Earth Is My Witness: The Photography of Art Wolfe

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Earth Is My Witness: The Photography of Art Wolfe is one of the most stunning books of photography I own, and is by far the best collection of Art Wolfe’s photography I’ve ever seen. I love this book!

The book is 396 pages, most of which are full of photographs. There are full page photos, pages with two photos per page, full bleed photos that stretch across two pages, and pages that unfold with multiple photos per page.

The book is organized by types of environments, containing the following sections:

• Introduction by Wade Davis

• Mountain

• Polar - Subpolar

• Desert - Savanna

• Ocean - Island

• Tropical - Subtropical

• Afterword

• Photo Notes

• Acknowledgements

Each photography section has an introduction where Art talks about those environments and his experiences photographing in them. It’s always great reading these kinds of intros, getting to learn more about Art, his history, his photography, and the peoples, places, and locations he has visited and photographed. But as great as these introductions are, the focus of this book is definitely on the photography, with page after page of large, bold, vivid photographs.

The particular edition I own is the original large fine art edition from 2014. It measures 11 x 14 inches and is 1.5 inches thick. There is also a smaller edition measuring 5.8 x 12.2 inches and also 1.5 inches thick. Both editions are 396 pages in length.

The large edition has some of the most saturated colors I’ve ever seen in a printed book. It’s almost like a book full of inkjet prints instead of the typical books of photography I’m used to. Don’t get me wrong, I love all my other books of photography, but this one just seems far more punchy, more vivid, more alive.

According to Art Wolfe’s website the large edition used a new color reproduction technique called Chroma Centric™, which it says is eight times more precise than standard offset printing, and enhances the color gamut by more than 25 percent. And I certainly can see the difference in many of the photographs. I would love to see more books use this printing technique.

Earth Is My Witness would be a great book for anyone who loves nature, travel, wildlife, landscapes, and photography of indigenous peoples. And for any fan of Art Wolfe’s photography. It has become one of my favorite books of photography and one I’m very happy to have in my collection.

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Large Format Edition:

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Regular Format Edition:

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Review - Why Photographs Work by George Barr

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Cover of Why Photographs Work by George Barr

What makes a photograph work? How do we know if a photograph is good? What are the qualities that define a good photograph?

These are difficult questions to answer, and to some extent they will differ from person to person. Sometimes we see a photograph and are immediately drawn to it. There is something about it that draws us in, captures our attention or evokes an emotion. Other times we see a photo and move on, only later to realize we keep going back to this photo over and over again. It didn’t immediately catch our attention but still somehow managed to hook us.

Why Photographs Work: Photograph 12: Moore Hall Interior #1 by Sandra C. Davis

Why Photographs Work: Photograph 22: Huangshan Mountains, Study #19 by Michael Kenna

But why do these things happen? How can you identify the photos that will do these things? There’s not an easy answer. Perhaps that’s why George Barr chooses not to specifically define it in words but instead created an entire book full of examples, full of photographs he feels work. Why Photographs Work is that book. The subtitle is 52 Great Images: Who Made Them, What Makes Them Special and Why.

“This book is for any photographer who wants to make beautiful photographs. And it is for anyone — photographer or viewer — who wants to understand why some photographs stand out from all the others.”

— George Barr

Why Photographs Work: Photograph 32: Two People / Two Doors - Carlow, Ireland by Harald Mante

Why Photographs Work: Photograph 39: Melange Un by Freeman Patterson

Why Photographs Work, by George Barr, is a collection of 52 photographs by 52 different photographers. The photographs cover a huge range of subject matter, some vastly different from others, but all representative of photography as art. It’s such a range of photography there’s very likely to be something that catches your eye. In this post I’ve attempted to include an example of the range of photographs in the book.

Why Photographs Work: Photograph 43: Black Oaks, Morning Mist, Yosemite Valley, California by John Sexton

Why Photographs Work: Photograph 49: Birch and Window, Colmar, France by Charlie Waite

Each photograph is accompanied by four sections of text:

• George’s Analysis: Here he analyses the photograph, describing what it is that drew him to the photograph and why he thinks the photograph works. I agree with him on most of the photographs, but there are some that don’t appeal to me as much, likely just a result of personal preferences. I can, however, see where he is coming from when he speaks of the qualities of the photos. This section is worth going back to, rereading from time to time.

• The Photographer’s Perspective: In this section we hear from the photographer. What caused them to create this photograph? What does it mean to them? How do they approach photography?

• Biography: This section provides a biography of the photographer, listing where they’ve been published, how they make their living, who their influences are, and where you can view more of their work.

• Technical: This is typically the shortest section. It provides technical details about the photograph, such as what camera or lens were used, what film or whether it was digital, and what techniques the photographer used both in camera and in post-processing or printing.

Why Photographs Work: Photograph 51: Descending Angel by John Wimberley

Why Photographs Work: Photograph 52: Tulips #55 by Huntington Witherill

The lessons in this book are not explicitly taught. The lessons are more subtle. It will take time to absorb them. Study the photographs first, see if they appeal to you. If so, why? See if you can express what you see as their strengths. Then read George’s analysis, see what he felt made the photograph work, what drew him to it. Then read what the photographer has to say. I found myself flipping back an forth between the text and the photograph as George or the photographer mentioned some aspect of it I’d not noticed.

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Why Photographs Work can also be used as a list of photographers to learn more about, whose work is worth seeking out and studying. First off there are the 52 photographers whose work is included in the book. Many of the photographers also recommended other photographers, and George Barr has compiled a list of these at the end of the book. I plan to spend some time looking for works by these photographers.

He says in his intro he wrote this book for himself. That this was the sort of book he wished were available when he was learning photography. It’s a book I’m glad is available as I learn photography. I strongly suspect I will return to this book often, as I do with so many of my favorite photography books. Highly recommended!

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National Geographic Stunning Photographs by Annie Griffiths - Review

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Cover of the book, National Geographic Stunning Photographs, by Annie Griffiths

National Geographic’s Stunning Photographs is an appropriately titled book. In its 400 pages you’ll find a large collection of stunning photographs created by National Geographic photographers.

“A stunning image is one that makes the viewer halt, look again, and connect on an emotional level.”

— Annie Griffiths

In Stunning Photographs the emphasis is on the photography, but each section of the book is preceded by an introduction written by Annie Griffiths, who is also a National Geographic photographer. I dislike how the introductions are laid out, with paragraphs blending into one another, but I think they are worth reading.

The book is separated into themed sections, with the introduction and all the photographs in that section matching the theme in some way. And as with the National Geographic magazine there is a very wide range to the photographs, both in subject and style. One thing they all have in common is that they are excellent photographs.

Mystery

Pages 54-55 of Stunning Photographs, in the section titled: Mystery.

“Other photographs are imbued with atmosphere or mystery that haunts us long after we first see them.”

— Annie Griffiths

These are photos we ask questions about. What are we looking at? Who is that person and what are they doing? Is that a snake in the sand? Or thousands of fireflies illuminating a forest, as in the photo above by Tsuneaki Hiramatsu created near Okayama, Japan?

Harmony

Pages 100-101 of Stunning Photographs, in the section titled: Harmony

“There is a balance beyond symmetry that silently elevates the subject of the photograph.”

— Annie Griffiths

Harmony implies a sense of balance, perhaps of color, or symmetry, or placement of subject within the frame. You look at the photo and it just feels right. Many of these are very peaceful or contemplative images. The photo above, created by David Clapp, is of a still pond and autumn color in Grasmere, England.

Wit

Pages 176-177 of Stunning Photographs, in the section titled: Wit

“There are witty images that surprise and delight, as the familiar is translated into something fresh and remarkable.”

— Annie Griffiths

Many of these images will bring a smile to your face. Sometimes the scene, itself, is humorous. Other times it’s an interesting juxtoposition of elements. But wit can also by informative, as in the example above of a half-shorn sheep in Victoria, Australia. The image was created by Cary Wolinsky who wanted to show how much wool a sheep grows in a season.

Discovery

Pages 234-235 of Stunning Photographs, in the section titled: Discovery

“Discovery is one part curiosity, one part genius, and two parts tenacity.”

— Annie Griffiths

This is what National Geographic has always done so well. Taking us someplace new. Showing us a scene we’ve never seen before. Portraying a creature or person in a way that wakes us up to the fact there is still so much to see in the world. The image above, created by Christian Klepp, is an ice cave in Iceland that looks almost otherworldly.

Energy

Pages 292-293 of Stunning Photographs, in the section titled: Energy

“These are the OMG images that quicken the pulse with the physics of fantastic.”

— Annie Griffiths

Here we get to experience what it might look like to be underfoot dozens of galloping horses. We see storms, fire, wind, crashing waves. We see movement and action. Mitch Dobrowner created the image above, of a tornado in Regan, North Dakota.

Intimacy

Pages 394-395 of Stunning Photographs, in the section titled: Intimacy

“Some photographs are so intimate that they take our breath away or move us to tears.”

— Annie Griffiths

Many of these images are peaceful, tranquil, like the image above of polar bears in Wapusk National Park, Canada, created by Jenny E. Ross. We can find something touching in the image, something human, even if there are no people in the frame.

From a technical perspective, the book is just over 10 inches square and over 1 inch thick. Some of the photographs fully span 2 pages, while the rest span most of the 2 pages but leave enough room for a quote from a photographer and information on the photographs, such as the photographer, location, and a brief description.

National Geographic Stunning Photographs is the type of book I love to own as an endless source of inspiration. Seek out a copy. Perhaps you will also find inspiration in its pages.

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