PDF Ebook The Practice of Contemplative Photography: Seeing the World with Fresh Eyes, by Andy Karr Michael Wood
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The Practice of Contemplative Photography: Seeing the World with Fresh Eyes, by Andy Karr Michael Wood
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Review
“This is not your usual ‘how to be a better photographer’ book. It takes you into deeper water. It requires investigation and commitment to areas new to you. Among other things, you will think about perception in new ways. If you read this book with care, and without skepticism, it will radically expand your thinking, seeing, and photography.”—Jay Maisel “Contemplative photography is about seizing the present moment as one would delicately hold a poppy without shedding its petals. It is about nonattachment; one has nothing to lose and nothing to gain, but everything to offer to the eyes of the viewer. In this beautiful and inspiring book, Andy Karr and Michael Wood introduce us to an approach to photography that nourishes our spiritual life rather than distracting us from it.”—Matthieu Ricard, photographer and author of Happiness: A Guide to Developing Life's Most Important Skill
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About the Author
Michael Wood studied photography in art school and worked as a commercial photographer in Toronto, Canada. After discovering Buddhist meditation, he began to work on synthesizing his meditation experience with a fresh way of looking and seeing in his professional photography. He teaches workshops to photography clubs and meditation groups.
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Product details
Paperback: 226 pages
Publisher: Shambhala; 4.1.2011 edition (April 12, 2011)
Language: English
ISBN-10: 9781590307793
ISBN-13: 978-1590307793
ASIN: 1590307798
Product Dimensions:
8.6 x 0.7 x 10 inches
Shipping Weight: 1.9 pounds (View shipping rates and policies)
Average Customer Review:
4.1 out of 5 stars
45 customer reviews
Amazon Best Sellers Rank:
#99,687 in Books (See Top 100 in Books)
I am not a practicing Buddhist but my philosophy of life is not too dissimilar (if considerably more practical). This book is about as much about Buddhism as photography.The images in it are fantastic except, they are a bit too small (could have been about 1-5% larger - and that is coming from a white space fanatic in a day and age when it has all been forgotten in the importance of reading) also; some images loose some energy and one wonders if some more hard core editing out of about 10 or so images would have helped. Editing is as important as making - and the authors missed that.I thought the book would be more about the conceptual link to the practical applications of the concepts. (It is called "The Practice of...!") Indeed, chapter 2: Art in Everyday Life has some fantastic advice (both practical and conceptual). After reading chapter 2, I started to get excited about the rest of the book. But, it did not deliver. Some sections, I found simply too new age-ie. It also felt like the authors were pushed too far to make too big a book. They have some interesting things to say, when it is actually interesting. But the rest of the time, a good part of the writing is new age drivel. Even if you are into that, you can sense that words are going down just for the sake of putting words on paper. When that occurs, which is often, it has the feeling of a college photography course syllabus written by an inexperienced professor. (This might also be crumby editing too. Sad, if that is the case.) Some rather thin basic technical advice is brought up toward the back of the book. One really wonders why this was included at all.The more I think about it, this book should have been half the size, about 25-50% fewer images, and the writing needed much help and a lot of editing.The cover image is a poor pick compared to some better images in the book. But usually the cover image is not chosen (sadly) by the author of most art, design, and photography books. At the very least, publishers should give the authors 3 or so cover concepts to choose from.
First, this is not a book of advanced concepts but very simple and easy to understand thoughts and ideas, that is, if you slow down and think about what is described in the book. Especially descriptions on how a person stops when confronted with an amazing scene, has a visual epiphany, an ah-ha moment, or finds anything attention grabbing that could potentially be subject matter for photography.I've studied advanced Eastern philosophies formally at USA universities and while residing in Asian countries long term (Japan, India, China). That's why the book seems simple and basic to me. If you are an American and have never read any Eastern philosophy this book may be your first taste of a different why of thinking (as mentioned by some of the other reviews here).The Tibetan word "miksang" which means "good eye" is at the basis of contemplative photography. But this book was not written by the Tibetan Dharma teacher who applied the miksang concept to photography. The Western explanation of an Eastern concept feels unsettling and I think that is why so many have a problem with this book (based on the reviews left here). The book is basically the Buddhist "first thought best thought" applied to image making with a camera.This book is partially about making a photo based on one's first impression of a scene and recommends that we live in the moment while doing so. Ok, but then the second assignment tells you to force yourself to take 20 shots of something ordinary such as your garage wall. So that comes across as a contradiction to some readers, rather than a development or going to the next level. I had already started slowing down and working my own shots harder ( and one I worked on especially hard until I got it exactly the way I wanted it was selected for Getty images, but then others of my shots were too). But after hearing about miksang I developed an interest in it and decided to read this book to find out more and to see if the contents of the book would help me add anything to my own practice of and thoughts on photography. I've read half of this book and I think some of what I've read has reinforced some things in me that were already there (hopefully making them stronger)--I did notice a change in me while taking photos today. It's too soon to tell. But, if so, then the book was worth buying and reading.What I dislike about this book, and "miksang" photography in general (even to the point of annoyance), has to do with the exposures used by the practitioners of miksang photography (not their minimal compositions).What bothers me most are some of the blah, grey, desaturated images made in the name of miksang. That's what really doesn't make any sense and I think this bothers others as well (as stated in reviews here). The human eye does not see a faded-out world or washed out views. I don't understand what miksang has to do with faded high-key images. It seems to me that certain miksang photographers are combining the current trend in high key images while working in opposition to the old school darker exposures(think Edward Weston's Bell Pepper image), and if so, then that is not miksang. That is not making photographs in the moment but rather the main concept of those images is based in fad/trend and showing up other photographers as old fashioned-- things the book says to forget while shooting.I even heard one photographer (in a YouTube video) say that her photos were based on Miksang and then she spelled it for the audience "m-i-x-s-o-n-g" I'm not kidding, she really did spell it wrong! If you are teaching a live workshop on miksang and it's also being videotaped, at least correctly spell the word that is the basis of the workshop. Also the photos she showed in her slide show were consistently desaturated and could not have been made in the moment but based on a trend for desaturated images and therefore not miksang. So that is why reviewers here tend to focus on the contradictions in the book's text and the images. Many of the images to illustrate the concept need some explanatory text below them to make sense, IMO.
I'm not sure what my expectation were for this book but it's not as useful as I anticipated. Essentially, the author encourages me to stop photographing what I love - nature - and find abstract shapes & colors to photograph. I think his path is certainly different from mine.I do appreciate the advice to eliminate preconceived ideas of composition and go with the intuitive side of my art. I love color & integrating my photography with a painterly style. Perhaps, down the line I will return to this book & reevaluate my perspective.Insofar as the actual craft used to write the book - well written, concise & exercises provided to demonstrate concepts.
It doesn’t take long to realize that most photography books are very very similar: lots of technical informations, some tips for getting ‘good’ photos, and maybe a section on common mistakes.THIS IS NOT THAT BOOK. This book is focused on seeing, and capturing, what is really there in the world. It is less about creating the perfect image and more about noticing the amazing images around you. Noticing the world and being attentive to it.I appreciate all those other books and read plenty of them. They have done wonders for my technical understanding of what I am doing and have allowed me to better capture what I see. But this text is the only one that actually helped me SEE better. Indispensable reading for aspiring mindful photographers.
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