Yearly Archives: 2012

Facebook Shuts Down Business Fan Page For Repeated Copyright Infringement

- - Working

The Cool Hunter is an influential website that’s been aggregating/curating on the web for a very long time. It’s one of the precursors to Pinterest where the author goes out and collects things found online and reposts them for their audience. And, Cool Hunting is an actual job in marketing where people go out and spot trends that businesses can use. So, for any businesses selling “cool” products, landing on a website like this is something you want to happen. This of course runs counter to copyright laws, because the website reposts images without permission and even sells advertising next to the found images. They rely on their influence over brands and their ability to simply remove images if contacted about a violation to avoid getting in trouble over this. That’s what makes Facebook’s decision to permanently disable their fan page and its 788,000 fans so interesting. Cnet is reporting that Facebook closed the account due to “repeat copyright infringement” (story here). Any business that is not posting images they own on Facebook should be very worried about this development. It makes me wonder if Facebook is showing Pinterest that the proper way to curate is to upload something you own the rights to then enable the sharing.

Editors And Designers Should Sit Next To Each Other

- - Blog News

“I have always believed that the old magazine-manufacturing assembly plant, where you get some words, you send them over to the art department and they send it over to photo, just didn’t make any sense. So I made a conscious decision that editors, photo editors, writers and designers should all get mixed together — and particularly editors and designers should sit next to each other — because they influence each other’s thinking.”

via Josh Tyrangiel Is Editor of the Year | Media – Advertising Age.

This Week In Photography Books โ€“ Caleb Cain Marcus

- - Photography Books

by Jonathan Blaustein

I don’t feel very well at the moment. Last week was a mad dash through San Francisco and Denver, by way of Albuquerque. Planes, trains and automobiles indeed. I caught a nasty cold at a children’s Church carnival in Denver, so I’m surly as well as exhausted.

Ironically, my mental state has actually impacted plans for an upcoming project. Still secret of course, but let’s just say that my ambitions for a huge chunk of travel have withered. I may not be old, technically, but I’m old enough to know that my body and mind have limitations. My schedule will change to suit reality.

Tired though I may be, I’m also thankful. Travel is the great educator. We learn more about our own lives and cultures when faced with others. Not the most brilliant thought I’ve put forth here, I admit, but true nonetheless. We push out to know more about where we rest our heads each evening.

Sometimes, though, to get to the core of a story, one must stretch personal boundaries. Occasionally, an artist has to travel to the literal ends of the Earth to scratch obsession’s itch. Can’t say it’s happened to me yet, but we know the results when we see them.

This week’s book is a perfect example. “A Portrait of Ice,” by Caleb Cain Marcus, was recently published by Damiani. It’s an oversized soft cover book, with a delicacy that matches well with its subject matter: the Earth’s rapidly disappearing glaciers. (Insert random environmental statistic here.)

Mr. Marcus must have learned to love the neck pillow, and probably racked up a ridiculous credit card bill, in order to bring back these photographs. He visited Alaska, New Zealand, Iceland, Patagonia, and probably some other places I’ve neglected to mention. The resulting photographs make up the bulk of the volume.

This book goes against the rhythms I’ve extolled lately, in that there is not much of a narrative build-up. Good essays, some more nice writing, and then the plates. The production quality might make up for a lack of editorial lyricism, but, really, this book impresses because of the photographs themselves.

The pictures are uncomfortable artifacts of the 21st Century. They’re razor sharp, with a ridiculous pixel count, and are slightly over-saturated in the manner that marks the hyper-real. It’s possible that Mr. Marcus used something other than a medium format digital camera, but I doubt it. (And if so, he managed to ape the digi-aesthetic in a fantastic way.)

A sense of scale disappears, and you can’t really tell if you’re looking at actual glaciers, or well-made models in a studio. The awkward beauty mystifies a bit, as confusion and appreciation commingle. I think it’s a very smart way to approach a subject that is both topical and ahistorical. Big mountains of ice rendered by big mountains of data.

These images function as documents of objects that may well cease to exist. But rather than tug on our heart strings, like that crying-Native-American-litter commercial from the 70’s, this project pushes us away as it draws us in. And it also deigns to make the large look small, which is a great metaphor for a compressed world in an Internet age.

Bottom Line: Fascinating, topical photographs of Glaciers

To purchaseย A Portrait of Ice visit Photo-Eye

 

Full Disclosure: Books are provided by Photo-Eye in exchange for links back for purchase.

Books are found in the bookstore and submissions are not accepted.

 

Still Images in Great Advertising- Simon Harsent

Still Images In Great Advertising, is a column whereย Suzanne Seasediscovers great advertising images and then speaks with the photographers about it.

I am trying to do a series for this column featuring some of the winner’s from this year’s Communication Arts Photography Annual, so I reached out to Simon Harsent. ย One of the things I love about Simon’s work is that his assignment work is an inspiration of the work in his galleries that are a combination of assignment and personal work.

๏ฟผ

Suzanne: ย How did this beautiful project come about when you don’t have any underwater images on your current website?

Simon: I had just finished shooting a personal series called “Into the Abyss” which was originally meant for a group show I was involved with late last year.
I had an idea to shoot womenย completely consumed by waterย whilst I was shooting another ongoing project of the ocean,ย the idea with โ€œInto the Abyssโ€ was to have herย falling gracfully though water and seemingly into an Abyss, the final exhibition. ย I collaborated with my father who is a Poet who wrote a piece for it and I alsoย had a video installation playing on multiple screens.

Around the same time I was shooting โ€œInto the Abyssโ€, I got a call from Noah Regan who was the Creative Director at the Ad Agency The Monkeys. He was working on The Ship Song Project and asked me if I was interested in doing the poster for it.

The Ship Son Project is a re-recording of a Nick Cave song of the same name by various famous Australian and International musicians, it’s a celebration at what goes on behind the scenes at one of the worlds most recognizable buildings.

The Opera House structure was said to have been inspired by Sail’s, so that was the starting point for the poster idea,ย the original idea was just to shoot the Sydney Opera House. In a split level shot and the words The Ship Song Project were to be made up of discarded things floating under the water such as barrels, ropes and bits of timber. When Noah was showing me the idea I talked to him about the โ€œInto the Abyssโ€ exhibition I was working on and suggested we do something similar to the girl under the water. I liked the idea of having the women in the water to represent a Siren and the bubbles that trail her would act almost as the hull of a ship emphasizing and playing on the sails of the Opera House structure. Luckily Noah loved the suggestion.

I’ve known Noah for a long time and have always done great work, most recently we worked on a Charity project for Guide Dogs for the Blind. We shot four print ads and directed four TV spots. With clients like Noah, I’m lucky enough to be asked to be involved at quite an early stage on a lot of projects. I like the collaborative process and trust that happens when working this way.

Suzanne: I love that the Opera House is in the background. ย What were the challenges in getting this shot?

Simon: Shooting the Opera House was quite a tricky shot, the easy way to do it would have been to shoot the water level and the opera house as two shots but I wanted it to include the water level in the shot of the Opera house so I could use the whole portion of that shot. I try to shoot as few elements as possible when doing multiple comp shots I feel the little eccentricities that happen when you do stuff like this add to the realism. The area that the Opera House isย seen from is called Circular Quay and it is the where all the harbor ferries pull into port so the water traffic is very busy plus there are quit a few bull sharks in the harbor so getting in the water wasn’t really an option, I ended up shooting it off the back of a water taxi, I had to lie down on the deck between the back of the boat and where the engines are attached. I had my Canon 1Dlll in an Aqua Tech underwater housing and I just held the camera half in the water while I was shooting, the most challenging thing was the chop of the water, the swell combined with the passing boats made it quite a challenge to get the perfect shot.

Suzanne: Was doing the work for World Wildlife Federation the inspiration for your fine art show: Melt? ย The campaign and the show were the same year.

Simon: No it was the other way round. I had already completed Melt, when some friends of mine were working on the WWF Campaign. They had this idea for the ghost effect when they saw my shots from Melt and asked if I would be interested in working on the campaign, obviously I jumped at the chance. For the Iceberg ad we used an image that I had taken when I was shooting Melt and the other three images were shot specifically for the Campaign.

It happens quite often that people will see something in my personal work they would like to re-create for an ad. I think that is why it’s so important to show personal work on your website.

To be honest ultimately for me it’s about my personal work, if I didn’t do commercial work I’d still be a photographer (just a very broke one). I love photography it’s much more than a job to me, it’s who I am and the commercial work finances the personal work. But the personal work has and will always be the most important aspect of what I do.

To be able to do a project like Melt was amazing but I only could have done it with the freedom to produce the images I did because it was self-financed. Thatโ€™s one of the reasons I do commercial work but also I like the discipline and the creative collaboration that comes with producing commercial work. I like the problem solving aspect and working as a team it’s very different to how I do my personal work, which is quite often by myself or with very little crew.

Suzanne: You have continued to do work for charitable organizations like World Wildlife Federation and it continues to win high honor awards. ย How has that client been in getting advertising campaigns?

Simon: As far as getting other commissions from the work I do for charity I really don’t think it differs from other work that is on my website or in my portfolio.
The recognition at award shows is nice, I’ve never been really sure if it directly effects future commissions but it does help to keep your name out there and acts as a form of endorsement to a certain extent.

I think advertising photographers are far more likely to get more work from shooting an ad that wins awards for the idea rather than the photograph alone.
Years ago I shot an ad that won the Grand Prix at Cannes my phone didn’t stop ringing for ages, I’ve never had the same effect after winning a photography award, I think mostly Art Directors are interested in the idea and that you as a photographer understand ideas and can make them better.

I think it’s important to do charity work if you can, apart from the feel good factor quite often it can be less restrictive so the creative product is often better than everyday advertising. There is a freedom that you get with charity work that you don’t normally get with other advertising work. Having said that I don’t really look at in any different way to regular advertising, the main aim for me is always to do something I would be proud to put in my portfolio which hopefully leads to new work.

Suzanne: ย The work in your assignment gallery has a diverse selection of ads you have done. ย While the other galleries are definite examples of the inspiration to the ad work but some ads are so different than that work. ย Are you at a level in your career that you can use your assignment work for a selection of great ads and the galleries are images that are what you want to show?

Simon: To be honest I’ve always done that, maybe to my detriment at times,ย I could make both my portfolio and website more centeredย but I try to put in my portfolio and website what I love to shoot and ads that I’m proud of regardless of whether they are a still life a landscape or portrait. Part of what I like doing with advertising is creating a look that is specific to the job in question and as the industry goes in and out of phases and trends, you as a photographer find yourself moving with them.

I think if you are showing ads then you should show the better ones ultimately Art Directors and to a certain extent Art Buyers are looking at the quality of ads you are working on as well as the quality of photography. I know some people will show an ad just because it’s a big brand but I’m not like that. I think people want to be inspired when they look at your work which is why my website is more centered on personal work and projects.

Having said that my website is due a massive update. I’ve been so busy I haven’t had a chance to update it for over a year, I also find it very time consuming. I put a lotย (probably too much)ย of thought into it and how people will look at it and how I want them to experience my work.

The reality is that I enjoy shooting a variety of things. ย I’m not the type of photographer who just shoots one thing, I started my career in London as a still life photographer because thatโ€™s what I fell into and over the years I have now progressed into what I do now. But I’ve always loved to shoot a variety of things, it’s one of the reasons I like doing advertising work. You do get the opportunity to work on different types of projects and tackle them in different ways.

My intention has always been to approach advertising work in the most artistic way I can, and try when I can to approach it in the same way I would if it was a personal project but the most important thing in advertising is the idea. What I need to do is find the best way to communicate that idea and if possible enhance the idea with the photograph.

I do find that in some cases, like that of the Ship Song and the WWF, that Art Directors can get inspiration from my personal stuff. I’m lucky in the fact lot of my clients are people I have worked with for years so they know me quite well and trust me to bring something to their idea. Being in the business as long as I have I you understand what the creatives have had to go through to get it this far. When you understand the amount of presentations,ย rounds of revisions and the generalย struggle they have gone through to get the campaign this far you realize that they are handing over and trusting you with months of hard work. That can be quite a responsibility and needs to be treated that way.

Suzanne: ย Do you think moving to Australia was the best thing you did for your career? ย Because when you moved to New York you had a great body of work and you have been very successful since.

Simon: To a certain extent yes I do. I think it was a great springboard and I still spend a bit of time there every year. I’m part of a collective with four other photographers in Sydney. We do joint exhibitions and have just released an App on iTunes. I really like the interaction that brings with other photographers. Photography can be quite a lonely pursuit at times so it’s good to have people to bounce ideas off of.

I also love the carefree attitude of the Aussies and quite often the work that comes out of there is good creative work such as the WWF and the Ship Song. But moving to NY in 97 for me was the best thing I ever did for my career. It was also the hardest and still throws up challenges. It was like starting over, it really didn’t matter what I had done before I got to NY, it is a tough town and I had a bit of a shock when I got here for lots of different reasons. First, because I realized I was a small fish in a very large pond and second I didn’t realize how specialized photographers were here. There aren’t just Still Lifers there are Still Lifers who specialize in liquid, Still Lifers who specialize in pours, watches etc. etc. The same with landscapes, cars, portraits they were all broken down to such a micro levels of specialization. I found it quite amazing coming from a place where one day you would be shooting a car and the next day a nude. So at the start a lot of my portfolio would just confuse people and it took a while for people to understand what I was about. It took a lot of hard work to adjust at the time but also it taught me the most important lesson I’ve ever learnt, that I could never take anything in my career for granted. I realized then that it was going to take a lot of hard work to have a successful career in the US, but like a friend on mine says “if it was easy everybody would be doing it”

A lot of that has changed now the market has change dramatically. I think ad agencies are embracing diversity in peoples work these days. The thing about New York was the amount of talented photographers and the level of photographers you compete against are the best of the best, which is true now more than ever. When I first moved to NY mostly you would be competing against photographers based in either NY or North America. But these days as a NY based photographer you are not just up against local photographers you are up against everybody from around the world who has an agent here and some that don’t. That and the fact it’s a lot easier to be a photographer these days means the ad agencies have a much bigger pond to fish from so you have to be incredibly focused on your career. I guess it’s a good thing I’m enjoying it more than ever right now. Mostly thanks to Canon, digital changed everything for me it reinvented my enthusiasm in photography again. I used to shoot a lot of large format black and white but when I got into digital it was like being a kid again and discovering something for the first time. I do miss my 8×10 and 4×5 cameras and I recently did a shoot with the 20×24 Polaroid camera which was amazing but digital really helped me discover a whole new side of my work.

Note: Content for Still Images In Great Advertising is found. Submissions are not accepted.

Simon Harsent wasย Born in Aylesbury, a small market town in England, where his passion for photography grabbed him from an early age. He enrolled to study the subject at Watford College and, after graduating, he went on to assist some of Londonโ€™s top photographers. In order to pursue his passion further, he left London and with it another great love โ€“ Chelsea Football Club โ€“ when he moved to Australia in 1988. From Australia then ten years later on to New York along the way he has received numerous national and international awards and been featured in a host of ย magazines and books (Cannes Lions, One Show, Clio, D&AD, London International, Australiaโ€™s first Cannes Grand Prix,ย Archive, Campaign Brief, Creativity, Communication Arts, Capture, Graphis, Photo, the D&AD Art Direction book and Photo District News).

Currently dividing his time between New York and Sydney, Harsent continues to work on award-winning campaigns for some of the worldโ€™s top advertising agencies and designers while working on gallery projects such as his 2009 collection, Melt.

APE contributorย Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration industry since the mid 80s, after founding the art buying department at The Martin Agency then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies.

Art vs. Craft

- - Blog News

I am not, in fact, an artist at all. At best, assignment photographers are craftsmen, not artists, solving other peopleโ€™s problems and putting other peopleโ€™s ideas into effect in the most timely and cost-effective way possible; to think otherwise is delusional. Sure, part of the job is bringing a personal point of view to the party, in fact thatโ€™s often the reason youโ€™re hired, but a point of view is not art, and thereโ€™s never the degree of autonomy and self-direction that I think of as a precondition for something to qualify as a truly artistic endeavour.

via Art vs. Craft | planet shapton.

The Daily Edit – Wednesday
10.10.12

- - The Daily Edit


(click images to make bigger)

Vogue

Creative Director: Grace Coddington
Design Director: Raul Martinez
Art Director: Alberto Orta
Photography Director: Ivan Shaw
Photo Editor: Desiree Rosario-Moodie

Photographer: Craig McDean

Note: Content for The Daily Edit is found on the newsstands. Submissions are not accepted

Pricing & Negotiating: Editorial Assignment for The American Lawyer Magazine

by Bill Cramer, Wonderful Machine

I got a call a little while back from Maggie Soladay, photo editor atย The American Lawyer magazine.ย She had an assignment to photograph a pair of attorneys who were trying to keep the city of Harrisburg, PA out of bankruptcy.ย She needed a portrait of them in a setting that would give the viewer a sense of the city.ย She expected to use one photo with the article.

Maggie said she could offer a fee of 500.00 plus up to 900.00 in expenses. I asked her if she paid for space and she said no, but if she used a picture on the cover, she would pay an additional 500.00. I asked her if she had a contract or if sheโ€™d like to useย mine. She said sheโ€™d send one over. I told her that it sounded like it could work and that Iโ€™d take a look at the contract.

Hereโ€™s the contract she sent:

Itโ€™s pretty short and to the point. It could be a lot worse, coming from a magazine about lawyers. Hereโ€™s the breakdown:

1) The pictures are original and not defamatory. Fine.

2) Included in the fee, they get exclusive first use of the pictures and non-exclusive reuse โ€œin contextโ€ for editorial or promotion use. โ€œIn contextโ€ means that they have to show it in the layout as it originally appeared. I donโ€™t mind this because itโ€™s rare that this would happen, and the fact that itโ€™s in context generally means that itโ€™s more about the article or the publication than the photo. Iโ€™m more concerned that they can use any number of pictures any size for 500.00. There was a time when I might drive a harder bargain than that. An additional 500.00 for the cover would be quite low if it was a consumer magazine that sold on the newsstand, but for a trade magazine I think itโ€™s (on the low end of) reasonable.

3) They can use the photos forย article reprints and for โ€œout of contextโ€ use for a predetermined fee (see schedule A). The prices for the article reprints are a little on the low side in my experience, but not unreasonable. The prices for out of context print and web re-use are less generous. 25% of the 500.00 fee is only 125.00, which is what Iโ€™d normally charge for use of one image smaller than 1/4-page. Here, they can use the picture any size for that fee. Iโ€™d normally expect 100.00 for web use and theyโ€™re offering 55.00 (seems like an odd number).

4) In the past, a three month embargo period would be considered a little excessive for a monthly publication, but itโ€™s not unusual these days. And given the subject matter, embargo time is not a big issue here. Additionally, Iโ€™ve found that if an opportunity arises to re-license an image to a third party during an embargo period, you just have to clear it with the assigning photo editor. Typically, as long as the issue has hit the news stands, most publications are pretty flexible regarding the embargo period.

5) Even after reading aboutย personal jurisdiction, I still donโ€™t understand it. Hereโ€™s how Maggie explained it, โ€œParagraph 5 of the contract says that, โ€˜Each party consents to the personal jurisdiction of the federal or state courts located in the State of New York.โ€™ What does that mean? Our artists and photographers are all over the world. England for instance has very different media laws than we do.โ€ Iโ€™m not sure why itโ€™s not sufficient to say, โ€œShould a dispute arise, it shall be governed by the laws of the State of New York.โ€

A few facts to consider. The American Lawyer isย published byย ALM. Itโ€™s sold by monthly subscription for 445.00/year. Itโ€™s not sold on newsstands. Their circulation is 9600 with a readership of 89,000. Their average readerโ€™s household net worth is 2.4 million dollars.

To some photographers, this fee and contract will sound like a pretty good deal. Others will think itโ€™s a little stingy. For someone like me, itโ€™s pretty much middle-of-the-road. Whether it works for you depends upon how busy you are and what fees and terms youโ€™re accustomed to getting. I later asked Maggie how frequently sheย accepts revisions to the contract. She said, โ€œNever. Unfortunately I was instructed that we cannot use photographers or illustrators who require revisions.โ€ย How frequently do you pay more than 500.00/day plus expenses? โ€œ500.00 is the fee for all of our shoots but allowed expenses within budget differ. We donโ€™t have flexible budgets per issue so I am really straight, clear and fair upfront. I canโ€™t afford surprises and I like clarity from the beginning.โ€

I chose to do the job.ย Hereโ€™s the call sheet:

The subjects were great. My dad grew up in Harrisburg, so I enjoyed poking around the city. I finally found a spot in a parking garage that framed them nicely and offered up a good view of the city. Hereโ€™s how it ended up in the magazine:

Hereโ€™s the invoice:

Months later, I got an additional payment for a reprint (turns out theyโ€™ve raised the reprint rates slightly since I signed the original contract):

And a few months after that, I got another:

In addition to her day job as photo editor at The American Lawyer, Maggie is the New York City chapter chief of Salaam Garage, a humanitarian media organization that works with non-profit organizations to support positive social change.Read moreโ€ฆ

If you have any questions, or if you need helpย estimating orย producing a project, please give Wonderful Machine aย call at (610) 260-0200. They’re available to help with any and all pricing and negotiating needsโ€”from small stock sales to large scale ad campaigns.

Poshlost: fake emotion, unearned nostalgia

- - Blog News

All bad photos are alike, but each good photograph is good in its own way. The bad photos have found their apotheosis on social media, where everybody is a photographer and where we have to suffer through each otherโ€™s โ€œphotographyโ€ the way our forebears endured terrible recitations of poetry after dinner. Behind this dispiriting stream of empty images is what Russians call poshlost: fake emotion, unearned nostalgia. According to Nabokov, poshlost โ€œis not only the obviously trashy but mainly the falsely important, the falsely beautiful, the falsely clever, the falsely attractive.โ€ He knows us too well.

via The New Inquiry.

The Daily Edit – Monday
10.8.12

- - The Daily Edit

(click images to make bigger)

Details

Creative Director: Rockwell Harwood
Design Director: Nathalie Kirsheh
Art Director: Daniela Hritcu
Senior Photo Editor: Ashley Horne
Contributing Photo Editor: Stacey DeLorenzo

Photographer: Roger Deckker

Note: Content for The Daily Edit is found on the newsstands. Submissions are not accepted

Why Polaroid Was the Apple of Its Time

- - Blog News

Eastman Kodak jumped into instant photography in 1976, and Polaroid sued; the two spent 14-and-a-half years in court, and Polaroid won $925 million, the largest patent settlement ever paid out. Or rather, it was the largest amount until last month, when Apple v. Samsung overtook it. And Iโ€™ll tell you, in both cases, the vigor of the lawsuit was in part driven by outrage on the part of the founder. Land wanted to go hard against Kodak because its system was, he felt, a less elegant ripoff of Polaroidโ€™s.

via Wired Design | Wired.com.

This Week In Photography Books โ€“ Berenice Abbott

by Jonathan Blaustein

I complicate things sometimes. With my elaborate introductions, I could be accused of stealing the spotlight from the books themselves. With the constant references to self, perhaps I am nothing more than a child of a meta-obsessed generation? Malkovich inside his own head.

If I were kind, though, I might focus on my laurels, like the desire to discuss these books in the context of a lived experience. We share more in common with each other than we don’t, I believe. And yet there are some ideas which cannot be accommodated with others. Some divides seem genuinely unbridgeable.

First on my list would be that gap between extreme religious believers, and the rest of us. Religion, taken to its limits, can be an Operating System. The code, once uploaded, can only work within those sets of instructions. No new information can infect a closed loop.

While Jewish in upbringing and somewhat Buddhist in leanings, I have nothing against the whole endeavor. Whether it’s creation mythology or community building, there is a lot of good in said holywater. But much of the death and destruction we see today is based upon either the nasty intertwining of religion and tribalism, or the inability of ancient beliefs to reconcile with a 21st Century understanding of the world.

Here in the US, we have an almost unbelievable battle waging. On one side lie those who believe that Dinosaur bones are only a few thousand years old, women are subservient to men, and the planet is not warmed by an excess of carbon in the atmosphere. Basically, they don’t believe in science.

The others, myself included, view the continuum of knowledge as a good thing. Physics and genetics and all manner of science wings pursue more and more information, while also admitting how much remains to be learned. It’s absurd and also humbling to believe we used to be Australopithecines, grunting and hirsute.

Is this going anywhere? Does it ever? This week’s book is special, and while I rarely go out and say it, this is probably a book to buy: Berenice Abbott, “Documenting Science” recently published by Steidl. Only in the end notes did I learn that this is the second in a series of books about the artist that Mr. Steidl is producing.

The book begins with a wonderfully written, obviously vintage letter by Ms. Abbott, pertaining directly to her desire to study the eponymous subject. So cool. “The artist through history has been the spokesman and conservator of human spiritual energies and ideas.” Serious intentions lead to serious work.

The photographic plates, made from scans in the Steidl studio, are masterful. (And will definitely suit the tonal range cultists out there.) Different scientific concepts, like Motion, Electricity and Magnetism, and Light and Optics are delineated through a variety of individual examples. Each idea has been rendered as an experiment, or visualization.

It’s terribly clunky in words, I know. That’s part of the point. There’s no magic in the phrase “Conservation of Momentum in Spheres of Unequal Mass.” Yet the photograph those words describe is genius. Kinetic yet Zen.

The book is solid as well as dense. If you read this column, and are a book consumer as well, this is one to consider. I’m not sure what it costs, but you’ll likely return to it again and again for years. As well as it’s built, it ought to resonate down the line, serving as proof that Science is more than just big words and thick glasses and white coats.

Bottom line: A masterpiece

To purchaseย “Documenting Science” visit Photo-Eye