I found this book a lighter read than Susan Sontag's essays. The language is more direct and less academic in its style. Though just as profound and hard hitting with Berger's opinions.
There are some Sontag quotes throughout the book and some overlaps between opinions and comparisons.
"Let us consider them no closer to works of art than a cardiogram" John Berger
uses the same comparison of cardiogram as Sontag does in her book, "On Photography".
Berger whole photographic philosophy makes interesting reading and has logical conclusions when dissecting his theories against actual specific images, worked well for me. Though I found it slightly annoying for Berger to discuss images in detail, that were either not printed in the book, or for some bizarre reason included a page behind the article. As I attempt to read his thoughts and theories and view the image he is discussing at the same time.
I particularly found is ideas on photography not being categorised as art really interesting.
"Photography is not art as art is property" - John Berger
Berger makes in depth discussions about parts of photography I would have just flicked through, explaining the importance of history, time, perspective, social change, context with language, photographic paper, dyes and all forms of genre.
The lack of constant comparison to art pieces created 300 years ago made a refreshing change, as for academics it seems to be the safe place to visit when writing theories and essays etc. Berger barely touched on this subject which is understandable as his feeling of photography as non art, requires no further comparison than what was included.
I disagree with his interpretation of the August Sander image of the musicians and is constant reference of them as "peasants". The suits may not have been the aristocracy equivalent, but they were not peasants . Peasants would not own brass instruments or violins and wear dickey bows. There is a great distance between aristocrat and peasant that could have been explored further.
A chapter of particular interest was the discussion on the Vietnam war images, in particular by Don Mc Cullin. Superbly explained but somewhat light on substance. He discussed points of view and the uses of modern images. How we should view such images and the consideration the photographer should make when photographing such incidents. However Berger could have taken this further. For a war photograph is a "Decisive moment" as defined by Henri Cartier Bresson, purely by the fact every incident is a never repeated piece of history. However an image is only the smallest piece of what occurs outside of the photographers frame. Far too many conflicts of the senses for a photograph ever to be able to capture. Though Berger discusses pain and the effect on the subject of the image and their family in years to come.
Berger states, " The choice is not between photographing x and Y but between photography at X moment or at Y moment" Berger P19
This is my favourite quote throughout the book. The importance of photography is not what we photograph a subject but when we photograph a subject.
The explanation of a none art form, which can only replicate what is in front of the lens, without language but with every facet decided for by the photographer is enlightening. The idea that the camera never lies as been deemed incorrect by the masses who are preyed upon on a daily basis with fake and altered images every day. However Berger is correct, the photograph does not lie, for this it as to be altered , adjusted and manipulated. This is no longer photography, it is something completely not photography...so Berger is correct the Photograph never lies. It is the parties who manipulate and adjust that tell the lie toward our eyes...the mechanical process of photography has created an accurate reproduction. For the camera does not lie, even when photographing a lie, even when the lie appears the truth.
It is obvious from Berger's accounts to read a random photograph from any time, the viewer must be almost Police like in their study. Look at the clothes worn, rich or poor? Styles and fashions? Other objects on person, background, colour, type and bloom on the surrounding flora, model of cars etc. A hundred facts are there to see in every image. However without accompanying text the viewer will never fully understand the thoughts of the photographer when the image was taken, or who exactly the main person is. Are they related? or just people who looked interesting enough to record? So many questions that need to be asked...
Like Sontag's collection of essays in "on Photography" there is far too many points that validate genuine discussion within each chapter/ essay to be reviewed in a single section. Ideally there is enough valuable content within this publication to study each chapter individually and then take that commentary to even greater depth with personal opinion both physical and emotional.
On page 84 Berger uses a quote from Cezanne:
"Objects interpenetrate each other. They never cease to live imperceptibly they spread intimate reflection around them."
This reflects the way nature creates different forms of life but with common factors. Berger uses the walnut grows with the nut inside, as the brain grows inside the skull as an example. It has similarities to the development of imagery and art. Similar but different, linked but separated.
An enlightening piece of writing, explaining how to question and read the photograph but with just as many negatives on what we cannot assume or deduce from the image. A wonderful conflict for a novice to use as an eye opener into the depth of a photograph and if a book can make anyone look differently at what they are presented then it is a book worth reading.