STREETS AND THEATRES PHOTOGRAPHING A PROJECT
MAKING THE INVISIBLE, VISIBLE A FINAL THOUGHT
Über den Autor
BA, Modern European History, BS in Design from the University of Michigan and studied at the London School of Film Technique. Robert Golden has produced many photo-stories for magazines and newspapers, (Nova, the Weekend Telegraph, New York Times Book Reviews, the Radio Times and many others) and many coves and interiors for Penguin, Heinemann, Fontana, the Smithsonian in Washington, etc; written/directed over 40 documentaries, 2 award winning feature films and 900 TV commercials. He has written 3 plays, 40 film scripts, 1 novel, poems, and essays about photography, politics and culture. Recently he has been teaching young people about Democracy and about photo/film-storytelling for various EU projects, to instigate humane social change.
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