John Berger - Understanding a Photograph
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Understanding a Photograph: summary, description and annotation
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Abstract: Contains essays and previously uncollected pieces written for exhibitions and catalogues in which Berger probes the work of photographers such as Henri Cartier-Bresson and W Eugene Smith - and the lives of those photographed - with fierce engagement, intensity and tenderness. Read more...
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Edited and Introduced by GEOFF DYER
Published by the Penguin Group
Penguin Books Ltd, 80 Strand, London WC2R 0RL , England
Penguin Group (USA) Inc., 375 Hudson Street, New York, New York 10014, USA
Penguin Group (Canada), 90 Eglinton Avenue East, Suite 700, Toronto, Ontario, Canada M4P 2Y3 (a division of Pearson Penguin Canada Inc.)
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Penguin Books India Pvt Ltd, 11 Community Centre, Panchsheel Park, New Delhi 110 017, India
Penguin Group (NZ), 67 Apollo Drive, Rosedale, Auckland 0632, New Zealand (a division of Pearson New Zealand Ltd)
Penguin Books (South Africa) (Pty) Ltd, Block D, Rosebank Office Park, 181 Jan Smuts Avenue, Parktown North, Gauteng 2193, South Africa
www.penguin.com
Penguin Books Ltd, Registered Offices: 80 Strand, London WC2R 0RL , England
First published in Penguin Classics 2013
Copyright John Berger, 1967, 1968, 1969, 1972, 1978, 1979, 1980, 1982, 1985, 1988, 1991, 1992, 1996, 1998, 1999, 2001, 2002, 2004, 2005, 2007, 2013
Introduction and editorial material Geoff Dyer, 2013
Cover Design: YES
Cover photograph: Lovers, May 15, Budapest Estate of Andr Kertsz/Higher Pictures
All rights reserved
The moral right of the author and of the editor and introducer has been asserted
The first-time publication details on constitute an extension of this page
Typeset by Dinah Drazin
ISBN: 978-0-718-19601-1
PENGUIN MODERN CLASSICS
John Berger was born in London in 1926. His acclaimed works of fiction and non-fiction include the seminal Ways of Seeing and the novel G., which won the Booker Prize in 1972. In 1962 he left Britain permanently, and he now lives in a small village in the French Alps.
Geoff Dyer is the author of four novels and many non-fiction books. He is a winner of the Somerset Maugham Prize, the International Center of Photographys 2006 Infinity Award for The Ongoing Moment and a 2012 National Book Critics Circle Award for the essay collection Otherwise Known as the Human Condition.
to Beverly
, October 1967. (Photo: Topham Picture-point)
, 1632, by Rembrandt van Rijn. Oil on canvas, 169.5 x 216.5cm, Mauritshuis, The Hague. (Photo: akg-images)
, c.1480, by Andrea Mantegna. Tempera on canvas, 68 x 81cm, Pinacoteca di Brera, Milan. (Photo: akg-images/Erich Lessing)
(The meaning of the Hitler salute) by John Heartfield. From AIZ (Neuer Deutscher Verlag, Berlin), vol. 11, no. 42, 16 October 1932. (Photo: akg-images; 2013 Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn)
, 1914, by August Sander. ( 2013 Die Photographische Sammlung/SK Stiftung Kultur August Sander Archiv, Cologne/ARS, NY)
, 1913, by August Sander. ( 2013 Die Photographische Sammlung/SK Stiftung Kultur August Sander Archiv, Cologne/ARS, NY)
, c.1931, by August Sander. ( 2013 Die Photographische Sammlung/SK Stiftung Kultur August Sander Archiv, Cologne/ARS, NY)
, 1944, by Paul Strand. ( Aperture Foundation, Inc., Paul Strand Archive)
, January 1942, by Dmitri Baltermants. (Photo: Dmitri Baltermants/The Dmitri Baltermants Collection/Corbis)
. (Image courtesy of John Berger)
, Berlin, 10 May 1933. (Photo: Keystone/Getty Images)
, 1919, by Andr Kertsz. ( Estate of Andr Kertsz/Higher Pictures)
, 25 May 1912, by Andr Kertsz. ( Estate of Andr Kertsz/Higher Pictures)
, 3 September 1917, by Andr Kertsz. ( Estate of Andr Kertsz/Higher Pictures)
, 15 May 1915, by Andr Kertsz ( Estate of Andr Kertsz/Higher Pictures)
, Levoa, Slovakia, 1968, by Markta Luskaov. (Courtesy of the artist; Markta Luskaov)
, June 1944, by W. Eugene Smith. (Photo: W. Eugene Smith/Time Life Pictures/Getty Images)
, Jarrow, Tyneside, 1976, by Chris Killip. (Courtesy of the artist; Chris Killip)
, 1964, by Andr Kertsz. ( Estate of Andr Kertsz/Higher Pictures)
, 1985, by Martine Franck. ( Martine Franck/Magnum Photos)
, drawing by John Berger. (Image courtesy of John Berger)
. ( Sebastio Salgado/Amazonas images; image courtesy of Amazonas images)
, Tanzania, 1994, by Sebastio Salgado. ( Sebastio Salgado/Amazonas images/NB pictures; image courtesy of NB pictures)
, 2001, by Moyra Peralta. (Courtesy of the artist; Moyra Peralta)
, 1989, by Marc Trivier. (Courtesy of the artist; The Estate of Alberto Giacometti (Fondation Giacometti, Paris, and ADAGP, Paris), licensed in the UK by ACS and DACS, London 2012)
, Basel, 1989, by Marc Trivier. (Courtesy of the artist; The Estate of Alberto Giacometti (Fondation Giacometti, Paris, and ADAGP, Paris), licensed in the UK by ACS and DACS, London 2012)
, from the series Forest, 20002005, by Jitka Hanzlov. (Courtesy of Jitka Hanzlov and Mai 36 Galerie Zurich; 2013 Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn)
(Trackers no. 57), Lakhish Army Base, Beit Gubrin, Israel/Palestine, 2005, by Ahlam Shibli. Chromogenic print, 37 x 55.5cm. (Courtesy of the artist; Ahlam Shibli)
I became interested in photography not by taking or looking at photographs but by reading about them. The names of the three writers who served as guides will come as no surprise: Roland Barthes, Susan Sontag and John Berger. I read Sontag on Diane Arbus before Id seen any photographs by Arbus (there are no pictures in On Photography), and Barthes on Andr Kertsz, and Berger on August Sander without knowing any photographs other than the few reproduced in Camera Lucida and About Looking. (The fact that the photo on the cover of About Looking was credited to someone called Garry Winogrand meant nothing to me.)
Berger was indebted to both of the others. Dedicated to Sontag, the 1978 essay Uses of Photography is offered as a series of responses to On Photography, published the previous year: The thoughts are sometimes my own, but all originate in the experience of reading her book (p. 49). Writing about The Pleasure of the Text (1973), Berger described Barthes as the only living critic or theorist of literature and language whom I, as a writer, recognise.
For his part, Barthes included Sontags On Photography in the list of books omitted from the English edition at the end of Camera Lucida (1980). Sontag, in turn, had been profoundly shaped by her reading of Barthes. All three had been influenced by Walter Benjamin whose A Small History of Photography (1931) reads like the oldest surviving part of a map this later trio tried in their different ways, using customized projections to extend, enhance and improve. Benjamin is a constantly flickering presence in much of Barthes writing. The anthology of quotations at the end of
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