She was an accomplished concert pianist who later became a devoted yogi, but Lisetta Carmi is best known for the 18 years she spent taking photographs. Her carefully observed, quietly sensational pictures had a subtle power to them: they reckoned with Italy’s traditional, patriarchal society.

Carmi’s piercing humanism is the focus of this concise, lucid exhibition at the Estorick Collection. Neatly organised into two rooms are images from Carmi’s two most important bodies of work. The first draws together a selection of black and white images from three series, taken between 1962 and 1976, of workers at the Italsider steel mill in Genoa, the cork factory at Calangianus, Sardinia, and of stevedores working on the shipyards at Genoa’s port – an area of the city usually closed off to women (Carmi pretended to be a relative of a docker to gain entry).

The resulting images situate Carmi within the left-leaning social documentary genre of the time, but also as one of very few women to photograph such scenes. Her intersectional concerns with labour, class and gender punctuate the pictures – at Calangianus, Carmi captured the first women to be employed in the factory. These images and the Italsider pictures convey a more distant, documentarian vision of the life of labourers, unfolding a silent, distant drama.

Carmi was born in 1924 in Genoa, the coastal capital of Liguria and a constant subject in her work. In 1938 the family fled Italy so that Carmi could continue her education – prohibited for Jewish people under Mussolini’s racial laws. When the family returned from exile in 1943, Carmi toured Italy and abroad as a pianist. But in 1960, after taking part in anti-fascist protests in Genoa, Carmi felt compelled to turn her hands to a new, more directly political pursuit – photography.

Carmi’s first job as a photographer was at Genoa’s theatres, and these pictures play with the magnificent scale of industry and the geometry of its machinery, with the smoke and sparks serving to micrify the human figures. They are not astonishing as works of art – Carmi only picked up the camera a few years before taking them – but they lay the groundwork for understanding Carmi’s determination to show the unseen, and to humanise the marginalised.

Here there are also the beginnings of introspection; as a Jewish woman in a Catholic, male-dominated society, Carmi’s own struggles with her identity seem to come to the fore at times. In one image, the camera looks down voyeuristically at a solitary male figure, who stands in a pit of toxic phosphate, shirtless, holding a spade in a meditative pose. He is covered in the powder, which hangs in a filmy layer between Carmi and her subject. While it exposes the dangers of the worker’s conditions, it is not without desire – sexual, perhaps, or seeking a sense of freedom, embodied in men.

From the brutality of the human battle with machines, the second room of the exhibition looks inside, into the homes and lives of another closed-off community in Genoa, in Carmi’s most famous series I Trasvestiti. Black and white and colour images – only discovered and printed in 2017 – are presented as an evolution of the social and political interests expressed in Carmi’s industrial images.

I Trasvestiti began in 1965 after Carmi went to a new year party hosted by a member of the LGBTQ community. Carmi became a friend and confidant to many, including some who were sex workers (then referred to as “trasvestiti”), and continued to photograph them for the next six years. She visited their homes in the historic centre of Genoa, a secluded network of narrow alleyways and tall buildings and once its Jewish ghetto, where many of the pictures were taken. This was a subversion of their visible, public life on the streets, where they were sought out as the subjects of secret desires.

Photographing her subjects at home lends the pictures a haptic intimacy and, unlike the dour conditions of the labourer, the interiors would have been familiar to any middle-class Italian of the time – reproductions of Bronzino paintings and religious iconography, elaborate Venetian-style furnishings and ornate wallpaper.

Some of the pictures are defiantly dignified. Resembling fashion editorials, they celebrate a quintessential Italian style – on bodies that would not have been celebrated in any mass media. There is a sense of plangent joy and complicity in the pictures – remarkable given that cross-dressing and gender reassignment were then illegal in Italy.

Lisetta Carmi: Identities is the first institutional exploration in the UK of the late Italian artist’s work – Carmi had been working on the exhibition until two weeks before her death last year, at the age of 98. Interest in her work has been slow burning. Indeed, in 1978, Carmi gave up photography completely to devote herself to yoga, setting up an ashram in a traditional trullo in Cisternino, Puglia, following the teachings of Haidakhan Babaji.

It’s not difficult to see why interest in her work has grown, however. Although the styles have dated, Carmi’s images feel bold and ahead of their time – including depictions of nude transexual bodies that are still seldom seen in major institutions.

Outside the confines of patriarchy, Carmi saw the possibility of alternative identities, of an alternative society. Photography was a conduit for Carmi, but the pictures provided a step towards understanding and embracing the world and her place in it. As she said of her involvement with the LGBTQ+ community: “It helped me accept myself for who I really am – a person who lives without a role.”

• Lisetta Carmi: Identities is at the Estorick Collection, London, from 20 September to 17 December

A group of RIT photography students dropped in at Roc City Skatepark last Friday with photographer Atiba Jefferson to practice their photo skills and learn from an industry expert.

Evie Linantud, a fourth-year photojournalism student from Houston, said that participating in the skatepark workshop helped her learn new techniques that will be useful as she begins her own photography career.

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Kayla Bartkowski

Local skateboarder Brantley Debose was contacted by Atiba Jefferson to model for the workshops. This photo was taken by fourth-year Kayla Bartkowski during the workshop. See more of her work on Instagram @kayla.bartkowski.

“During the workshop we only had two shots at taking a photo, so we had to be really serious about it. It made me think more about what I was doing in the moment rather than just relying on the fact that I could just do it again. Because, really, I couldn’t,” said Linantud.

Jefferson, photographer at Thrasher magazine, is also a member of Canon’s Explorers of Light program. Through the program, he was able to visit RIT for three days, from Sept. 13 to 15, to share his industry knowledge with students.

In addition to hosting two photography workshops at Roc City Skatepark, Jefferson visited several photography classes, gave a lecture about his path to photography, and hosted drop-in sessions where students could come and discuss their work.

“I had a really great time with the students and it’s been an amazing opportunity to be here,” said Jefferson. “I make time to do these workshops and lectures because I was the same as these students at one point in my life. There were a lot of things I didn’t know and people close to me took the time to teach me to be the photographer I am today. I hope that I was able to inspire and help the students this week.”

Jefferson is best known for his 25 years of skateboarding photography. In addition to working for all of the major skateboard publications, he also has a deep history in basketball. He assisted the staff photographer for the LA Lakers during the Shaq and Kobe years, and shot more SLAM magazine covers than any other photographer. He has also shot for commercial clients such as Supreme, Adidas, Nike, Converse, Reebok, ESPN, Gatorade, Mountain Dew, Oakley, Pepsi, Canon, and Netflix.

Clay Patrick McBride, senior lecturer in RIT’s School of Photographic Arts and Sciences, helped facilitate Jefferson’s visit to Rochester. According to McBride, getting students out of the classroom for hands-on experiences like the skatepark workshops is invaluable when it comes to honing their photography skills.

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Evie Linantud

This photo of Debose was taken by fourth-year Evie Linantud during the workshop. See more of her work on Instagram @linantudphoto.

“A situation like this is a once in a lifetime opportunity for our students. This is like if Obi Wan Kenobi taught you how to use the lightsaber, or if Michael Jordan taught you how to do a jump shot,” said McBride. “This is a master at his craft teaching a younger generation how to do it, and this is a real golden moment that RIT will remember for a long time. We’re grateful to the people at Canon for making it possible.”

Canon’s Explorers of Light group is comprised of dozens of the most influential photographers in the world, each a master of their creative specialty. These photographers aim to share their photographic passions and technical expertise with eager audiences across the nation, including students.

Fourth-year student Kayla Bartkowski, a Rochester local, shared that her excitement for working with an industry professional like Jefferson was only rivaled by the awe she had for the number of ollies local skateboarder and model Brantley Debose did during the workshop. She said the experience at the skatepark helped her learn more about lighting and location-based photography—both skills that are crucial for a photojournalism major like herself.

“As a photojournalist, we have to be able to work in very high energy and intense environments with a lot going on, so I think this was a really great way to practice being aware of your surroundings as well as focusing on the subject and taking the photo,” said Bartkowski.

Go to the Canon website to learn more about the Explorers of Light program. See samples of Jefferson’s photography on his Instagram, @atibaphoto.

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Erin Bonitz

During the workshop, Bontiz also took photos with a Pentacon Six TL camera, which was manufactured in the late 1960s. Her camera and film malfunctioned during the shoot, but it resulted in the unique panoramic image above.

A polaroid photographer armed with an Intax Mini 11 made $1,111 at Notting Hill Carnival in London by selling her prints.

Amma Antwi, known as DSG, brought in her best friend who was wearing a top with the prices listed: £5 ($6.18) for one or £10 ($12.37) for three.

Antwi had a megaphone as she took an old-fashioned approach to selling services in a gambit that ultimately proved extremely popular.

Carnival

Notting Hill Carnival takes place each August in West London, attracting some two million people it is one of the largest street festivals in the world.

Antwi tells the Daily Mail that she sold 200 polaroids at the event, netting $1,113 (£900) which left her a profit of $708 (£573) after accounting for the start-up costs (camera, film, and card reader).

“I love Notting Hill Carnival and as I have recently started doing photography I wanted a way to strengthen these skills but also network and speak to people I may not get to speak to every day,” says Antwi.

“As much as I wanted to use my digital camera, I thought using my Polaroid would be the golden touch…I had to go up to people and sell and with this, I had to handle a lot of rejection too,” she continues.

“I knew I was going to get rejected. It was understandable. But I was ready for it. The first person I asked I got rejected by but this gave me that rush to sell and get a yes. I thought if I got nos it wasn’t a bad thing, I saw it as redirection.”

Antwi was accepting both card and cash payments during the two-day festival and after this year’s success, she’s planning to do it again at next year’s carnival, and might even take her business stateside for the Labor Day celebrations in New York.

“I’d love to get a partnership with Polaroid or Instax and take the business global,” she says. “We could then take the business to places like Brazil. There are so many carnivals in the world. They haven’t got back to me yet [these companies] but we’re pushing for it and I’m ambitious.”

More of Antwi’s work can be found on her TikTok and Instagram.

Image credits: Header photo licensed via Depositphotos.

Running a successful photo business is an entirely different prospect than simply being good with a camera, and if that is something you hope to do, it is crucial to understand what goes into it. This excellent video tutorial features an experienced commercial photographer discussing the most important currency you have as a professional. 

Coming to you from Scott Choucino of Tin House Studio, this awesome video tutorial discusses what really goes into being a successful professional photographer. As you will note, Choucino heavily emphasizes how perhaps your most important currency, along with your creativity and skills, is your personality. In this type of industry, clients often hire on the sort of feeling they get from the photographer. Photographers who are difficult to work with rarely get hired and get repeat clients even less. People like to work with people they simply like, and showing that you are pleasant, capable, and confident will go a long way to building the sort of trust needed to establish a client relationship. That is why you will likely notice most of the best photographers are very fun and likable people to be around. Check out the video above for the full rundown from Choucino. 

You’re working on a campaign for a luxury jewelry brand. For the sake of authenticity, you decide to photograph their collections on-location at the flagship outlet. However, things don’t go according to plan. First, your lights can’t be set up as required without rearranging the jewelry displays. You can’t rely on the outlet’s lighting since it doesn’t creatively fit the bill, casting stray shadows that are too distracting. Then a high-profile customer just walked in and wants to browse each collection in private, putting you in an unexpected timeout. Once you get going again, the manager tells you that time’s up. They need to move some of the items back into the vault.

This hypothetical scenario may be far from reality, but the point is obvious enough: there are countless variables to contend with at a photo shoot on location. For certain specialties like still life, portraiture, and fashion, attaining the desired look depends on maximizing control, and one way to achieve that is by using a photography studio.

A photography studio is an invaluable resource for all serious photographers. Aside from adding an air of professionalism and quality to your shoot, they afford the ability to control many of the variables of an on-location shoot. Admittedly, not every shoot requires this level of control, but many do. Unfortunately, it’s impractical (if not impossible) for most photographers to own and maintain a fully capable photography studio — this is where rental studios come in!

Studios are controlled environments that protect the shoot from the impact of the weather, natural light sources, and the time of day. They permit photographers to design the set to the project’s exact specifications. There will usually need to be a lighting setup involved, but the light-sculpting possibilities are much greater in a studio setting. What’s more, you can shoot all day if you want or need to! So what do you need to consider when renting a studio?

A Photography Studio vs. A Soundstage

While conceptually similar, photography studios and soundstages have some differences that should be considered when selecting a space. 

• Soundstages are specifically designed for sound recording, meaning the building has been soundproofed and is not susceptible to outside noise. 
• Since they’re designed to be soundproof, there’ll be no windows around, cutting out any source of natural light a photographer can lean on for a shoot. 
• They often have ceiling rigging for heavy-duty continuous lighting, like those used in television and film productions. 
• Because these spaces need room for crane shots and large, gimbal-mounted video cameras, they are frequently quite spacious.

You probably don’t need a soundstage if you’re not shooting a video production. Stick with the studio!

Factors to Consider When Choosing a Photography Studio Rental

Location

A studio’s location is a pivotal factor, shaping the ease with which your team can convene and collaborate. Whether it’s the availability of parking or the studio’s proximity to public transportation, these logistical elements often become critical in the decision-making process. The ideal studio isn’t just a space; it’s a conveniently accessible hub that enhances your team’s productivity.

• Is it easily reachable by public transportation? Or are there ample parking options? This ensures convenience for everyone involved in the shoot, including models, crew, and clients. 
• How noisy or distracting is the surrounding environment? If the studio isn’t soundproof, there’ll be an entirely different climate when comparing one in a city against another in a suburban or rural setting. 
• New York-based product, food, and drink photographer Will Styer put up a question himself. Are there helpful resources nearby? “It’s always good to be central to things in case we have to run out and get something.” These resources could be nearby supply shops, catering, and more. 

As Sienna DeGovia, Co-Founder of Historic Hudson Studios in LA, pointed out, the importance of location cannot be overstated. 

Having worked professionally in the photo and film world for over 20 years all over this sprawling metropolis, I can say unequivocally that LOCATION IS EVERYTHING!! When prospective photographers inquire with us, they are often thrilled to find that we are smack in the middle of Hollywood and close to many of the bigger stages, production vendors, and media agencies booking them as shooters. We are one of only a handful of affordable photographic studios in Hollywood Proper, and the bonus of the beauty of our historical space is also a big selling point. Photographers are creatives, and they appreciate working in a studio with so much intrinsic charm.

Most of the other aspects we’ll explore in this article will be determined by the location. For instance, it can influence the availability of certain amenities. Even a studio’s size is influenced by location. High property costs in cities may lend themselves to smaller studio spaces, while those farther away from cities could be much larger as property values drop.

Size

How big is the production? Studios, like photo shoots, come in all sizes. Remember what lenses will be used; there’s nothing worse than trying to execute a shot with a long lens and backing up, only to hit a wall behind you.

How many subjects are you going to photograph? What kinds of sets are you building? How many people are you having on set? Are you planning on using very wide or long lenses? You want enough space to comfortably accommodate the set and lighting setups, equipment, your crew, any clients present, and, of course, all of the talent.

Usually, the larger the studio, the more variety it can entertain. At Kansas City’s Cap Gun Studios, Sonya Andrews welcomes a range of clients and creatives through the door.

We are centrally located just a minute west of downtown Kansas City and have 5,000 sq feet of space with an overall old warehouse vibe. But it’s also versatile, so you can make the space look like anything you want it to. Commercial clients like being able to spread out and have flexibility in setting up the space to their exact needs… Then fashion photographers rent the space for the variety of locations and backdrops within the studio, making it feel like the photo shoot is happening in different environments. Portrait photographers like our space for this reason as well. Videographers also rent our studio for commercials and music videos, but generally, it’s a better space for those that don’t need to roll sound because we don’t have a soundproof room.

You’ll also need to factor in ceilings. High ceilings are almost a pre-requisite for any studio worth its salt, due to the nature of light stands and adjustable light modifiers. Will often finds himself in studios due to the precision required for still life photography.

High, clean ceilings without a lot of fixtures are very important to get the light looking the way I want it. I also like to bounce light off the ceiling for fill sometimes, and having a lot of sprinklers, air ducts, overhead lights, etc., can really get in the way. Solid floors are important as well; wooden floors will transmit a lot of vibrations from people walking around, creating movement between shots. This makes compositing difficult later.

Access

What kind of equipment are you bringing along to your shoot? This may not concern you if you’re only carrying a camera and a speedlight. However, if you’re loading in a multi-lighting setup, camera accessories, props, and set pieces, you’ll want to go from street to studio as efficiently as possible. Does the studio have hand trucks and dollies for you to use? Is there a large loading dock where you can on- and off-load equipment? If the studio is not on the ground floor, is there a reliable freight elevator? John Champlin of LUX-sf studios in San Francisco stressed the importance of knowing a photography studio’s setup ahead of time and ensuring you’re in touch with staff before showing up.

Definitely visit if possible, or at least take a virtual tour or consult a floor plan. Also, talk with the staff, preferably whoever will be staffing the day of your shoot, to get a read for the kind and amount of help they might be able to provide. Try to eliminate any potential surprises beforehand!

The last thing you want to do is walk bulky Pelican cases full of heavy equipment up and down three flights of stairs after a long shoot day!

Photography Studio Equipment

Many photography studios rent out gear that you don’t own or those that are cumbersome to bring with you. Some studios will have just lights and backdrops, while others have a more full-featured kit list, including everything from cameras and lenses to digital tech stations. A studio with rentals is no substitute for a dedicated rental house. However, utilizing studio equipment can decrease load-in time or act as a plan B if you forget an essential piece of equipment. At Lux-SF, John mentioned,

We have a service where we source all the lighting and rental gear so that everything is in the studio and ready to go at call time. So, in the morning, you’re skipping the step of schlepping a bunch of metal in from your vehicles and starting directly with lighting your set. Little things like that can really add up and allow you to use your day’s energy to execute real creative work and spend less on more mundane tasks.

Studios may include equipment in the general rental fee itself, and in other instances, they may rent out various items on an a la carte basis. They may charge standard rental rates by the hour or day, and some venues will have tiered rental packages to suit different needs. 

Amenities

The actual shooting space may be the most essential aspect of a studio, but many ancillary facets vie for equal importance. The reliance on each will largely depend on the assignment you handle. 

• Changing and Makeup Facilities: Photo shoots often involve wardrobe changes and makeup touch-ups. Having dedicated changing rooms and well-equipped makeup areas within the studio enables models, subjects, and crew to prepare and transition seamlessly between different looks. This convenience saves time and ensures a smooth workflow during the shoot.
• Restrooms: If a photo shoot involves multiple wardrobe changes or a certain level of physical activity, as is common during indoor sports and fitness shoots, look out for studios with restrooms and shower areas. 
• Refreshments: Working through a shot list can take hours, so having food and drink around can prevent energy levels from flagging. At the very least, it lowers the probability of grumpy talent and crew. 
• Kitchen: For a food and drink photo shoot, opting for a studio without a kitchen would make matters exponentially more difficult. You can find spaces dedicated to these kinds of assignments, where fully-equipped kitchens with all the appliances you could dream of are at your disposal.  
• Storage: Studios with ample storage space allow photographers to securely store their equipment, props, and personal belongings. Having designated storage areas ensures that valuable equipment is well-organized, easily accessible, and protected during the shoot. This helps maintain a clutter-free shooting space and promotes efficient workflow.
• Accessibility and Safety: Amenities such as ramps or elevators ensure the studio is easily accessible to individuals with mobility challenges. Safety features such as fire extinguishers, emergency exits, and first aid kits are an absolute must in a studio. By default, studios should have these.

Studios can turn specific amenities into formidable strengths. Sienna emphasized the facilities that make Historic Hudson a paradise for food and product photography.

Historic Hudson Studios was expanded and remodeled by myself, a food stylist, and my partner, Renee Anjanette, a food and product photographer. We have deep connections to the food photography industry in this town, and we wanted to create a space designed with food, beverage, and beauty shoots in mind. So often, the kitchens in studios are afterthoughts, or small cramped areas meant as employee break rooms. They’re not at all equipped to handle the needs of a food stylist. So we outfitted our studios with four fully functional professional kitchens, so the folks who shoot here would have plenty of space and the proper equipment to create their best work comfortably.  

We are also directly above The Surface Library, a prop house curated specifically with tabletop photography in mind. Their inventory is hand-picked by the two extremely talented prop stylists that own the company. Combined with The Surface Library, Historic Hudson is truly a one-stop shop for anyone producing a food, makeup, or beverage shoot. 

Architecture and Aesthetic of Photography Studios

The look and feel of a studio can facilitate a certain ambiance, making it another vital consideration for some productions. For example, Historic Hudson’s industrial aesthetic, a rarity within LA’s city limits, has drawn crews of documentary and celebrity-centered productions. History may also play a part since the building served as the studio for legendary fashion photographer Herb Ritts. In Kansas City, Cap Gun also sports a similar look via its warehouse building, providing creatives with a distinct look to harness if they wish.  

Internet and Cellular Connectivity

In the digital age, having reliable and high-speed internet connectivity is crucial for photographers and clients. Its importance has multiplied post-Covid. Now, remote liaising is a standard part of the workflow, so a choppy network connection will hinder this process, leading to miscommunication and preventing reliable file transfers. To avoid this, you should test the studio’s service pre-shoot to learn what you can expect. The same goes for phone service as well. Studios often live in old industrial buildings designed before the advent of mobile phones. They can be very unfriendly to wireless signals.

Lighting 

Your creative inclinations or the client’s requirements may encourage you to use either natural or artificial lighting. Ultimately, the choice will determine the type of photography studio you choose. Most studios will be well-equipped for strobe and continuous light setups, but you’ll need big windows if you want real natural light. You’ll also need to know what time of day those windows get their best light and adjust your shoot times accordingly. A pre-shoot scout will help nail this down so there aren’t any surprises on the day of your shoot.

There are benefits and drawbacks to harnessing both natural light and artificial light. However, you may not have to choose one or the other. Most studios allow for both options, offering you much more flexibility. If you want a softer look and a heightened sense of realism, you can lean on those windows for assistance. For more customization, you can get a helping hand from lighting equipment. If you wish to do away with natural light, a studio should be able to provide blackout curtains.

Power

Because electricity is so essential to photographic lighting, it can be easy to assume that the studio you rent handles your equipment’s draw. In most cases, you might be right — but it’s wise to take a glance at the specifications of the studio. A typical full-fledged shoot can have a significant draw. Confirm that there are ample outlets and the necessary amps of power for all the equipment you’ll be plugging in, including your lighting, laptops, fans, phones, etc.

Photography Studio Rental Costs

The importance of price differs dramatically from shoot to shoot. A big-budget production needing only the highest quality studio may consider other factors first, but this won’t be the case for a low-budget production. Studios typically rent space by the hour, half-day, or full-day. Day rates vary but usually stay within the $500 – $1,500 range, and studios often offer packages that deliver value on the dollar depending on the amount of time booked. John told us that studios can be very willing to accommodate.

Checking what gear and props the studio has and is willing to include with your rental, or give you a rate on, can really save time and money. Remember, it never hurts to ask!

Trends and the Future

Depending on the geographical market, photography studios could be experiencing different realities. For Historic Hudson, business has reached pre-Covid levels since they expanded in September 2022. But Sonya describes a different reality in Kansas City, involving a market in decline while another is rising. 

Post-COVID, we have seen a decrease in commercial projects needing space to rent. I can’t be 100% certain about the factors that have influenced that. But I think part of it has been a shift towards more UGC (User-Generated Content) in advertising online and tighter advertising budgets as costs have increased. Also, more people are doing in-house product photography with simple iPhone setups that don’t really require the space of a studio rental. In addition, office space is a bit cheaper right now, and more people are working from home. So companies have more room to dedicate space to an in-house photo setup. 

What we’ve seen more of in terms of rentals are social media influencers/aspiring models that want photos in a unique/edgy space, new and established photographers who cannot afford their own studio spaces, and independent filmmakers who need a large space with a warehouse-type vibe for their projects.

While interest may be waning in some quarters and growing in others, the selling point of a photography studio remains unchanged. It’s a playground for photographers, with toys and tools that assist the creation of images with a greater degree of control. And that’s a worthwhile proposition for those who aren’t planning on just winging it or leaving things to chance.

About the Author

Sankha Wanigasekara graduated from Drexel University with a degree in Entertainment & Arts Management. Since 2017, he’s worked at Wonderful Machine as both researcher and publicist, currently writing and editing a variety of articles in the publicity department. You can find more of his work on Medium and connect with him through LinkedIn. This article was originally published here and shared with permission.

Working on your photography skills isn’t just something you do at the beginning; it’s a job for life. While growing as a photographer is as much about inspiration and vision as it is about learning and refining techniques. A good photography book can provide both in abundance and to help you out; we’ve curated a list of the ten best on the market today.

The blend of practical skills, artistic insight and philosophical musings in these ten books offers a comprehensive journey through the multifaceted world of photography. This collection will not only equip you with technical knowledge but also encourage you to explore the profound emotional and intellectual dimensions of this medium.

At the same time, the world-class images they feature will enthral and inspire you, encouraging you to take your own images further.

Whether you aspire to become a professional photographer or simply want to appreciate the world through a different lens, these books will ignite your passion for photography and guide you on a transformative journey through the art and science of image-making.

Note: We’ve included links to buy these books from independent booksellers, but we don’t make a penny of affiliate revenue if you do. Our list is purely determined by the books we like and which we think will help our readers the most!

French artist Henri Cartier-Bresson was one of the most influential photographers of the 20th century, mainly because he pioneered the genre of street photography. This book explores how he viewed photography as capturing the ‘decisive moment’ and how this philosophy can inform the practice of all types of photographers. First published in 1952 and described by Robert Capa as “a Bible for photographers”, it’s been required reading for generations of photographers and is just as relevant today.

Key takeaway: Understand the importance of timing and intuition in capturing the perfect moment.

Baffled by technical jargon? Author Bryan Peterson has a knack for explaining complex concepts in a language normal people can understand. His guide to the concept and practice of exposure is brought to life by stunning and colourful images that will inspire you creatively, as well as help you understand how to create similar results yourself. Peterson thoroughly explains aperture, shutter speed and ISO, demystifying the process of creating a well-exposed image. And that makes this pocket guide a good choice for everyone, from beginners to aspiring professionals.

Key takeaway: Gain a clear understanding of the fundamentals of exposure and how they interplay.

Writer, author and photographer Susan Sontag (1933-2004) didn’t just want to make pretty pictures; her work was firmly focused on promoting radical political change. In this seminal and groundbreaking collection of essays, first published in 1977, she delves into the philosophical and societal implications of photography. It’s a reflective read that offers a deeper understanding of why we photograph, which in many ways is more important than the how.

Key takeaway: Explore the psychological and philosophical dimensions of photography.

Composition is the single most important factor in creating a successful photograph. The ability to see the potential for a strong picture and then organise the graphic elements into an effective, compelling vignette is vital for every photographer to learn. And this masterful guide dissects the essence of image-making, discussing what exactly makes a photograph great. It explores all the traditional approaches to composition and design. Also, it addresses new digital techniques and the idea of shooting in the knowledge that a picture will later be edited, manipulated, or montaged. Note that this book was first published in 2007 and was thoroughly updated in 2017 to take account of new technologies.

Key takeaway: Enhance your compositional skills by understanding the elements that create visual impact.

Annie Leibovitz is probably the world’s best-known portrait photographer, and this eye-opening book provides a behind-the-scenes look at her process. You’ll learn about her experiences, equipment, and thoughts behind some of her most iconic shots. She also talks about photojournalism, studio work, photographing dancers and athletes, working with writers, and making the transition from shooting with film to working with digital cameras. Originally published in 2008, this book was fully revised and updated in 2018.

Key takeaway: Learn about the intricacies of portrait photography and the stories behind the shots.

This book by the French theorist Roland Barthes (1915-80) takes a deep dive into the nature of photography and its effect on the viewer, exploring the relationship between photography and theatre, history and death. It might not sound a lot of fun, but this seminal 1993 text is still in print for a reason: it’s a classic and unique exploration of how photographs create meaning and evoke emotion.

Key takeaway: Reflect on the power and essence of photographs beyond their visual content.

Want to become more creative in your photography practice? Then, this internationally acclaimed guide to photography and visual design will help you get there. Its main focus is on tapping into your creativity by pushing yourself to see the world differently. In plain, jargon-free English, the author explains techniques and exercises you can use to break with traditional concepts of design, enabling you to develop a keen awareness of your subject matter and a better direction for composing photographs.

Key takeaway: Cultivate a fresh perspective and boost your creative intuition.

Want to really see behind the scenes of professional photographers? This unique book offers a real-life look at the creative process of Magnum stalwarts by sharing their contact sheets from a number of iconic shots. A total of 139 contact sheets, representing 69 photographers, are featured, as well as zoom-in details, selected photographs, press cards, notebooks and spreads from contemporary publications, including Life magazine and Picture Post. Further insight is provided by texts written by the photographers themselves or by experts chosen by members’ estates.

Key takeaway: Understand the selection process and the journey from shooting to the final image.

American landscape photographer Ansel Adams (1902-1984) produced some of the 20th century’s most iconic photographs and remains a huge influence on photographers around the world today. Part of his three-book series on photography, The Negative, delves into techniques for achieving high-quality prints, emphasising the significance of visualisation and the importance of the photographer’s intent. This classic work has taught generations of photographers how to use film and the film development process creatively, and examples of Adams’ own work clarify the principles discussed.

Key takeaway: Master the art of print-making and the value of pre-visualisation.

This book enables you to get up close and personal with the world’s best street photographers as they capture the drama of everyday life at 1⁄125 of a second. Introducing you to the works of 46 artists, including Magnum masters such as Bruce Gilden, Martin Parr and Alex Webb, it’s an exploration of the candid, unexpected, and often serendipitous moments captured on city streets worldwide. Four thought-provoking essays and a global conversation between leading street photographers explore the compelling and often controversial issues in the genre, and a select bibliography and a resource section for aspiring street photographers complete the book.

Key takeaway: Delve into the diverse world of street photography and its evolution in the modern era.

This collective exhibition brings together contemporary authors who illustrate our relationship to death. By addressing the different stages of “the life of the dead” (death, management then physical distancing of deceased bodies), it questions each time what is within sight of the living and what usually remains invisible, what is permitted to see or what is forbidden but also what is of the order of fracture or reconciliation with the dead.

Photographers: Laure Albin Guillot, Philippe Bazin, Goran Bertok, Patrik Budenz, Christine Delory-Momberger, Eric Dexheimer, Robert Doisneau, Odhràn Dunne, Laurence Geai, Steeve Iuncker, Irène Jonas, Beate Lakotta and Walter Schels, Franck Landron, Jacques Henri Lartigue Frédéric Pauwels, Bruno Réquillart, Rudolf Schäfer, Raymond Voinquel and Sophie Zénon

Curator ;
Michaël Houlette assisted by Camille Lebossé

Et nos morts ? La photographie post mortem aujourd’hui en Europe
from September 22, 2023 to February 18, 2024
Maison de la photographie Robert Doisneau
1, rue de la Division du Général Leclerc
94250 Gentilly
https://maisondoisneau.grandorlyseinebievre.fr/