72 Books Like The Creation

I have had the great luck to combine my love of writing with my love of photography that in turn combines my great loves of art and of science. Oh, I have another love: to share what I know; some call it teaching. That is why I’ve lectured and talked more times than I can remember, and written millions of words in magazine features and forty books. In the early years, my attention centred on photographic techniques, but I’ve become increasingly focused on creativity and the conditions that enable full expression of the individual. My choice of books refracts that range—I hope—into a coherent spectrum of approaches.

I have had the great luck to combine my love of writing with my love of photography that in turn combines my great loves of art and of science. Oh, I have another love: to share what I know; some call it teaching. That is why I’ve lectured and talked more times than I can remember, and written millions of words in magazine features and forty books. In the early years, my attention centred on photographic techniques, but I’ve become increasingly focused on creativity and the conditions that enable full expression of the individual. My choice of books refracts that range—I hope—into a coherent spectrum of approaches.

I have had the great luck to combine my love of writing with my love of photography that in turn combines my great loves of art and of science. Oh, I have another love: to share what I know; some call it teaching. That is why I’ve lectured and talked more times than I can remember, and written millions of words in magazine features and forty books. In the early years, my attention centred on photographic techniques, but I’ve become increasingly focused on creativity and the conditions that enable full expression of the individual. My choice of books refracts that range—I hope—into a coherent spectrum of approaches.

I have had the great luck to combine my love of writing with my love of photography that in turn combines my great loves of art and of science. Oh, I have another love: to share what I know; some call it teaching. That is why I’ve lectured and talked more times than I can remember, and written millions of words in magazine features and forty books. In the early years, my attention centred on photographic techniques, but I’ve become increasingly focused on creativity and the conditions that enable full expression of the individual. My choice of books refracts that range—I hope—into a coherent spectrum of approaches.

I’ve been a documentary photographer for the past 50 years and my work has been featured in major magazines in the United States and Europe including The New York Times Magazine, Life, Fortune, Geo, Time & Newsweek, and others. I have six books in print, including JAZZ with Wynton Marsalis & Nonfiction Photographs with filmmaker Errol Morris. I love teaching photography and co-founded the Essex Photographic Workshop in 1975. My work is in many collections, including The Peabody Essex Museum, The Worcester Art Museum, Polaroid Collection, Agfa Corporation, Participant Productions, Bose Corporation, Bibliotheque Nacionale, France. Solo exhibitions of my work include the Walker Art Center, the Corcoran Gallery of Art, and the Burden Gallery.

I first went as a student to Beijing in 1984 with a camera and a suitcase of film but not much of a plan. I found myself in a country whose young people were suddenly empowered to put their skills to use rather than let state planning order every aspect of their lives. My academic studies rapidly evolved into a vocation to photograph the changes around me. There was demand for this: one of my first assignments being for Life magazine and then a slew of US and European publications eager to expand their coverage of all that was reshaping China and in turn the world. I chose street-level life as the most relatable to an international audience and in recent years also for Chinese eager to see how this era began.

As a reader, I’m drawn to characters and subjects I can relate to. Strong women who go their own way, ones who march to their own drummer. There is a raw honesty to their stories with subjects of creativity, grief, and loss. And as a writer of both fiction and personal essay, I write about these same issues as well, subjects I seem to turn to again and again. When I write, I try to tap into the emotions that might be buried but I’m always looking to move my readers whether it’s with tears or laughter, and the women in the books I chose do that for me. 

I’ve been collecting records since I was a teenager, and unlike many of my friends, I’ve kept all my records. I love music, but I also love album cover art. I’ve taken my interest and have written three books on album cover art that tell the story of dozens of album covers. I especially like discovering relatively unknown or anonymous artists and designers who created compelling record cover art. I am constantly looking for interesting records, and I am possessed by the desire to learn more about album cover art. I love to share my passion and let people know about the wide world of vinyl.

My interest in photography began as a student at Pratt Institute, a preeminent art school, and I have worked in the field my entire adult life, not as a photographer but as a picture editor and photography critic. I was the Page One Picture Editor of The New York Times and wrote regularly about photography for the paper. I have published two biographies: one on Richard Avedon, among the more significant artists of the 20th century, and another on Sam Wagstaff, one of the earliest collectors who established the art market for photography; a book of collected reviews and essays called Photography After Frank; and essays on individual photographers for museum catalogues and artist’s monographs. I produced the 2011 documentary, Bill Cunningham New York.

I worked for 25 years as a wilderness guide and outdoor educator on the Colorado Plateau and in Alaska, and the Grand Canyon is my favorite national park and one of my two favorite places on earth (the other being Alaska’s Brooks Range). My background in cultural anthropology has given me a deeper appreciation of what it took for indigenous peoples to make a living inside the canyon. And it’s a humbling perspective indeed. When I lived in Flagstaff, the Grand Canyon was my “backyard” weekend wilderness. I’m still drawn there and visit at least once a year, even while living up north.