An unbiased, worthwhile recollection of the marvelous invention of photography.
Watson, the curator of the Fox Talbot Museum, and historian Rappaport (A Magnificent Obsession: Victoria, Albert, and the Death That Changed the British Monarchy, 2013, etc.) develop the intricate history of photography.
The appropriate hardware was, of course, known from antiquity in the form of the camera obscura. What wasn’t accomplished until the 19th century was the fixing of the evanescent image projected in the back of that simple box. “Such is human inventiveness,” write the authors, “that it was not long in the new…century before some of those who looked at the images in the camera obscura began wondering whether they could push the boundaries of its use.” Many devoted amateurs worked assiduously on the challenge to capture the light with chemical solutions on paper or on metal. Some worked alone; others shared their results. Among the researchers were Francois Arago, Tom Wedgwood and Alphonse Hubert. In Paris, the inventor Nicéphore Niépce produced negative images but never thought to print positives from them. Then, in 1839, Niépce’s former partner, the scenic artist and showman Louis Daguerre (1787–1851) displayed to an amazed world portraits and pictures of street scenes made by nature itself. The Daguerreotype was a sensation. By then, across the Channel, English polymath Henry Fox Talbot (1800–1877) had devised the calotype process and a way to utilize a negative to produce multiple images on paper; he had not announced it with fanfare. First conceived of as a tool for artists and scientists, by the second half of the century, photography became a popular craze, especially in the United States. For Daguerre and Talbot, many honors, and patent disputes, followed. Then came tintypes, cartes de visite and stereopticons. Photojournalism pursued war and politics. Improvements in commercial printing and color processes promoted photography. Today, snapshots of Martian landscapes are commonplace.
An unbiased, worthwhile recollection of the marvelous invention of photography.Pub Date: Nov. 26, 2013
ISBN: 978-1-250-00970-8
Page Count: 304
Publisher: St. Martin's
Review Posted Online: Sept. 15, 2013
Kirkus Reviews Issue: Oct. 1, 2013
The author's youthfulness helps to assure the inevitable comparison with the Anne Frank diary although over and above the...
Elie Wiesel spent his early years in a small Transylvanian town as one of four children.
He was the only one of the family to survive what Francois Maurois, in his introduction, calls the "human holocaust" of the persecution of the Jews, which began with the restrictions, the singularization of the yellow star, the enclosure within the ghetto, and went on to the mass deportations to the ovens of Auschwitz and Buchenwald. There are unforgettable and horrifying scenes here in this spare and sombre memoir of this experience of the hanging of a child, of his first farewell with his father who leaves him an inheritance of a knife and a spoon, and of his last goodbye at Buchenwald his father's corpse is already cold let alone the long months of survival under unconscionable conditions.
Pub Date: Jan. 16, 2006
ISBN: 0374500010
Page Count: 120
Publisher: Hill & Wang
Review Posted Online: Oct. 7, 2011
Kirkus Reviews Issue: Jan. 15, 2006
A moving meditation on mortality by a gifted writer whose dual perspectives of physician and patient provide a singular...
A neurosurgeon with a passion for literature tragically finds his perfect subject after his diagnosis of terminal lung cancer.
Writing isn’t brain surgery, but it’s rare when someone adept at the latter is also so accomplished at the former. Searching for meaning and purpose in his life, Kalanithi pursued a doctorate in literature and had felt certain that he wouldn’t enter the field of medicine, in which his father and other members of his family excelled. “But I couldn’t let go of the question,” he writes, after realizing that his goals “didn’t quite fit in an English department.” “Where did biology, morality, literature and philosophy intersect?” So he decided to set aside his doctoral dissertation and belatedly prepare for medical school, which “would allow me a chance to find answers that are not in books, to find a different sort of sublime, to forge relationships with the suffering, and to keep following the question of what makes human life meaningful, even in the face of death and decay.” The author’s empathy undoubtedly made him an exceptional doctor, and the precision of his prose—as well as the moral purpose underscoring it—suggests that he could have written a good book on any subject he chose. Part of what makes this book so essential is the fact that it was written under a death sentence following the diagnosis that upended his life, just as he was preparing to end his residency and attract offers at the top of his profession. Kalanithi learned he might have 10 years to live or perhaps five. Should he return to neurosurgery (he could and did), or should he write (he also did)? Should he and his wife have a baby? They did, eight months before he died, which was less than two years after the original diagnosis. “The fact of death is unsettling,” he understates. “Yet there is no other way to live.”
A moving meditation on mortality by a gifted writer whose dual perspectives of physician and patient provide a singular clarity.Pub Date: Jan. 19, 2016
ISBN: 978-0-8129-8840-6
Page Count: 248
Publisher: Random House
Review Posted Online: Sept. 29, 2015
Kirkus Reviews Issue: Oct. 15, 2015
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