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The Command to Look: A Master PhotographerÂ’s Method for Controlling the Human Gaze, by George Dunham Michael Moynihan
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Review
There's a reason why Anton Szandor LaVey, founder of the Church of Satan, called upon Mortensen's artistic aesthetic and psycho-optical theories when creating LaVeyan Satanism and iconography of the Church. But you don't have to be the Black Pope to appreciate or make use of Mortensen's trademark techniques for commanding the gaze. - The AlibiCommand to Look … influential, especially in renegade realms. Feral House simultaneously published the exquisite compendium American Grotesque…. — Shawn Macomber, FangoriaMortensen was a giant, and it is time to acknowledge his stature. Buy both of these new books. But be warned: if you do, you may well find yourself haunting used bookshops and the internet to round out your collection with everything he ever wrote. — Amateur PhotographerThere's a reason why Anton Szandor LaVey, founder of the Church of Satan, called upon Mortensen's artistic aesthetic and psycho-optical theories when creating LaVeyan Satanism and iconography of the Church. But you don't have to be the Black Pope to appreciate or make use of Mortensen's trademark techniques for commanding the gaze. - The AlibiCommand to Look … influential, especially in renegade realms. Feral House simultaneously published the exquisite compendium American Grotesque…. ― Shawn Macomber, FangoriaMortensen was a giant, and it is time to acknowledge his stature. Buy both of these new books. But be warned: if you do, you may well find yourself haunting used bookshops and the internet to round out your collection with everything he ever wrote. ― Amateur Photographer
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About the Author
William Mortensenwas an American artist and photographer, born in 1897 and who died in 1965. He was part of a group of photographers in the first part of the twentieth century called the Pictorialists, known for their romantic subject matter and alternative photographic processes. Mortensen didn’t fit easily into that group, however. His imagery was highly manipulated and not particularly romantic—instead he created compositions exploring themes of the grotesque and the erotic.From the late 1920s until the 1940s, Mortensen was one of the best-known and most successful photographers in the United States. He had begun his artistic life as a painter and etcher and carried that training over to his photographic work, which he began in the mid 1920s. He was known for his outré subject matter that had an unusual look—it is difficult to tell, at first glance, if his images are etchings, drawings, or photographs. This work made him well regarded by many but reviled by a group of photographers called the f.64 group, also known as “straight photographers.” This group consisted, in part, of Ansel Adams, and Edward Weston.Mortensen, together with his coauthor George Dunham, published 9 books and approximately 100 articles on his concepts and processes. His books and articles were extremely popular. For the most part these were published by Camera Craft, but he was also a regular contributor to various other major magazines of the time such as Popular Photography.George Dunham was born in 1896 in Riverside County, California. He went on to Harvard University to pursue graduate work in English and Music. At Harvard, Dunham attended the influential “47 Workshop” class taught by George Pierce Baker. Dunham returned to the seaside art colony then forming in Laguna Beach, California in 1923.In the years that followed Dunham became an actor and director of the Community Players of Laguna Beach. Dunham was also an accomplished writer, who had provided articles on theater to the local newspaper.In 1931 after leaving the Community Players, Dunham met and became friends with photographer and teacher William Mortensen. Mortensen had arrived in Laguna Beach in 1931 and opened the William Mortensen School of Photography. Dunham began posing for Mortensen in 1932, which yielded one of Mortensen’s most well known photographs, Human Relations 1932. Dunham also became the literary voice of Mortensen from 1933 through the late 1950s writing all of the books and articles attributed to that famous photographer.Theirs was a literary collaboration, with Mortensen outlining the ideas and thrust of the book or article and Dunham providing the words and wit. However, Dunham’s contribution to Mortensen’s literary success was kept a secret from all but a few in the photography world and wasn’t revealed until the 3rd printing of How to Pose the Model. Dunham was finally recognized as coauthor of all of Mortensen’s literary works.Their collaboration, but not their friendship, ended in the late 1950s with the last of the articles. Dunham died of cancer in 1976.Larry Lytle is a commercial and fine art photographer in Los Angeles, and lecturer in Art at California State University Channel Islands. His writings have appeared in William Mortensen: A Revival and Original Sources: Art and Archive at the Center for Creative Photography (both published by the CCP), Black & White Magazine, Laguna Life, The Laguna Beach Independent, and The Scream.Michael Moynihan is the co-author, with Didrik Søderlind, of the award-winning music and crime book Lords of Chaos (Feral House, 2003) and has contributed essays to various anthologies (such as Apocalypse Culture II) and scholarly encyclopedias. As an editor and translator has collaborated on various books and journals dealing with the netherworlds where culture, religion, and art meet.
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Product details
Paperback: 190 pages
Publisher: Feral House; Reprint edition (October 21, 2014)
Language: English
ISBN-10: 1627310010
ISBN-13: 978-1627310017
Product Dimensions:
5 x 1 x 7 inches
Shipping Weight: 11.4 ounces (View shipping rates and policies)
Average Customer Review:
4.7 out of 5 stars
29 customer reviews
Amazon Best Sellers Rank:
#166,245 in Books (See Top 100 in Books)
Certainly a uniquely personal view of what constitutes engaging photographic composition. Entertaining to read, I appreciate Mr. Mortensen's no nonsense writing style and approach. It has certainly given me food for thought and practice. One note about the book itself; the size is only slightly larger than a typical paperback book and all the photographs are B&W. The size is listed in the description details, but I didn't read them and was surprised when it arrived. Still, glad I got it though.
William Mortensen's "The Command to Look" is an oft-discussed masterpiece that has, unfortunately, been out of print for ages. The new edition not only reprints the original text in a gorgeously bound form, but also adds essays about Mortensen and his work.Whether you are a photographer or any artist who wishes to explore the concepts around how to make your art as impactful as possible, "The Command to Look" is an essential addition to your library.
Do not read up on Mortensen and expect a book of tirades against Adams, et al. He does, as expected, have little good to say about technically perfect realism, but he would have had the same feeling for landscape painting. Understanding Mortensen's way leads to viewing photography (and other art) in a new way. It's a simple, clean way of thinking about pictorial art. It's also a very practical book for a photographer trying to get his stuff seen. I don't know that Mortensen's list of fear triggers that make up "the command to look" is comprehensive, but it is obviously a valid way to express he idea. This book is obviously the product of a long process of analysis and refinement. If you want your art to be seen, to stir people, and to be remembered, you shouldn't pass up- this little book. It will open doors of appreciation you hadn't thought about. It moved me to a close study of Botticelli whose used of light makes great illustrations for a lot of what Mortensen has to say in this and in his other books.
A fascinating little book by one of the forgotten greats of photography. The books describes some interesting approaches to composition based on four basic psychological constructs and then illustrates them with examples from the artists own work. Reading and contemplating Mortensen's book enabled me to immediately improve the quality of my own work.
William is such a genius in photography. His work is often bizarre but he's right, it makes you want to look at his work and not look away from it. And it is all explained quite clearly the reasons why and how to apply this to your own work. I really enjoy learning about his thinking process to this approach.
This isn't a photography household; we're artists. But there's no better book, nor more straightforward one, teaching how to compose a shot so that the viewer's eyes track the way you want them to. I'm annoyed that I didn't know about William Mortensen sooner. It's a stellar work which should be in every artist's and photographer's collection.
William Mortensen teaches the most important part of a photograph; the emotional content is our perception before we even start to look at the composition, color, etc., he then goes on to show the construction of the photograph. He became my mentor to become Michigan Photographer Of The Year seven times and go on to receive my Master of Photography and Craftsman degrees from the Professional Photographers of America.Sincerely Joseph Kubek M Photog. Cr.
Superb image quality and the technical writing by Mortensen's partner is quite good. That said, the book's moral compass is progressively creepy. The Church of Satan's Anton LeVay has a chapter in the book. Just goes to show you that inspired technique isn't always its own reward.
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