Pioneer
Veteran
I just finished reading Erwin Puts latest book in his trilogy, "Leica Practicum: Theory and Practice of Leicagraphy". The first one was "Leica Chronicle: Evolution of Leica Cameras and Lenses and the Origin of the Leica Legend." I can't say this newest addition is the most interesting book I ever read, but there were some interesting thoughts presented.
The first half (a little more than half) of the book is a review of the various photographic theories and philosophies, ultimately attempting to build a case for his own ideas called "Leicagraphy." Though I dutifully waded through this section I can't say I retained a lot. I was never a great fan of Susan Sontag and, as much as it pains me to say it, I think Ms Sontag did a better job at presenting a philosophy of photography. In the end I am not convinced that Mr Puts has actually presented any new information here, no matter what he would like to call it. Unless you are really interested in philosophy I am not sure I can recommend this part of the book. I can't really call this a success, even as an academic overview.
If I interpret his ideas correctly, Mr Puts feels that photography has been co-opted by the art world in the past 30 or 40 years and, as a result, has been somewhat distracted from what it actually does best, which is to record events, locations and condition of people. In a nutshell, to Mr Puts, Leicagraphy is the ability of the Leica camera to wrest the photograph back from the art world and put it back into the knowledge world through the use of the Leica to introduce and popularize the snapshot, which is incorporated into street photography and photo journalism. Though he admits that many other cameras have also been used in these realms, he opines that without the Leica being invented and sold these photographic disciplines would not have advanced as far as they have. The Leica and those two photographic disciplines are inseparably intertwined. And though he accepts that many use their smart phone today he does not agree that this is the best solution. Of course he doesn't really clarify how the Leica actually fits into the disciplines it started any longer, particularly when the price of admission is considered. Whether or not all this deserves its own photographic theory or not is up to you to decide.
The last half of the book, "Practice" was a little more interesting to me, but it was frustratingly brief and somewhat disjointed. A few of the sections seemed to end abruptly just as he was starting to make sense. Though a bit better organized than his past blog I feel that most of the information presented here was originally presented on his internet site. Not that it make it any less worth reading, just that it wasn't fully fleshed out to deserve an entire book.
I do like his perspective on digital and analog; that both camera styles are still capturing the light in front of the lens and translating that information to a storage medium. One happens through chemical means and the other through electronic means. As far as Mr. Puts is concerned it really makes little difference if you consider the Leica from a street photography or photo journalistic perspective.
In summary, if you are collecting Mr. Puts trilogy, then you obviously will buy this book. But unlike his first book, which was a terrific compendium of Leica information, I don't see this one as adding any new information specific to Leica. So if you are buying this book to add to your knowledge of Leica photography than it may not be your best buy.
His writing style is easier to read when it is presented as small vignettes accompanying a description of a camera or a lens. When expanded into a 500 page book with very few illustrations it gets quite overbearing, and very boring. As a result there are undoubtedly parts of this book that will take re-reading and more time to fully assimilate on my part.
If you are looking for an advanced "how to" book that describes and instructs in how best to use your Leica...this is definitely not it. Sorry. Rather this is his attempt to present the fundamentals of the philosophy and science of photography as they exist today. It is quite an ambitious goal and I am not sure he quite hits his target.
As for whether the Leica M any longer even has a seat at the table in the "Leicagraphy" photographic disciplines is quite doubtful in my mind. Barnack may have helped invent street photography and improve photo journalism with his Leica 1, but if I were to go out and play Garry Winogrand today I would take two or three phone cameras, not a Leica.
Obviously, this is my own opinion, so it is very biased by my own thoughts, experience and education. True of most books I suppose. Others may get much more out of "Leica Practicum" than I did and it would be very nice to hear their opinions.
The first half (a little more than half) of the book is a review of the various photographic theories and philosophies, ultimately attempting to build a case for his own ideas called "Leicagraphy." Though I dutifully waded through this section I can't say I retained a lot. I was never a great fan of Susan Sontag and, as much as it pains me to say it, I think Ms Sontag did a better job at presenting a philosophy of photography. In the end I am not convinced that Mr Puts has actually presented any new information here, no matter what he would like to call it. Unless you are really interested in philosophy I am not sure I can recommend this part of the book. I can't really call this a success, even as an academic overview.
If I interpret his ideas correctly, Mr Puts feels that photography has been co-opted by the art world in the past 30 or 40 years and, as a result, has been somewhat distracted from what it actually does best, which is to record events, locations and condition of people. In a nutshell, to Mr Puts, Leicagraphy is the ability of the Leica camera to wrest the photograph back from the art world and put it back into the knowledge world through the use of the Leica to introduce and popularize the snapshot, which is incorporated into street photography and photo journalism. Though he admits that many other cameras have also been used in these realms, he opines that without the Leica being invented and sold these photographic disciplines would not have advanced as far as they have. The Leica and those two photographic disciplines are inseparably intertwined. And though he accepts that many use their smart phone today he does not agree that this is the best solution. Of course he doesn't really clarify how the Leica actually fits into the disciplines it started any longer, particularly when the price of admission is considered. Whether or not all this deserves its own photographic theory or not is up to you to decide.
The last half of the book, "Practice" was a little more interesting to me, but it was frustratingly brief and somewhat disjointed. A few of the sections seemed to end abruptly just as he was starting to make sense. Though a bit better organized than his past blog I feel that most of the information presented here was originally presented on his internet site. Not that it make it any less worth reading, just that it wasn't fully fleshed out to deserve an entire book.
I do like his perspective on digital and analog; that both camera styles are still capturing the light in front of the lens and translating that information to a storage medium. One happens through chemical means and the other through electronic means. As far as Mr. Puts is concerned it really makes little difference if you consider the Leica from a street photography or photo journalistic perspective.
In summary, if you are collecting Mr. Puts trilogy, then you obviously will buy this book. But unlike his first book, which was a terrific compendium of Leica information, I don't see this one as adding any new information specific to Leica. So if you are buying this book to add to your knowledge of Leica photography than it may not be your best buy.
His writing style is easier to read when it is presented as small vignettes accompanying a description of a camera or a lens. When expanded into a 500 page book with very few illustrations it gets quite overbearing, and very boring. As a result there are undoubtedly parts of this book that will take re-reading and more time to fully assimilate on my part.
If you are looking for an advanced "how to" book that describes and instructs in how best to use your Leica...this is definitely not it. Sorry. Rather this is his attempt to present the fundamentals of the philosophy and science of photography as they exist today. It is quite an ambitious goal and I am not sure he quite hits his target.
As for whether the Leica M any longer even has a seat at the table in the "Leicagraphy" photographic disciplines is quite doubtful in my mind. Barnack may have helped invent street photography and improve photo journalism with his Leica 1, but if I were to go out and play Garry Winogrand today I would take two or three phone cameras, not a Leica.
Obviously, this is my own opinion, so it is very biased by my own thoughts, experience and education. True of most books I suppose. Others may get much more out of "Leica Practicum" than I did and it would be very nice to hear their opinions.
