Karsh: The Art of the Portrait

by James Borcoman

Essays on the art of Karsh portraits follow a selection of portraits on exhibit

Genres: Photography

176 pages, Hardcover

First published December 15, 1989

Reviews

[Jackson · Rating 5 out of 5]

Up there as one of the best photography collection and essay companions I've read. The Art of the Portrait essay is particularly stunning. James Borcoman is the master of contextualizing how a photographer can rendering the photographic subject in original and unique ways. In the section where he goes over the famous Churchill photograph, he compares Churchill as presented by Karsh and by Steichen, and perspicaciously looks at shadow, backlighting, environment to see why the familiar version emerged victorious over the one less-known. Also, the interludes he takes are so appreciated, as they give the reader a clue to how Karsh has reacted against the genres and techniques that have come before him. Borcoman thinks like a curator to our benefit. His interest is not just for analyzing the most famous images, but comparing contexts, skills, individual dispositions—vectors that all photographers bend to—and how each force the photographer to representing subjects in fresh or semi-predictable ways. Photography's aesthetic of objectivity is dead. Borcoman shows us how the many stages of photography, from preproduction to distribution, create images with vastly different effects.

I am also very impressed with the knowledge he has for the printing process. Here is the excerpt for Churchill on page 75:

"Although Karsh did not continue the use of bromoil, gum, or platinum printing that he had learned in Garo's studio, he frequently printed on matte siler papers, his favourite being an emulsion-texture-enhanced paper with a scratchy tooth to the surface almost like fine sandpaper, commonly referred to in the trade as having a suede finish, and manufactured under the name Opal V. This surface results in deep, warm, matte blacks that seem to recede into the paper, into an extraordinarily subtle range of middle tones and creamy highlights that glow from the depths.

Unfortunately, these papers ceased to be manufactured in the 1960s, but before he used up the last of his stock, Karsh printed the Churchill on this paper, and with wondrous results. The rough surface of the paper marries perfectly with the craggy face and skin texture, hiding none of its detail. The tonal depths in the shadow areas of the figure seem to have no limit, suggesting a. mysterious presence. Against the deep blacks, the glint of the metal watchchain and the glow of the luminous and softly modulated white shirt and handkerchief are counterparts that add both credibility and a subtly decorative beauty to the image."

Tremendous read on portraiture and photography. 5 stars.

[Dhanamusil · Rating 5 out of 5]

This book sits in the center of my living room book shelf. Cover facing the living room, it's my pride and joy. I love this collection of photos--it's a coffee table book that everyone should own.

[Ryan Watkins · Rating 4 out of 5]

A nice collection of Karsh’s best work along with his short biography.