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Classic Farber Nudes, 1970-1990 based on 0 ratings. 1 reviews.
This volume does a fine job of capturing the evolution in Robert Farber's style of nude photography over 20 years from 1970-1990. If you are like me, you will find his more experimental work from 1985-1990 to be his best. Although many of his images contain similar elements, his technical ability to achieve those effects made enormous progress over the years. This volume is a classic which belongs in the collection of all those who enjoy well-done, inspiring nude photography. The images in this book are harder than R (if it were a motion picture) in many cases, but the treatment is always respectful rather than exploitive. Ronald K. Parker's essay is helpful in explaining Mr. Farber's work. ' . . . [H]is moving classical nudes seem to draw inspiration from the Dutch old masters . . . .' ' . . . [T]he softness of many of his images echoes Renoir's Impressionism . . . .' ' . . . [Y]et his graphic nudes have all the strength of abstract art.' Mr. Parker points out that Mr. Farber 'goes beyond the obvious to capture the unusual juxtapositions of body parts and multiple figures.' He deals with both the beauty of the model and the models' impact on the viewer ('the provocation'). In doing so, he builds a 'mystique of the model -- the hidden face and the exposed body.' Mr. Farber is a master in both natural and studio lighting. That is unusual in nude photography. His 'lighting caresses' the model in a way that shoes Mr. Farber 'appreciates and respects women.' For those who are interested in learning from his techniques, each of the 99 images here (61 in color) contains technical notes on how it was shot. From 1970-1974, his work emphasizes a fresh look at the classical idea of the nude. Mr. Farber characterized this 'as if I were using the strokes of a brush to paint with light.' My favorites from this period were plates 1 and 15. From 1975-1979, he began working with two models in an image. This was the result of the accidental arrival of two models for the same shooting session. Liking the results, he continued with this approach. My favorite from this period was plate 16. From 1980-1984, he moved away from color towards black-and-white. This is an unusual direction for a photographer. My favorites from this period were plates 31, 44, 45, 55, and 57. During 1985-1990, he used his imagination (his long suit) even more. My favorite plates were 66, 70, 73, 75, 78, 83, 84, 89, 91-93, 95, 96, and 98. Mr. Farber's work is at its strongest when it leave much to the imagination. Now, that's hard to do with nude photography. But these images each contain the potential for 1001 nights of alternative tales. Where else is less more, even when a lot seems exposed? Certainly abstract art makes this same point. Our attraction to simple designs captures this same elemental fascination with the minimum. How can you engage others' imaginations to help them accomplish more by providing the outlines of potential, rather than connecting all of the dots? Donald Mitchell, co-author of The Irresistible Growth Enterprise and The 2,000 Percent Solution