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Rating:  -
if you have a serious interest on photography, this book is a must buy. It keep pushing you on considering the meaning of taking a pic, the relationship between the real world and photography, and many other perspectives related to photography. It provide large amount of examples to support its views. I truly think this book is a bible for every photographer. Even if we enter the digital era of photography, the content of this book isn't out of date and have precious value.
Regard to the fact that there is no picture in the whole book, I think that is a right choice. Any presented pictures will limit the universality of discussion, rather than realize it.
Overall, I give five star for this remarkable, historic book.
Rating:  -
Sonntag's gift for language is explanation enough for why she probably took few pictures and certainly not enough to justify cramming image-making into the worn categories of reproduction, oppression, and escapism. If you've got nonverbal photographic friends all too assured of the purity of their craft, this book should play counterpoint nicely. Otherwise, consider this text another example of theory uncomfortably distanced from the object of its gaze.
Rating:  -
Sontag's On Photography was published in 1977. It includes six named sections which each tackle a slightly different subject. The sections were published independently as magazine articles years before the monograph was assembled--and this is plainly evident (which is my main 'complaint' about the text). The book does not feel or read like a book. It reads like a collection of six disparate essays that have been lightly edited for packaging as a book. The sections work OK as essays, but they fail somewhat as a monograph. For example, Sontag makes numerous assertions about photography which are stated as fact but not supported by any documentary evidence. While this is acceptable in an essay, in a monograph of this sort one would expect more academic rigor. Finally, each essay was clearly intended as an atomic piece and their collection in the book results in a large amount of re-hash of basic ideas at the start of every new section, as well as a very choppy flow between sections.
The book is dated (which is entirely understandable--but true none-the-less). Sontag makes a single fleeting reference to digital photography as a quirky alternate method of capturing images. The text's discussion on the pervasive nature of cameras assumes the pinnacle of technology to be the Kodak Brownie. While this was arguably once true, photography has been so changed by digital capture and truly pervasive cameras (think cell phones, etc.) that many of the ideas of the text are only partially developed by today's standards. Additionally, Sontag's insistence that photography is the accidental but obvious champion of the Surrealist takeover of the arts is also dated. Sontag's insistence on using 'big' words and complicates sentences to describe simple things is also somewhat irritating; the tone is unmistakably that of 1970s/1980s critical academia.
Having said that, the book occupies a fairly unique niche in the history of thinking about photography. As other reviews have noted, the subject material is (ahem) well focused on the topic and delivers interesting insight into various aspects of photography. It is unfortunate that Sontag did not more-fully edit the source materials into a cohesive text and at least attempt to look forward to a time when technological changes in process and artistic developments in taste could perhaps be different than the norms of the late 1970s.
Rating: -
I loved this book! It is so refreshing to read an unpretentious art criticism book. Her views are simple but breathtaking. The fact that one is reading essays about photography, written by someone who is not inside the art world, makes a huge a difference. She is not trying to create the new "it" artisitc concept, she's just speaking as a photography lover and admirer.
Rating:  -
First this book should not ne taken seriously, it's meant to be just being critical about photography thats all, secondly even though author is American she sounds like European middle age scholar minded critic. Third, she doesn't know about fine art photography in depth, she only criticises and about 20-30 very famous photographers she knows of, she didn't taken into account most (almost all) modern photographers. Most of the time she sounds like a 19. century European painter just lost his job because of rising of photography, but also wants to learn about new technique called photography with a great frustration and misses his old job a lot.. Sontags background about philosophy and sociology didn't help much for a healhty criticsm of photography..
Good try for a criticism of fine art photography, I think every serious fine art photographer should read this book, because it teaches the way how the fine art photography could be criticised in a wrong way, and this book does a damn good job.
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