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Emerson has been called “the Martin Luther of photography” (John Szarkowski), and more recently “one of the most virulent polemicists in the history of photography” (Thomas Galifot, Musée d’Orsay). His fierce and trenchant writing is in sharp contrast to the gentle, atmospheric images of his pioneering photobooks such as Life and Landscape on the Norfolk Broads and what many regard as his masterpiece, Marsh Leaves (1895), "one of the most beautiful books about isolation and solitude, perhaps death, ever made" (Martin Parr & Gerry Badger, The Photobook: A History). Emerson’s texts are today recognised as ranking alongside those of John Berger, Roland Barthes and John Szarkowski, as the precursors to contemporary thinking on photography.
Also available: Poetry in Photography
Impressionism in Pictorial and Glyptic Art
Phenomena of Sight and Art Principles Deduced Therefrom
Naturalistic Photography and Art
BOOK 2: Technique and Practice
The Camera and the Tripod
Darkroom and Apparatus
Transparencies, Lantern and Stereoscopic Slides
Mounting and Framing
BOOK 3: Pictorial Art
Outdoor and Indoor Work
Hints on Art
Special Decorative Photography
L’ENVOI: Photography – Not Art
Photography – Not Art
Appendix A: Science and Art
Appendix B: Topography and Art
One of the most important book-makers among nineteenth-century art photographers was Peter Henry Emerson... his treatise might be regarded as the beginning of the long transition into modernism. Naturalistic Photography argued that photography was an independent medium with its own inherent characteristics that should be strictly adhered to if it was to attain its full potential as a great art form.
From: Martin Parr & Gerry Badger, The Photobook: A History Volume 1 (Phaidon Press, 2004).
Title: Naturalistic Photography for Students of the Art
Author: P H Emerson
Size: 203 x 127mm
Editions: £49.95 [paperback] | £79.95 [hardback] | £39.95 [eBook]