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By François Brunet

Aspiring writers are frequently admonished to “show, no longer tell,” an guide that instantly speaks to the connection among the written notice and the visible international. it's a tenuous correspondence—both literature and paintings are striving towards an analogous target of depiction, however the fact they painting is formed by way of their selected instruments. As François Brunet argues in images and Literature, the arrival of images posed one of many maximum demanding situations to writers—here used to be a creative medium which can nearly immediately distill a scene or viewpoint. As Brunet indicates, the results of this problem has been a ravishing interaction among the 2 and among photographers and writers themselves.
Photography and Literature examine the entire background of images, and Brunet starts off through studying how the discovery of images used to be formed by way of written tradition, either clinical and literary. to boot, Brunet seems on the production of the photo-book, the common own discovery of images by means of writers, and the way images and literature ultimately started to alternate instruments and merge codecs to create a brand new photo-textual style. hugely illustrated, images and Literature displays a photographer’s standpoint, giving new awareness to such works because the groundbreaking exploration of images within the Pencil of Nature by means of William Henry Fox Talbot and Sophie Calle’s initiatives with Jean Baudrillard and Paul Auster.
Essential for someone attracted to the intersection of the verbal and the visible, images and Literature presents a desirable wealth of autobiography, manifesto, and fiction in addition to quite a few pictures from the 1st daguerreotypes to the electronic age.

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Photography and Literature

Aspiring writers are frequently admonished to “show, now not tell,” an guide that instantly speaks to the connection among the written notice and the visible global. it's a tenuous correspondence—both literature and paintings are striving towards a similar aim of depiction, however the fact they painting is formed by means of their selected instruments.

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46 of the hundreds of photographic books, albums, and portfolios published in the second half of the nineteenth century followed the technical formula established by The Pencil of Nature. That is, they combined printed text with tipped-in photographic prints in productions usually costly, luxurious, and limited; this was for the purposes of thematic illustration or encyclopaedic collection, however, and did not emulate The Pencil of Nature’s reflexive insights into photography and photographer.

29 This even as Agee, in superlative modernist style, multiplied his expressions of the writer’s aspirations to stylelessness, disembodiment and deference to the camera’s absolute, mechanical realism. Stating, ‘If I could do it, I’d do no writing at all here. It would all be photographs’, the writer was suggesting that the emergence of a language of photographic images – moving pictures included – was destined to bring about the demise of traditional literature (or writing). Let Us Now Praise Famous Men contained approximately 400 pages of text by Agee, but the photographer’s pictures and Agee’s description of them tended to make Evans the fundamental author – merging authorship and authority.

Arago, seeking to maximize the rhetorical effects of his intervention, would forge the figure of Niépce as an isolated and somewhat fanciful inventor, as if photography had needed a storyteller to become fully public and intelligible. Talbot, on the contrary, not only made himself the narrator of his own invention but clearly chose not to separate, in his ‘account’, any statement of ‘results’ or methods from either the procedures of experiment and deduction that led to them or the wonders and emotions they raised in his mind.

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