Paul Graham

[Don_ih]

Most of his work was done in the form of photobooks where the sequencing of the photographs and the socio-political context of the photographs play a big role in creating the photographic experience.

That said, a photo book is not itself a photo. A photo is a what will get judged as a photo.

 

[Raghu Kuvempunagar]

That said, a photo book is not itself a photo. A photo is a what will get judged as a photo.

The jury of the prestigious Hasselblad prize have judged Paul Graham's works to be of significant importance and acknowledged his contribution to photography by awarding him the prize. Not that you need to agree with their judgement, but obviously they've a different way of judging Graham's works.

 

[Don_ih]

The jury of the prestigious Hasselblad prize have judged Paul Graham's works to be of significant importance and acknowledged his contribution to photography by awarding him the prize. Not that you need to agree with their judgement, but obviously they've a different way of judging Graham's works.

In debate, there is a logical fallacy called appeal to authority, erroneously thought to offer proof of an opinion. At any rate, I didn't say his photography was unworthy. It is noteworthy, however, when several thoughtful comments here mention his photos seem lacking.

 

[Raghu Kuvempunagar]

In debate, there is a logical fallacy called appeal to authority, erroneously thought to offer proof of an opinion. At any rate, I didn't say his photography was unworthy. It is noteworthy, however, when several thoughtful comments here mention his photos seem lacking.

[Edited]
Where did I say you must bow to Hasselblad jury's opinion of Graham's work?! I merely pointed out to you that they have a different way of judging the merit of a body of photographic work than by rating the individual photographs devoid of the narrative and the context. As far as individual photographs are concerned, they need not necessarily have to be outstanding especially when they are used as an element of the narrative in a photobook. If you want a debate, you should spend time on his books and then present your informed critique.

 

[Don_ih]

Yawn.

It's your choice if you don't want to be taken seriously.

 

[Arthurwg]

PG's books. The word "effete" comes to mind, as in "having lost character, vitality or strength". But that could be the purposeful, political aesthetic, a kind of backlash against more in-your-face, aggressive photography. Sort of an anti-macho way of looking at the world that might be in keeping with a younger generation, let's say post Robert Frank.

 

[warden]

Paul Graham's photographs, when seen individually, don't cut much of an impression. They're not always hinged on the decisive moment like Cartier-Bresson. Most of his work was done in the form of photobooks where the sequencing of the photographs and the socio-political context of the photographs play a big role in creating the photographic experience. Taken out of the sequence and not seen in the light of the specific socio-political context, individual pictures might not always stand out. The whole is greater than the sum of the parts.

I'm often drawn to photo books that take this approach, where individual images might leave me cold or uninterested but when taken as a whole build to a compelling statement.

 

[MattKing]

I'm often drawn to photo books that take this approach, where individual images might leave me cold or uninterested but when taken as a whole build to a compelling statement.

I agree.
We have lots of opportunity to look at photographs that are intended to stand on their own and make a single statement.
A book has the ability to create an evolving narrative - more of a cinematic approach (even if avant-garde cinema).

 

[VinceInMT]

It doesn't have to even be a book, a small series of photos can work together creating a narrative as they work together. The work of Duane Michals comes to mind.

 

[Raghu Kuvempunagar]

It doesn't have to even be a book, a small series of photos can work together creating a narrative as they work together.

You're absolutely right! Even a diptych or a triptych can say much more together than any of their constituent photographs.

 

[warden]

A while back I picked up one of Lenswork's Seeing in Sixes books. Each photographer gets only six images and it's incredible how much some were able to say within that pithy limitation.

 

[Wayne]

I think his images are meh, but they do have a characteristic look. If the right people like that look, boom, you've got yourself a reputation.

Personally I think the written word is a far better storyteller than any camera will ever be.

 

[CMoore]

I think his images are meh, but they do have a characteristic look. If the right people like that look, boom, you've got yourself a reputation.

Personally I think the written word is a far better storyteller than any camera will ever be.

We need a cage match...No Holds Barred... between you and the guy that said..."A picture is worth a thousand words."

 

[Wayne]

We need a cage match...No Holds Barred... between you and the guy that said..."A picture is worth a thousand words."

I'll kick his ass in 500.

 

[ajmiller]

I bought Shimmer of Possibility but didn't really get it at the time. I listened to this interview with Paul Graham the other day following this thread and I think I see now where he's coming from. Worth a listen as it changed my view on him and his photography. (As an aside - this podcast/interviewer is one of the best I've listened to - great guests and good questions)
https://bensmithphoto.com/asmallvoice/paul-graham

 

[jvo]

A while back I picked up one of Lenswork's Seeing in Sixes books. Each photographer gets only six images and it's incredible how much some were able to say within that pithy limitation.

++++++