Harry M. Callahan (1912–1999)

Although regarded as one of the masters of photography, there is little to recommend this book. The brief introduction provides only a bare-bones context to interpret Callahan’s work. The variety of images and approaches represented here bring to mind the experimentation of a college student learning about the cool things a camera can do in an introductory photography class.

The influence of Ansel Adams’ zone system is apparent in many photographs. However, the images are too small for readers to see the details in the tails of the zone. A number of the photos are dark, gloomy scenes with few points of interest (Eleanor and Barbara, Chicago, 1954; Bob Fine, ca. 1952; Chicago, 1958). Others are multiple exposures (e.g., Eleanor, Chicago, 1953; Providence, 1967) or abstracts (e.g., Eleanor, 1947; Ivy Tentacles on Glass, Chicago, 1952; Weed Against Sky, Detroit, 1948). Most of the images in this collection require a larger format and the careful lighting of a gallery that permits a close study of subtle details.

This disappointing book is hardly the work of a master.… (altro)