It's Not About the F-Stop (Voices That Matter), by Jay Maisel
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It's Not About the F-Stop (Voices That Matter), by Jay Maisel
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Jay Maisel has been hailed as one of the most brilliant and gifted photographers of all time. But he is also much more than that–he is a mentor, teacher, and trailblazer to many photographers, and a hero to those who feel Jay’s teaching has changed the way they see and create their own photography. He is a living legend whose work is studied around the world, and whose teaching style and presentation garner standing ovations and critical acclaim every time he takes the stage. In his first educational book, Light, Gesture, and Color, Jay put his amazing insights and learning moments from a lifetime behind the lens into a book that communicated the three most important aspects of street photography: light, gesture, and color. Here, in It’s Not About the F-Stop, Jay builds on that success to take you beyond the buttons and dials on your camera to continue to teach you how to “see” like a photographer, and how to capture the world around you in a way that delights, intrigues, and challenges the viewer. Each page unveils something new and inspires you to rethink everything you know about the bigger picture of photography. This isn’t a book about f-stops or ISOs. It’s about seeing. And nobody communicates this, visually or through the written word, like Jay Maisel.
It's Not About the F-Stop (Voices That Matter), by Jay Maisel- Amazon Sales Rank: #225567 in eBooks
- Published on: 2015-03-07
- Released on: 2015-03-07
- Format: Kindle eBook
About the Author
Photographer Jay Maisel’s career spans 61 years. His name has become synonymous with vibrant color photography that uses light and gesture to create countless unforgettable images for advertising, editorial, and corporate communications. His pictures appear in books and private, corporate, and museum collections. Some of his commercial accomplishments include five Sports Illustrated Swimsuit Issue covers, the first two covers of New York magazine, and the cover of Miles Davis’ Kind of Blue. Included among his many awards for excellence are the Art Directors Club Hall of Fame, American Society of Media Photographers’ Photographer of the Year Award, and the International Center of Photography’s Infinity Award.
Since he stopped taking on commercial work in the late 1990s, Jay has continued to focus on his personal work. A graduate of Cooper Union and Yale University, he continues his education by teaching younger photographers at workshops, seminars, and lectures around the world, and has developed a reputation as a giving and inspiring teacher.
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Most helpful customer reviews
5 of 5 people found the following review helpful. Refreshing concept but the photos and writing don't deliver By micah "It's not about the F-Stop" is, as the title implies, a non-technical book about photography. Specifically, it's a book about how to see the world around you and photograph it. Lessons are drawn from the authors own work and are accompanied by brief stories or captions that attempt to impart wisdom to the reader.This book is best approached in a non-linear fashion- you don't need to read from start to finish because the lessons rarely build on previous pages. This was frustrating at first, but I found myself more drawn to the work if I simply appreciated the photographs first with no expectation of unlocking any secrets by reading the caption.Even though it's clear that the author is not trying to "dazzle the reader with amazing photos", it is disappointing that the quality of some of the photographs is not what we'd expect from the author/photographer. Several are excellent, but too many are boring. Maisel intentionally shows us a few garbage photos to make a point by showing the better version on the next page, but at least a third of the "good ones" are less than what I'd expect. It took 47 pages to arrive a photo that was really absorbing and about as long to get past the cliches in the captions and into the good stories.The book seems to be intentionally disorganized. There's a mix of art and commercial work scattered throughout as Maisel attempts to rap with the reader about photography; addressing the reader in an offhand way that tries neither to impress nor browbeat. He simply tries to engage you with photography. When Maisel treats us to the stories accompanying the photos, this book shines. However, a good deal of the photos are accompanied by oft repeated platitudes: "take notice" , "never go back" , or "try something different". In conclusion, it was enjoyable to peruse his work and some of the stories were great, but the book may be somewhat disappointing to those hoping to learn about photography rather than about Jay Maisel.
30 of 39 people found the following review helpful. I wish I'd borrowed it from a library instead of purchasing it. By Jason G. I generally like Maisel's work, but I'm disappointed with this book. There are a number of images that are striking, though many I would not count among my favorites in his portfolio. The main disappointment is the writing, which I find neither inspired nor inspiring. I think I could deal with the bland jokes and attempts to seem... I don't know, tough? down-to-earth? funny? by swearing (but with symbols to mask the profanity...Really? If you're going to swear, man up and swear) if it were full of interesting anecdotes and thought-provoking ideas, but it's not - it's a collection of uninspired paragraphs that do little to expand upon the equally uninspired tips - gems such as "To Thine Own Self Be True", "Try to Be Open", "Take Notice", and the attempted cleverness of "Sometimes it IS About the F-Stop." I'm reminded more of a second-rate high school art teacher than a high-level working professional.I compare this to, say, the wonderfully informative and inspiring books by McNally, Barnbaum, or duChemin and it falls far short.
6 of 8 people found the following review helpful. An interesting book, if unfulfilling. By Des Brambley Jay Maisel is a big name, commanding big bucks, so why do I feel so cheated by his book?Reputation shouldn’t allow for the half-heartedness that I feel is the problem with this book. There’s an incompleteness that really irritates me. The photographs he has selected are very good but they’re not all greats, and they’re not really contemporary enough to really have much to say. Yes there are compositions which are interesting, yes there are compositions which are compelling to the eye, and sadly there’s quite a lot which I don’t really like. I’m a heretic, I know.I have a big problem with photographer’s books where the anecdotes occupy a greater space than the pictures, because unless it’s their autobiography, the reason for the book is the pictures. I find the approach taken with Jay Maisel’s falls into this familiar format. Rather than giving the technicalities of the shot or the creative process involved in making the shot, we’re treated to a series of asides about how he disregards the client’s wishes and delivers what he wanted to give or what he could talk them into accepting. Whilst this isn’t unknown in the advertising industry, it paints a sort of gung-ho picture of working with blue chip clients. From my own experience it’s a little less free and a lot more art director lead creativity to fit in with the campaign specifics of the end client and outlet – maybe the world has changed since then. If you get carte blanche to be able to hand in a picture of a kid playing in water rather than the brief from the client then fair play to you for that, but most us have to deliver with almost no wriggle room. If you can chuck in a couple of unconnected images and convince the client that somehow this unrelated image is exactly what they want, then you really have kissed the Blarney Stone and hit pay-dirt as the Americanism would have it. Then again it is called “It’s not about the f-stop” (although sometimes it is).I have plenty of stories that involve being on a major advertising shoot that rapidly descend into drunken lunches in The Three Compasses on a Friday afternoon or three days straight with a multiple set brief of a catalogue for a major household brand that were fuelled by coffee, cigarettes, and The Best of Squeeze on cassette. You’re getting a general impression of the shoots, an impression of the time, but you’re wanting to know more. The pictures were all shot on Linhoff 10x8 cameras with a pair of swimming pools, focusing spots, soft boxes and huge complicated sets. That’s a bit more tantalizing, but that’s all I’m going to tell you. Annoying, huh. We were normally shooting at around the f-90 to f-128 mark on Rodenstock lenses, by the way.Let talk about the images in this book. Forgive me if I not overwhelmed at this point. Jay Maisel is a legend, but the works he’s chosen to fill this book all seem quite studenty. In general they’re all reasonably old images, mostly film stock and whilst there is a great deal abstraction in the work on show, which works fine, I feel that it could do with a bit more structured work. That isn’t to say that I don’t like it, some of it I really do, but quite a lot of it evokes the reaction of ‘meh’. I am not forgetting that this is about his vision and he’s sharing the images that exemplify that vision more than anything else, but it still falls short somewhat in satisfaction and it is because this book does not cover Maisel’s oeuvre, just a few images he personally likes.I’ve read the book twice now and still feel like there’s valuable information missing. There’s more than a feint whiff of the wide-boy about the character of Jay Maisel and the way he discusses the assignments he gets. There’s plenty of asterisk’d out expletives to assure me that the advertising industry still makes docker’s language seem gentile, although I have long since passed the stage of needing to pepper my speech with profanities. This isn’t because of some lofty high ideal, more that I cannot spare the energy to add superfluous words.Tangents be damned, this is an interesting book, if unfulfilling. By the end of it I really wanted him to open up more about his technique. I really wanted to see some of his contemporary advertising work, to see some of the set ups. By the end of the book I knew that this was going to the discussion with the lecturer whereby he tells you enough to make you interested to know more, but to know more you’re going to have to sign-up to his shockingly expensive degree course, and that’s why this book leaves me feeling cheated.
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