Fantastic!, 08 Oct 2008
I have just bought this book and only really to get my free postage on my order - but what a great book! I only have a passing inerest in photography but often wondered how people got shots like they do. This book is presented in an easy to understand format and don't take any notice about the negative remarks about humour - it's there for a reason, to fix the ideas in your memory. I'm going to order the second volume as well.

A Groan A Minute, 30 Sep 2008
However useful this book may be the so-called humour is so thoroughly irritating that I ended up hurling across the room into the waste basket!

Highly recommended, 16 Sep 2008
Purchased this and the follow-up volume 2 and I have to say, I've read many books on the subject and all follow a similar path. These two books however are amazing. I have learned so much just reading volume one, that I can highly recommend these two books to anyone, who is wanting to improve their technique and produce not just good photo's but Great photo's. Scott has a very unique style which is easy to follow and along with his quirky humour (which I find actually helps get the message across) has produced two of the most amazing guides to the world of digital photography, I have had the pleasure of reading.

digital photgraphy book, 07 Sep 2008
this book is amazing,with in 2 days of reading the book,my photos improved 100 per cent.i highley rocomend this book for any beginners.well done scott.

A good combo with the 2nd Edition., 05 Sep 2008
Comical and spoken in easy-to-understand terms with excellent tips! Only problem is it's left me with an equipment and accessories lust, and all added together is a hefty sum (you'll see what I mean after reading the 2nd edition). He does compare prices of things according to your budget, but for someone like me, I'm only satisfied with the best. All in all, good books to get you started on the right track with photography.

Fantastic!, 08 Oct 2008
I have just bought this book and only really to get my free postage on my order - but what a great book! I only have a passing inerest in photography but often wondered how people got shots like they do. This book is presented in an easy to understand format and don't take any notice about the negative remarks about humour - it's there for a reason, to fix the ideas in your memory. I'm going to order the second volume as well.

A Groan A Minute, 30 Sep 2008
However useful this book may be the so-called humour is so thoroughly irritating that I ended up hurling across the room into the waste basket!

Highly recommended, 16 Sep 2008
Purchased this and the follow-up volume 2 and I have to say, I've read many books on the subject and all follow a similar path. These two books however are amazing. I have learned so much just reading volume one, that I can highly recommend these two books to anyone, who is wanting to improve their technique and produce not just good photo's but Great photo's. Scott has a very unique style which is easy to follow and along with his quirky humour (which I find actually helps get the message across) has produced two of the most amazing guides to the world of digital photography, I have had the pleasure of reading.

digital photgraphy book, 07 Sep 2008
this book is amazing,with in 2 days of reading the book,my photos improved 100 per cent.i highley rocomend this book for any beginners.well done scott.

A good combo with the 2nd Edition., 05 Sep 2008
Comical and spoken in easy-to-understand terms with excellent tips! Only problem is it's left me with an equipment and accessories lust, and all added together is a hefty sum (you'll see what I mean after reading the 2nd edition). He does compare prices of things according to your budget, but for someone like me, I'm only satisfied with the best. All in all, good books to get you started on the right track with photography.

If it's outdated now, it's because it opened a new era, 16 Sep 2008
'Ways of Seeing' is a book which some readers may find a bit puzzling. The ads reproduced in its pages look naive to us, in their unsophisticated emphasis on luxury and glamour, and Berger's commentary on advertising may seem a bit simple, but if so it's because he was one of the first and best critics to compare the effects and uses of advertising and fine art. The main difference between him and most contemporary commentators is that Berger had an independent perspective that they lack; his analysis has far more steel and indignation than the work of someone like Peter York, who comments on ads from the insider's perspective of "Is it effective or not?" Berger refuses to be seduced into talking about ads on their own terms. While the specific tactics used in advertising may be different now from what they were when this book was originally published, the basic strategy is still the same as it will ever be: to sell us not a product but a lifestyle.

Anyone who has travelled in a less-well-off country that has a functioning advertising industry (Greece, for instance) will have noticed that billboard ads there tend to be like early 70s ads in richer countries: they promote a dream of luxury, wealth and sophistication. Ads in the UK and Ireland are aimed at people who already think of themselves as reasonably wealthy and sophisticated, and so UK and Irish ads tend to promote an idea of the consumer as being rootsy, down-to-earth, unpretentious, sensible - all the things that we secretly fear we aren't. The tactic is different, but the strategy (to play on the consumer's hopes and fears about what kind of person they are) is the same.

Berger's work is hardly full of undigested chunks of Marxist doctrine, unlike the far more impenetrable and far less useful work of (e.g.) the Art & Language group. If you come across his work when you're young or ignorant enough, he is one of the most liberating writers around. He teaches you not to agree with him, but how to be critical in the first place; he provokes you into wondering if and how he could be right, which is a gift from a writer to a reader.

This is a relatively entry-level Berger. The early novels are not really very good, except for the first one, "A Painter of our Time". The Booker-winning "G" is a masterpiece, and the more recent fiction has been equally excellent but different in tone and method. The book-length non-fiction, such as "A Fortunate Man", "A Seventh Man", "Another Way of Telling", is all superb. He is one of the best English writers and as he passes 80, his work shows no sign of declining in quality or intensity.

It should be stated that this is only the accompanying book of a TV series which, shamefully, isn't available on DVD. "Ways of Seeing" the programme is still pretty mind-blowing, right from the cheeky opening sequence where Berger appears to cut up an actual Botticelli. The whole show is, or used to be, available in bits on YouTube. I would rather sit through a TV show by Berger than the whole of Kenneth Clark's contemporary and far more expensive "Civilisation", which has been released on DVD.

Thought provoking..., 20 Feb 2008
I recently had to read this as the basis for an essay, but was pleasantly surprised. It is an interesting snippet questioning our view of art and if it has changed throughout history. I found a few of the assumptions a little irritating, such as that Reubens would not have been aware of the device of depicting the human body in an anatomically incorrect pose in order to give the impression of movement. (Particularly as this is something that was well known among artists for hundreds of years and had been used by Leonardo da Vinci for example).

However, if you are looking for a thought provoking, unusual look at how images have been used throughout history, give it a go. Its not a long book and some of the chapters are purely visual to allow the viewer to come to their own conclusions.

Essential reading for any kind of visual artist, 10 Feb 2008
This compact, easy to read pictoral/text book is a great aid to understanding the semantics of visual conception. You may think some of it obvious, and some of it a bit cooky, for example its marxist angles on the reasons why we see things the way we have come to, but it does get the student of all things visual thinking hard about it all. Whilst not being a specific aid to any particular field, it is an essential general reader for anyone studying the visual arts, from graphic design to theatre design, and from architecture to photography, and it's why it is still a standard first year college issue on so many courses.

Confounding seeing with perception., 27 Sep 2007
Berger's book is a typical leftist product of the period. He is so desperate to bring class war into the topic that he comes across as faintly absurd. For example - and there are many such - he talks of "..the esoteric approach of a few specialised experts who are the clerks of the nostalgia of a ruling class in decline." when criticising other art critics. I often found myself laughing aloud at such pompous absurdities.

When it comes to his "seeing comes before words" he shows he does not understand the difference between 'seeing' and 'perception' which he muddles turn and turn about. He suggests we drop our assumptions of form, status, taste when viewing an artwork as these are 'mystifications' and we should instead 'see' the art in unencumbered form, as it were. He proceeds to suggest we 'Study this evidence and judge for yourself'. But how could we apply thought to our 'seeing' and avoid it becoming a perception? For that is what he is asking us to do. How could we differentiate what we see without perception? All he does is to introduce his own view of how we should look at art and claim it is better than a different (capitalist?) way.

His views on the representation of women will fascinate archeologists of sociology. He appears oblivious of the fact that women have always been able to view images of men sexually.

Some sound ideas, but out-of-date and prejudiced, 23 Sep 2007
A short beginner's guide to the philosophy of art, John Berger's 1972 book "Ways Of Seeing" is often talked about as being a seminal piece of critical writing about art, but it lacks the relevance and profundity that it may have been credited with on its first publication 35 years ago.

The principles that Berger details about the viewer and the subject in imagery are simple but sound. All too often Berger is either stating the obvious or making rather questionable generalisations (for example "All publicity works on anxiety. The sum of everything is money, to get money is to overcome anxiety.")

It is, though other reviewers disagree, definitely dated. Image production and manipulation has developed too far, and become too international, in the last 35 years for "Ways Of Seeing" to even hope to be relevant. It is inherently bigoted, fixated by the English upper classes, and also for example gives some importance to the 'recent' arrival of colour photography as being an important influence on advertising.

Berger seems to particularly enjoy writing chapter 3 (one of the longest chapters), about nude women, which makes very few points about the form and seems like a cheap excuse to reproduce various images of undressed ladies...

A big drawback is that the typography of this book is awful. Considering that its subject matter is that of images, I am staggered that whoever arranged it decided it would be a good idea to put the entire text in BOLD type with expanded line spacing, which leaves limited room for the reproductions of the images, many of which are reproduced far too small and with poor print quality so that you can't make out the details that Berger is actually referring to.

If any comic has a claim to have truly reinvigorated the genre then The Dark Knight Returns by Frank Miller--known recently for his excellent Sin City series and, previously, for his superb rendering of the blind superhero Daredevil--is probably the supreme contender. Batman represented all that was wrong in comics and Miller set himself a tough task taking on the camp crusader and turning this laughable, innocuous children's cartoon character into a hero for our times. In his introduction the great Alan Moore (V for Vendetta, Swamp Thing, the arguably peerless Watchmen) argues that only someone of Miller's stature could have done this. Batman is a character known well beyond the confines of the comic world (as are his retinue) and so reinventing him, while keeping his limiting core essentials intact, was a huge task.

Miller went far beyond the call of duty. The Dark Knight is a success on every level. Firstly it does keep the core elements of the Batman myth intact, with Robin, Alfred the butler, Commissioner Gordon and the old roster of villains, present yet brilliantly subverted. Secondly the artwork is fantastic--detailed, sometimes claustrophobic, psychotic. Lastly it's a great story: Gotham City is a hell on earth, streetgangs roam but there are no heroes. Decay is ubiquitous. Where is a hero to save Gotham? It is 10 years since the last recorded sighting of the Batman. And things have got worse than ever. Bruce Wayne is close to being a broken man but something is keeping him sane: the need to see change and the belief that he can orchestrate some of that change. Batman is back. The Dark Knight has returned. Awesome. --Mark Thwaite

Fantastic!, 08 Oct 2008
I have just bought this book and only really to get my free postage on my order - but what a great book! I only have a passing inerest in photography but often wondered how people got shots like they do. This book is presented in an easy to understand format and don't take any notice about the negative remarks about humour - it's there for a reason, to fix the ideas in your memory. I'm going to order the second volume as well.

A Groan A Minute, 30 Sep 2008
However useful this book may be the so-called humour is so thoroughly irritating that I ended up hurling across the room into the waste basket!

Highly recommended, 16 Sep 2008
Purchased this and the follow-up volume 2 and I have to say, I've read many books on the subject and all follow a similar path. These two books however are amazing. I have learned so much just reading volume one, that I can highly recommend these two books to anyone, who is wanting to improve their technique and produce not just good photo's but Great photo's. Scott has a very unique style which is easy to follow and along with his quirky humour (which I find actually helps get the message across) has produced two of the most amazing guides to the world of digital photography, I have had the pleasure of reading.

digital photgraphy book, 07 Sep 2008
this book is amazing,with in 2 days of reading the book,my photos improved 100 per cent.i highley rocomend this book for any beginners.well done scott.

A good combo with the 2nd Edition., 05 Sep 2008
Comical and spoken in easy-to-understand terms with excellent tips! Only problem is it's left me with an equipment and accessories lust, and all added together is a hefty sum (you'll see what I mean after reading the 2nd edition). He does compare prices of things according to your budget, but for someone like me, I'm only satisfied with the best. All in all, good books to get you started on the right track with photography.

If it's outdated now, it's because it opened a new era, 16 Sep 2008
'Ways of Seeing' is a book which some readers may find a bit puzzling. The ads reproduced in its pages look naive to us, in their unsophisticated emphasis on luxury and glamour, and Berger's commentary on advertising may seem a bit simple, but if so it's because he was one of the first and best critics to compare the effects and uses of advertising and fine art. The main difference between him and most contemporary commentators is that Berger had an independent perspective that they lack; his analysis has far more steel and indignation than the work of someone like Peter York, who comments on ads from the insider's perspective of "Is it effective or not?" Berger refuses to be seduced into talking about ads on their own terms. While the specific tactics used in advertising may be different now from what they were when this book was originally published, the basic strategy is still the same as it will ever be: to sell us not a product but a lifestyle.

Anyone who has travelled in a less-well-off country that has a functioning advertising industry (Greece, for instance) will have noticed that billboard ads there tend to be like early 70s ads in richer countries: they promote a dream of luxury, wealth and sophistication. Ads in the UK and Ireland are aimed at people who already think of themselves as reasonably wealthy and sophisticated, and so UK and Irish ads tend to promote an idea of the consumer as being rootsy, down-to-earth, unpretentious, sensible - all the things that we secretly fear we aren't. The tactic is different, but the strategy (to play on the consumer's hopes and fears about what kind of person they are) is the same.

Berger's work is hardly full of undigested chunks of Marxist doctrine, unlike the far more impenetrable and far less useful work of (e.g.) the Art & Language group. If you come across his work when you're young or ignorant enough, he is one of the most liberating writers around. He teaches you not to agree with him, but how to be critical in the first place; he provokes you into wondering if and how he could be right, which is a gift from a writer to a reader.

This is a relatively entry-level Berger. The early novels are not really very good, except for the first one, "A Painter of our Time". The Booker-winning "G" is a masterpiece, and the more recent fiction has been equally excellent but different in tone and method. The book-length non-fiction, such as "A Fortunate Man", "A Seventh Man", "Another Way of Telling", is all superb. He is one of the best English writers and as he passes 80, his work shows no sign of declining in quality or intensity.

It should be stated that this is only the accompanying book of a TV series which, shamefully, isn't available on DVD. "Ways of Seeing" the programme is still pretty mind-blowing, right from the cheeky opening sequence where Berger appears to cut up an actual Botticelli. The whole show is, or used to be, available in bits on YouTube. I would rather sit through a TV show by Berger than the whole of Kenneth Clark's contemporary and far more expensive "Civilisation", which has been released on DVD.

Thought provoking..., 20 Feb 2008
I recently had to read this as the basis for an essay, but was pleasantly surprised. It is an interesting snippet questioning our view of art and if it has changed throughout history. I found a few of the assumptions a little irritating, such as that Reubens would not have been aware of the device of depicting the human body in an anatomically incorrect pose in order to give the impression of movement. (Particularly as this is something that was well known among artists for hundreds of years and had been used by Leonardo da Vinci for example).

However, if you are looking for a thought provoking, unusual look at how images have been used throughout history, give it a go. Its not a long book and some of the chapters are purely visual to allow the viewer to come to their own conclusions.

Essential reading for any kind of visual artist, 10 Feb 2008
This compact, easy to read pictoral/text book is a great aid to understanding the semantics of visual conception. You may think some of it obvious, and some of it a bit cooky, for example its marxist angles on the reasons why we see things the way we have come to, but it does get the student of all things visual thinking hard about it all. Whilst not being a specific aid to any particular field, it is an essential general reader for anyone studying the visual arts, from graphic design to theatre design, and from architecture to photography, and it's why it is still a standard first year college issue on so many courses.

Confounding seeing with perception., 27 Sep 2007
Berger's book is a typical leftist product of the period. He is so desperate to bring class war into the topic that he comes across as faintly absurd. For example - and there are many such - he talks of "..the esoteric approach of a few specialised experts who are the clerks of the nostalgia of a ruling class in decline." when criticising other art critics. I often found myself laughing aloud at such pompous absurdities.

When it comes to his "seeing comes before words" he shows he does not understand the difference between 'seeing' and 'perception' which he muddles turn and turn about. He suggests we drop our assumptions of form, status, taste when viewing an artwork as these are 'mystifications' and we should instead 'see' the art in unencumbered form, as it were. He proceeds to suggest we 'Study this evidence and judge for yourself'. But how could we apply thought to our 'seeing' and avoid it becoming a perception? For that is what he is asking us to do. How could we differentiate what we see without perception? All he does is to introduce his own view of how we should look at art and claim it is better than a different (capitalist?) way.

His views on the representation of women will fascinate archeologists of sociology. He appears oblivious of the fact that women have always been able to view images of men sexually.

Some sound ideas, but out-of-date and prejudiced, 23 Sep 2007
A short beginner's guide to the philosophy of art, John Berger's 1972 book "Ways Of Seeing" is often talked about as being a seminal piece of critical writing about art, but it lacks the relevance and profundity that it may have been credited with on its first publication 35 years ago.

The principles that Berger details about the viewer and the subject in imagery are simple but sound. All too often Berger is either stating the obvious or making rather questionable generalisations (for example "All publicity works on anxiety. The sum of everything is money, to get money is to overcome anxiety.")

It is, though other reviewers disagree, definitely dated. Image production and manipulation has developed too far, and become too international, in the last 35 years for "Ways Of Seeing" to even hope to be relevant. It is inherently bigoted, fixated by the English upper classes, and also for example gives some importance to the 'recent' arrival of colour photography as being an important influence on advertising.

Berger seems to particularly enjoy writing chapter 3 (one of the longest chapters), about nude women, which makes very few points about the form and seems like a cheap excuse to reproduce various images of undressed ladies...

A big drawback is that the typography of this book is awful. Considering that its subject matter is that of images, I am staggered that whoever arranged it decided it would be a good idea to put the entire text in BOLD type with expanded line spacing, which leaves limited room for the reproductions of the images, many of which are reproduced far too small and with poor print quality so that you can't make out the details that Berger is actually referring to.

SUPERB!, 28 Sep 2008
Only Watchmen can be considered to be on the same level as Batman: The Dark Night Returns. However where Watchmen had an absolute myriad of characters bursting out of the seams, Batman: The Dark Night Returns is better able to create characters the reader can emphasise with.

The reader is introduced to an ageing Bruce Wayne who has come out of retirement to continue is vengeful fight against crime. This dark, disturbed and sad character is pitted against those he considered allies, new enemies that are stronger than him and an all too familiar nemesis. The story is wonderfully written, well paced with a few twists and turns that keep the story interesting and a surprise shock ending with a man in tights. The artwork is brilliant, quick loose drawings capturing the action and suspense of a dark brooding story in a way some comics are unable to achieve.

Batman: The Dark Night Returns is a must own and a must read. The story is brilliantly told and features a damaged, weary character that draws you in to his own one man war.


The Greatest...., 24 Jul 2008
In all types of history there are defining moments. A moment that is so extraordinary that you have to see it again to believe what you have just seen. It sometimes takes time for the dust to settle to appreciate such a moment.
This comic is one of those moments.
The Dark Knight Returns took a tired out superhero genre and re-injected it with the modern paced style we see today. A comic that in fact saved the superhero himself. The multi-layering of story lines in this epic tale is almost cinematic in its construction.
Maybe a little dated now, but at the time it re-defined everything in comics and the way superheroes where percieved. If you are a fan of Batman, this should be the cornerstone to your collection.

DARK KNIGHT RETURNS, 23 Jul 2008
If you are used to the slick, photo-realistic art of some modern Graphic Novels/Comics, then the look of this book may take some getting used to... but get passed that, and it's one of the best comics you'll ever read.

A very good read., 05 Jun 2008
If I had to choose one word to describe this, I would choose the word epic. Why? Because its an interesting look on how Bruce Wayne would handle himself in his later years with excellent action sequences and crisp dialogue. There's really only one thing bad about this, and that is the lack of Joker. Sure he's in it, but he's not really as important to the plot as he should have been. And he's camper than ever. But aside from that, buy it. It should tickle your fetish.

Dissapointing..., 13 May 2008
Honestly, I didn't see what the fuss was all about with this graphic novel. I thought the plot was all over the place, the pacing was shot to pieces, the art was average and there were more than a few absurdities which I found hard to swallow.

I don't read many comics or graphic novels, but I went through a brief obsession last year and bought about 25 or 30 over a few months. Given the hype and acclaim which has been heaped on this, I was expecting great things, and sadly I was disappointed on almost every level.

As others have said, Frank Miller's characterisation is probably closer to Bob Kane's original vision of the Dark Knight than anyone's (except perhaps Tim Burton). However, his motivations here are never wholly clear and the excessive scripting and repetitive 'news report' cells do little to help. The plot meanders through a handful of scenarios over its four chapters but they never feel wholly cohesive - and things take a turn for the frankly ridiculous when Batman is deemed such a menace that Superman is called in [personally by the president] to deal with him (not to mention the resolution of this encounter, which I won't detail). Further, the new Robin is just utterly irritating and a somewhat needless character (given that she brings very little to the proceedings).

It is rare that I get bored of a graphic novel part way through, but I found that on both read-thoughs I was losing interest in the character, the story and the situation as a whole (hence why I had to read it a second time reasonably quickly - to see if there was something I missed). I feel defensive in explaining why I didn't think much of this book, as I am well aware I am in the minority, and although I can appreciate how influential and important this may have been on release, that does not automatically make it a great read by today's standards.

So, to anyone who has yet to read this I'd probably suggest you to go for it, if only to make up your own mind, but for me this just wasn't what it had been hyped up to be.

Fantastic!, 08 Oct 2008
I have just bought this book and only really to get my free postage on my order - but what a great book! I only have a passing inerest in photography but often wondered how people got shots like they do. This book is presented in an easy to understand format and don't take any notice about the negative remarks about humour - it's there for a reason, to fix the ideas in your memory. I'm going to order the second volume as well.

A Groan A Minute, 30 Sep 2008
However useful this book may be the so-called humour is so thoroughly irritating that I ended up hurling across the room into the waste basket!

Highly recommended, 16 Sep 2008
Purchased this and the follow-up volume 2 and I have to say, I've read many books on the subject and all follow a similar path. These two books however are amazing. I have learned so much just reading volume one, that I can highly recommend these two books to anyone, who is wanting to improve their technique and produce not just good photo's but Great photo's. Scott has a very unique style which is easy to follow and along with his quirky humour (which I find actually helps get the message across) has produced two of the most amazing guides to the world of digital photography, I have had the pleasure of reading.

digital photgraphy book, 07 Sep 2008
this book is amazing,with in 2 days of reading the book,my photos improved 100 per cent.i highley rocomend this book for any beginners.well done scott.

A good combo with the 2nd Edition., 05 Sep 2008
Comical and spoken in easy-to-understand terms with excellent tips! Only problem is it's left me with an equipment and accessories lust, and all added together is a hefty sum (you'll see what I mean after reading the 2nd edition). He does compare prices of things according to your budget, but for someone like me, I'm only satisfied with the best. All in all, good books to get you started on the right track with photography.

If it's outdated now, it's because it opened a new era, 16 Sep 2008
'Ways of Seeing' is a book which some readers may find a bit puzzling. The ads reproduced in its pages look naive to us, in their unsophisticated emphasis on luxury and glamour, and Berger's commentary on advertising may seem a bit simple, but if so it's because he was one of the first and best critics to compare the effects and uses of advertising and fine art. The main difference between him and most contemporary commentators is that Berger had an independent perspective that they lack; his analysis has far more steel and indignation than the work of someone like Peter York, who comments on ads from the insider's perspective of "Is it effective or not?" Berger refuses to be seduced into talking about ads on their own terms. While the specific tactics used in advertising may be different now from what they were when this book was originally published, the basic strategy is still the same as it will ever be: to sell us not a product but a lifestyle.

Anyone who has travelled in a less-well-off country that has a functioning advertising industry (Greece, for instance) will have noticed that billboard ads there tend to be like early 70s ads in richer countries: they promote a dream of luxury, wealth and sophistication. Ads in the UK and Ireland are aimed at people who already think of themselves as reasonably wealthy and sophisticated, and so UK and Irish ads tend to promote an idea of the consumer as being rootsy, down-to-earth, unpretentious, sensible - all the things that we secretly fear we aren't. The tactic is different, but the strategy (to play on the consumer's hopes and fears about what kind of person they are) is the same.

Berger's work is hardly full of undigested chunks of Marxist doctrine, unlike the far more impenetrable and far less useful work of (e.g.) the Art & Language group. If you come across his work when you're young or ignorant enough, he is one of the most liberating writers around. He teaches you not to agree with him, but how to be critical in the first place; he provokes you into wondering if and how he could be right, which is a gift from a writer to a reader.

This is a relatively entry-level Berger. The early novels are not really very good, except for the first one, "A Painter of our Time". The Booker-winning "G" is a masterpiece, and the more recent fiction has been equally excellent but different in tone and method. The book-length non-fiction, such as "A Fortunate Man", "A Seventh Man", "Another Way of Telling", is all superb. He is one of the best English writers and as he passes 80, his work shows no sign of declining in quality or intensity.

It should be stated that this is only the accompanying book of a TV series which, shamefully, isn't available on DVD. "Ways of Seeing" the programme is still pretty mind-blowing, right from the cheeky opening sequence where Berger appears to cut up an actual Botticelli. The whole show is, or used to be, available in bits on YouTube. I would rather sit through a TV show by Berger than the whole of Kenneth Clark's contemporary and far more expensive "Civilisation", which has been released on DVD.

Thought provoking..., 20 Feb 2008
I recently had to read this as the basis for an essay, but was pleasantly surprised. It is an interesting snippet questioning our view of art and if it has changed throughout history. I found a few of the assumptions a little irritating, such as that Reubens would not have been aware of the device of depicting the human body in an anatomically incorrect pose in order to give the impression of movement. (Particularly as this is something that was well known among artists for hundreds of years and had been used by Leonardo da Vinci for example).

However, if you are looking for a thought provoking, unusual look at how images have been used throughout history, give it a go. Its not a long book and some of the chapters are purely visual to allow the viewer to come to their own conclusions.

Essential reading for any kind of visual artist, 10 Feb 2008
This compact, easy to read pictoral/text book is a great aid to understanding the semantics of visual conception. You may think some of it obvious, and some of it a bit cooky, for example its marxist angles on the reasons why we see things the way we have come to, but it does get the student of all things visual thinking hard about it all. Whilst not being a specific aid to any particular field, it is an essential general reader for anyone studying the visual arts, from graphic design to theatre design, and from architecture to photography, and it's why it is still a standard first year college issue on so many courses.

Confounding seeing with perception., 27 Sep 2007
Berger's book is a typical leftist product of the period. He is so desperate to bring class war into the topic that he comes across as faintly absurd. For example - and there are many such - he talks of "..the esoteric approach of a few specialised experts who are the clerks of the nostalgia of a ruling class in decline." when criticising other art critics. I often found myself laughing aloud at such pompous absurdities.

When it comes to his "seeing comes before words" he shows he does not understand the difference between 'seeing' and 'perception' which he muddles turn and turn about. He suggests we drop our assumptions of form, status, taste when viewing an artwork as these are 'mystifications' and we should instead 'see' the art in unencumbered form, as it were. He proceeds to suggest we 'Study this evidence and judge for yourself'. But how could we apply thought to our 'seeing' and avoid it becoming a perception? For that is what he is asking us to do. How could we differentiate what we see without perception? All he does is to introduce his own view of how we should look at art and claim it is better than a different (capitalist?) way.

His views on the representation of women will fascinate archeologists of sociology. He appears oblivious of the fact that women have always been able to view images of men sexually.

Some sound ideas, but out-of-date and prejudiced, 23 Sep 2007
A short beginner's guide to the philosophy of art, John Berger's 1972 book "Ways Of Seeing" is often talked about as being a seminal piece of critical writing about art, but it lacks the relevance and profundity that it may have been credited with on its first publication 35 years ago.

The principles that Berger details about the viewer and the subject in imagery are simple but sound. All too often Berger is either stating the obvious or making rather questionable generalisations (for example "All publicity works on anxiety. The sum of everything is money, to get money is to overcome anxiety.")

It is, though other reviewers disagree, definitely dated. Image production and manipulation has developed too far, and become too international, in the last 35 years for "Ways Of Seeing" to even hope to be relevant. It is inherently bigoted, fixated by the English upper classes, and also for example gives some importance to the 'recent' arrival of colour photography as being an important influence on advertising.

Berger seems to particularly enjoy writing chapter 3 (one of the longest chapters), about nude women, which makes very few points about the form and seems like a cheap excuse to reproduce various images of undressed ladies...

A big drawback is that the typography of this book is awful. Considering that its subject matter is that of images, I am staggered that whoever arranged it decided it would be a good idea to put the entire text in BOLD type with expanded line spacing, which leaves limited room for the reproductions of the images, many of which are reproduced far too small and with poor print quality so that you can't make out the details that Berger is actually referring to.

SUPERB!, 28 Sep 2008
Only Watchmen can be considered to be on the same level as Batman: The Dark Night Returns. However where Watchmen had an absolute myriad of characters bursting out of the seams, Batman: The Dark Night Returns is better able to create characters the reader can emphasise with.

The reader is introduced to an ageing Bruce Wayne who has come out of retirement to continue is vengeful fight against crime. This dark, disturbed and sad character is pitted against those he considered allies, new enemies that are stronger than him and an all too familiar nemesis. The story is wonderfully written, well paced with a few twists and turns that keep the story interesting and a surprise shock ending with a man in tights. The artwork is brilliant, quick loose drawings capturing the action and suspense of a dark brooding story in a way some comics are unable to achieve.

Batman: The Dark Night Returns is a must own and a must read. The story is brilliantly told and features a damaged, weary character that draws you in to his own one man war.


The Greatest...., 24 Jul 2008
In all types of history there are defining moments. A moment that is so extraordinary that you have to see it again to believe what you have just seen. It sometimes takes time for the dust to settle to appreciate such a moment.
This comic is one of those moments.
The Dark Knight Returns took a tired out superhero genre and re-injected it with the modern paced style we see today. A comic that in fact saved the superhero himself. The multi-layering of story lines in this epic tale is almost cinematic in its construction.
Maybe a little dated now, but at the time it re-defined everything in comics and the way superheroes where percieved. If you are a fan of Batman, this should be the cornerstone to your collection.

DARK KNIGHT RETURNS, 23 Jul 2008
If you are used to the slick, photo-realistic art of some modern Graphic Novels/Comics, then the look of this book may take some getting used to... but get passed that, and it's one of the best comics you'll ever read.

A very good read., 05 Jun 2008
If I had to choose one word to describe this, I would choose the word epic. Why? Because its an interesting look on how Bruce Wayne would handle himself in his later years with excellent action sequences and crisp dialogue. There's really only one thing bad about this, and that is the lack of Joker. Sure he's in it, but he's not really as important to the plot as he should have been. And he's camper than ever. But aside from that, buy it. It should tickle your fetish.

Dissapointing..., 13 May 2008
Honestly, I didn't see what the fuss was all about with this graphic novel. I thought the plot was all over the place, the pacing was shot to pieces, the art was average and there were more than a few absurdities which I found hard to swallow.

I don't read many comics or graphic novels, but I went through a brief obsession last year and bought about 25 or 30 over a few months. Given the hype and acclaim which has been heaped on this, I was expecting great things, and sadly I was disappointed on almost every level.

As others have said, Frank Miller's characterisation is probably closer to Bob Kane's original vision of the Dark Knight than anyone's (except perhaps Tim Burton). However, his motivations here are never wholly clear and the excessive scripting and repetitive 'news report' cells do little to help. The plot meanders through a handful of scenarios over its four chapters but they never feel wholly cohesive - and things take a turn for the frankly ridiculous when Batman is deemed such a menace that Superman is called in [personally by the president] to deal with him (not to mention the resolution of this encounter, which I won't detail). Further, the new Robin is just utterly irritating and a somewhat needless character (given that she brings very little to the proceedings).

It is rare that I get bored of a graphic novel part way through, but I found that on both read-thoughs I was losing interest in the character, the story and the situation as a whole (hence why I had to read it a second time reasonably quickly - to see if there was something I missed). I feel defensive in explaining why I didn't think much of this book, as I am well aware I am in the minority, and although I can appreciate how influential and important this may have been on release, that does not automatically make it a great read by today's standards.

So, to anyone who has yet to read this I'd probably suggest you to go for it, if only to make up your own mind, but for me this just wasn't what it had been hyped up to be.

Why? They ask me. Why does he do it?, 06 Oct 2008
Well, it is art and it is very hard to someone to explain the reason why he's an artist don't you think?

"Why" was the question several of my colleges at work asked me when I received this little book from Amazon this morning. First they've asked me why does he do it and then, why did I bought it. To the first question I answered that Slinkachu is an artist and this is his art. For the second question I didn't need to answer anything. Just passed the book to their hands and let them see for themselves.

I've been following Slinkachu work on the Internet for some time now and when I knew this book was on sale, I just had to bought it.

A little book that's a lot for the money., 02 Oct 2008
An entertaining and extremely interesting form of street art, this little gem will appeal to anyone interested in street art: it's a must if you're a fan of Banksy! Each piece has a shot showing its surroundings as well as a macro shot with its title. You really do empathise with each little figure! I'm sure any student would be happy to add this to his or her collection.

Brilliant street art, 05 Sep 2008
This is a really brilliant idea, and great "little" book. The idea is simple - take small people (1 inch high or so), paint them and put them somewhere, create a story around them, and take close up (macro) shots.

throw in some heartfelt life messages, and you have this book. It's a great alternative view on life, and life in London specifically.

Recommended.

Excellent, 05 Sep 2008
It's strange how something like this can be beautiful and hold so much emotion, but I guess that's the whole point of art.

Flick through and you're reminded that we're all little people at the end of the day. Slink captures that lost, vulnerable feeling we all get sometimes and then throws in the comic moments too.

I first saw "Dreams of packing it all in" when I was trapped in a big corporate and had just been prescribed the happy pills. It now takes pride of place on my self-employed office wall and reminds me of how things used to be.

And at this price, cannot we all afford some art in our lives?

Fantastic!, 08 Oct 2008
I have just bought this book and only really to get my free postage on my order - but what a great book! I only have a passing inerest in photography but often wondered how people got shots like they do. This book is presented in an easy to understand format and don't take any notice about the negative remarks about humour - it's there for a reason, to fix the ideas in your memory. I'm going to order the second volume as well.

A Groan A Minute, 30 Sep 2008
However useful this book may be the so-called humour is so thoroughly irritating that I ended up hurling across the room into the waste basket!

Highly recommended, 16 Sep 2008
Purchased this and the follow-up volume 2 and I have to say, I've read many books on the subject and all follow a similar path. These two books however are amazing. I have learned so much just reading volume one, that I can highly recommend these two books to anyone, who is wanting to improve their technique and produce not just good photo's but Great photo's. Scott has a very unique style which is easy to follow and along with his quirky humour (which I find actually helps get the message across) has produced two of the most amazing guides to the world of digital photography, I have had the pleasure of reading.

digital photgraphy book, 07 Sep 2008
this book is amazing,with in 2 days of reading the book,my photos improved 100 per cent.i highley rocomend this book for any beginners.well done scott.

A good combo with the 2nd Edition., 05 Sep 2008
Comical and spoken in easy-to-understand terms with excellent tips! Only problem is it's left me with an equipment and accessories lust, and all added together is a hefty sum (you'll see what I mean after reading the 2nd edition). He does compare prices of things according to your budget, but for someone like me, I'm only satisfied with the best. All in all, good books to get you started on the right track with photography.

If it's outdated now, it's because it opened a new era, 16 Sep 2008
'Ways of Seeing' is a book which some readers may find a bit puzzling. The ads reproduced in its pages look naive to us, in their unsophisticated emphasis on luxury and glamour, and Berger's commentary on advertising may seem a bit simple, but if so it's because he was one of the first and best critics to compare the effects and uses of advertising and fine art. The main difference between him and most contemporary commentators is that Berger had an independent perspective that they lack; his analysis has far more steel and indignation than the work of someone like Peter York, who comments on ads from the insider's perspective of "Is it effective or not?" Berger refuses to be seduced into talking about ads on their own terms. While the specific tactics used in advertising may be different now from what they were when this book was originally published, the basic strategy is still the same as it will ever be: to sell us not a product but a lifestyle.

Anyone who has travelled in a less-well-off country that has a functioning advertising industry (Greece, for instance) will have noticed that billboard ads there tend to be like early 70s ads in richer countries: they promote a dream of luxury, wealth and sophistication. Ads in the UK and Ireland are aimed at people who already think of themselves as reasonably wealthy and sophisticated, and so UK and Irish ads tend to promote an idea of the consumer as being rootsy, down-to-earth, unpretentious, sensible - all the things that we secretly fear we aren't. The tactic is different, but the strategy (to play on the consumer's hopes and fears about what kind of person they are) is the same.

Berger's work is hardly full of undigested chunks of Marxist doctrine, unlike the far more impenetrable and far less useful work of (e.g.) the Art & Language group. If you come across his work when you're young or ignorant enough, he is one of the most liberating writers around. He teaches you not to agree with him, but how to be critical in the first place; he provokes you into wondering if and how he could be right, which is a gift from a writer to a reader.

This is a relatively entry-level Berger. The early novels are not really very good, except for the first one, "A Painter of our Time". The Booker-winning "G" is a masterpiece, and the more recent fiction has been equally excellent but different in tone and method. The book-length non-fiction, such as "A Fortunate Man", "A Seventh Man", "Another Way of Telling", is all superb. He is one of the best English writers and as he passes 80, his work shows no sign of declining in quality or intensity.

It should be stated that this is only the accompanying book of a TV series which, shamefully, isn't available on DVD. "Ways of Seeing" the programme is still pretty mind-blowing, right from the cheeky opening sequence where Berger appears to cut up an actual Botticelli. The whole show is, or used to be, available in bits on YouTube. I would rather sit through a TV show by Berger than the whole of Kenneth Clark's contemporary and far more expensive "Civilisation", which has been released on DVD.

Thought provoking..., 20 Feb 2008
I recently had to read this as the basis for an essay, but was pleasantly surprised. It is an interesting snippet questioning our view of art and if it has changed throughout history. I found a few of the assumptions a little irritating, such as that Reubens would not have been aware of the device of depicting the human body in an anatomically incorrect pose in order to give the impression of movement. (Particularly as this is something that was well known among artists for hundreds of years and had been used by Leonardo da Vinci for example).

However, if you are looking for a thought provoking, unusual look at how images have been used throughout history, give it a go. Its not a long book and some of the chapters are purely visual to allow the viewer to come to their own conclusions.

Essential reading for any kind of visual artist, 10 Feb 2008
This compact, easy to read pictoral/text book is a great aid to understanding the semantics of visual conception. You may think some of it obvious, and some of it a bit cooky, for example its marxist angles on the reasons why we see things the way we have come to, but it does get the student of all things visual thinking hard about it all. Whilst not being a specific aid to any particular field, it is an essential general reader for anyone studying the visual arts, from graphic design to theatre design, and from architecture to photography, and it's why it is still a standard first year college issue on so many courses.

Confounding seeing with perception., 27 Sep 2007
Berger's book is a typical leftist product of the period. He is so desperate to bring class war into the topic that he comes across as faintly absurd. For example - and there are many such - he talks of "..the esoteric approach of a few specialised experts who are the clerks of the nostalgia of a ruling class in decline." when criticising other art critics. I often found myself laughing aloud at such pompous absurdities.

When it comes to his "seeing comes before words" he shows he does not understand the difference between 'seeing' and 'perception' which he muddles turn and turn about. He suggests we drop our assumptions of form, status, taste when viewing an artwork as these are 'mystifications' and we should instead 'see' the art in unencumbered form, as it were. He proceeds to suggest we 'Study this evidence and judge for yourself'. But how could we apply thought to our 'seeing' and avoid it becoming a perception? For that is what he is asking us to do. How could we differentiate what we see without perception? All he does is to introduce his own view of how we should look at art and claim it is better than a different (capitalist?) way.

His views on the representation of women will fascinate archeologists of sociology. He appears oblivious of the fact that women have always been able to view images of men sexually.

Some sound ideas, but out-of-date and prejudiced, 23 Sep 2007
A short beginner's guide to the philosophy of art, John Berger's 1972 book "Ways Of Seeing" is often talked about as being a seminal piece of critical writing about art, but it lacks the relevance and profundity that it may have been credited with on its first publication 35 years ago.

The principles that Berger details about the viewer and the subject in imagery are simple but sound. All too often Berger is either stating the obvious or making rather questionable generalisations (for example "All publicity works on anxiety. The sum of everything is money, to get money is to overcome anxiety.")

It is, though other reviewers disagree, definitely dated. Image production and manipulation has developed too far, and become too international, in the last 35 years for "Ways Of Seeing" to even hope to be relevant. It is inherently bigoted, fixated by the English upper classes, and also for example gives some importance to the 'recent' arrival of colour photography as being an important influence on advertising.

Berger seems to particularly enjoy writing chapter 3 (one of the longest chapters), about nude women, which makes very few points about the form and seems like a cheap excuse to reproduce various images of undressed ladies...

A big drawback is that the typography of this book is awful. Considering that its subject matter is that of images, I am staggered that whoever arranged it decided it would be a good idea to put the entire text in BOLD type with expanded line spacing, which leaves limited room for the reproductions of the images, many of which are reproduced far too small and with poor print quality so that you can't make out the details that Berger is actually referring to.

SUPERB!, 28 Sep 2008
Only Watchmen can be considered to be on the same level as Batman: The Dark Night Returns. However where Watchmen had an absolute myriad of characters bursting out of the seams, Batman: The Dark Night Returns is better able to create characters the reader can emphasise with.

The reader is introduced to an ageing Bruce Wayne who has come out of retirement to continue is vengeful fight against crime. This dark, disturbed and sad character is pitted against those he considered allies, new enemies that are stronger than him and an all too familiar nemesis. The story is wonderfully written, well paced with a few twists and turns that keep the story interesting and a surprise shock ending with a man in tights. The artwork is brilliant, quick loose drawings capturing the action and suspense of a dark brooding story in a way some comics are unable to achieve.

Batman: The Dark Night Returns is a must own and a must read. The story is brilliantly told and features a damaged, weary character that draws you in to his own one man war.


The Greatest...., 24 Jul 2008
In all types of history there are defining moments. A moment that is so extraordinary that you have to see it again to believe what you have just seen. It sometimes takes time for the dust to settle to appreciate such a moment.
This comic is one of those moments.
The Dark Knight Returns took a tired out superhero genre and re-injected it with the modern paced style we see today. A comic that in fact saved the superhero himself. The multi-layering of story lines in this epic tale is almost cinematic in its construction.
Maybe a little dated now, but at the time it re-defined everything in comics and the way superheroes where percieved. If you are a fan of Batman, this should be the cornerstone to your collection.

DARK KNIGHT RETURNS, 23 Jul 2008
If you are used to the slick, photo-realistic art of some modern Graphic Novels/Comics, then the look of this book may take some getting used to... but get passed that, and it's one of the best comics you'll ever read.

A very good read., 05 Jun 2008
If I had to choose one word to describe this, I would choose the word epic. Why? Because its an interesting look on how Bruce Wayne would handle himself in his later years with excellent action sequences and crisp dialogue. There's really only one thing bad about this, and that is the lack of Joker. Sure he's in it, but he's not really as important to the plot as he should have been. And he's camper than ever. But aside from that, buy it. It should tickle your fetish.

Dissapointing..., 13 May 2008
Honestly, I didn't see what the fuss was all about with this graphic novel. I thought the plot was all over the place, the pacing was shot to pieces, the art was average and there were more than a few absurdities which I found hard to swallow.

I don't read many comics or graphic novels, but I went through a brief obsession last year and bought about 25 or 30 over a few months. Given the hype and acclaim which has been heaped on this, I was expecting great things, and sadly I was disappointed on almost every level.

As others have said, Frank Miller's characterisation is probably closer to Bob Kane's original vision of the Dark Knight than anyone's (except perhaps Tim Burton). However, his motivations here are never wholly clear and the excessive scripting and repetitive 'news report' cells do little to help. The plot meanders through a handful of scenarios over its four chapters but they never feel wholly cohesive - and things take a turn for the frankly ridiculous when Batman is deemed such a menace that Superman is called in [personally by the president] to deal with him (not to mention the resolution of this encounter, which I won't detail). Further, the new Robin is just utterly irritating and a somewhat needless character (given that she brings very little to the proceedings).

It is rare that I get bored of a graphic novel part way through, but I found that on both read-thoughs I was losing interest in the character, the story and the situation as a whole (hence why I had to read it a second time reasonably quickly - to see if there was something I missed). I feel defensive in explaining why I didn't think much of this book, as I am well aware I am in the minority, and although I can appreciate how influential and important this may have been on release, that does not automatically make it a great read by today's standards.

So, to anyone who has yet to read this I'd probably suggest you to go for it, if only to make up your own mind, but for me this just wasn't what it had been hyped up to be.

Why? They ask me. Why does he do it?, 06 Oct 2008
Well, it is art and it is very hard to someone to explain the reason why he's an artist don't you think?

"Why" was the question several of my colleges at work asked me when I received this little book from Amazon this morning. First they've asked me why does he do it and then, why did I bought it. To the first question I answered that Slinkachu is an artist and this is his art. For the second question I didn't need to answer anything. Just passed the book to their hands and let them see for themselves.

I've been following Slinkachu work on the Internet for some time now and when I knew this book was on sale, I just had to bought it.

A little book that's a lot for the money., 02 Oct 2008
An entertaining and extremely interesting form of street art, this little gem will appeal to anyone interested in street art: it's a must if you're a fan of Banksy! Each piece has a shot showing its surroundings as well as a macro shot with its title. You really do empathise with each little figure! I'm sure any student would be happy to add this to his or her collection.

Brilliant street art, 05 Sep 2008
This is a really brilliant idea, and great "little" book. The idea is simple - take small people (1 inch high or so), paint them and put them somewhere, create a story around them, and take close up (macro) shots.

throw in some heartfelt life messages, and you have this book. It's a great alternative view on life, and life in London specifically.

Recommended.

Excellent, 05 Sep 2008
It's strange how something like this can be beautiful and hold so much emotion, but I guess that's the whole point of art.

Flick through and you're reminded that we're all little people at the end of the day. Slink captures that lost, vulnerable feeling we all get sometimes and then throws in the comic moments too.

I first saw "Dreams of packing it all in" when I was trapped in a big corporate and had just been prescribed the happy pills. It now takes pride of place on my self-employed office wall and reminds me of how things used to be.

And at this price, cannot we all afford some art in our lives?

Simply Outstanding!, 11 Aug 2008
Banksy's Wall and Piece is simply an amazing collection of his graffiti art all across the UK and the world. His unique style has won him international acclaim to fame. His artwork is not just vandalism but sends out a political statement which is bold and isn't afraid to mention things we would otherwise keep quiet. I first heard Banksy on a news website when he created another piece of work and then visited his website banksy.com, and since then fallen in love with his work. The other day I came across the book in a store and really enjoyed his collection of work. This is a must have book for any of those interested not just in art, but also those who have been shaped by the news in recent years.

To be honest, I am not a massive fan of art, or graffiti either but this is totally different! 5 STARS well deserved!

Colourful, vibrant, real, hopeful!, 24 May 2008
Persecuted in our fast and modern ways we thought the happiness will emerge eventually out of the individualistic work and the enhanced personal security. But instead of happiness we became fearful of the person next to us in such a way we caused depression.

We thought of a million ways to overcome the walls of our communication. Then Banksy, simply and quietly, used the language the humans always knew: "art". Using the freedom we always envy: "our walls". Exposing the obvious where political correctness or personal gain make us go silent: "graffiti".

Enjoy the book.

Banksy - a great summary of his work, 12 May 2008
The book summarizes his work pretty good. The new book (Banksy's Bristol - Home sweet home) does contain a lot of background stories - but this book just contains much more images and niece pieces of art.

Definitely a must-have, if you are interested in (stencil) graffiti.

There's Another Banksy, 25 Apr 2008
I have this book and absoluetly love it, it exaplains why he did it, how he did it and some of his experieces and anecdotes. The book is excellent to be able to see decent street art, but then I came across the person Bansky is inspired by. He is fairly unknown here in the UK but HE is BANKSY'S idol, he is called Blek Le Rat and he too has a book out, he is a 56 year old frenchman who has been doing the things Banksy has been doing for years longer, you can buy his book off amazon. I would say buy Banksy's book to see the British side of street art, but buy Blek Le Rat if you want to see the true inspiration behind Banksy's work.

brilliantly cool!!!!, 25 Mar 2008
I bought this book because im into graffiti, hip hop culture and art. Im doing a degree at the moment and thought it would be helpful, and im glad i did because not only is it funny and unique there is also a really clever message behind it all. If your considering buying it for influence with uni work or anthing like that then i seriously recommend it, if your just curious then its a really cool book to have.

Alan Fletcher's The Art of Looking Sideways is an absolutely extraordinary and inexhaustible "guide to visual awareness", a virtually indescribable concoction of anecdotes, quotes, images and bizarre facts that offers a wonderfully twisted vision of the chaos of modern life. Fletcher is a renowned designer and art director and the joy of The Art of Looking Sideways lies in its beautiful design. Loosely arranged in 72 chapters with titles like "Colour", "Noise", "Chance", "Camouflage" and "Handedness", Fletcher's book, which he describes as "a journey without a destination", is "a collection of shards" that captures the sensory overload of a world that simply contains too much information. In one typical section, entitled "Civilization", the reader encounters six Polish flags designed to represent the world, a photograph of an anthropomorphic hand bag, Buzz Aldrin's bootprint on the moon, drawings of Stone Age pebbles, a painting of "Ireland--as seen from Wales" and a dizzying array of quotations and snippets of information, including the wise words of Marcus Aurelius, Stephen Jay and Gandhi's comment, "Western civilization? I think it would be a good idea". Fletcher's mastery of design mixes type, space, fonts, alphabets, colour and layout combined with a "jackdaw" eye for the strange and profound to produce a stunning book that cannot be read, but only experienced. --Jerry Brotton

Fantastic!, 08 Oct 2008
I have just bought this book and only really to get my free postage on my order - but what a great book! I only have a passing inerest in photography but often wondered how people got shots like they do. This book is presented in an easy to understand format and don't take any notice about the negative remarks about humour - it's there for a reason, to fix the ideas in your memory. I'm going to order the second volume as well.

A Groan A Minute, 30 Sep 2008
However useful this book may be the so-called humour is so thoroughly irritating that I ended up hurling across the room into the waste basket!

Highly recommended, 16 Sep 2008
Purchased this and the follow-up volume 2 and I have to say, I've read many books on the subject and all follow a similar path. These two books however are amazing. I have learned so much just reading volume one, that I can highly recommend these two books to anyone, who is wanting to improve their technique and produce not just good photo's but Great photo's. Scott has a very unique style which is easy to follow and along with his quirky humour (which I find actually helps get the message across) has produced two of the most amazing guides to the world of digital photography, I have had the pleasure of reading.

digital photgraphy book, 07 Sep 2008
this book is amazing,with in 2 days of reading the book,my photos improved 100 per cent.i highley rocomend this book for any beginners.well done scott.

A good combo with the 2nd Edition., 05 Sep 2008
Comical and spoken in easy-to-understand terms with excellent tips! Only problem is it's left me with an equipment and accessories lust, and all added together is a hefty sum (you'll see what I mean after reading the 2nd edition). He does compare prices of things according to your budget, but for someone like me, I'm only satisfied with the best. All in all, good books to get you started on the right track with photography.

If it's outdated now, it's because it opened a new era, 16 Sep 2008
'Ways of Seeing' is a book which some readers may find a bit puzzling. The ads reproduced in its pages look naive to us, in their unsophisticated emphasis on luxury and glamour, and Berger's commentary on advertising may seem a bit simple, but if so it's because he was one of the first and best critics to compare the effects and uses of advertising and fine art. The main difference between him and most contemporary commentators is that Berger had an independent perspective that they lack; his analysis has far more steel and indignation than the work of someone like Peter York, who comments on ads from the insider's perspective of "Is it effective or not?" Berger refuses to be seduced into talking about ads on their own terms. While the specific tactics used in advertising may be different now from what they were when this book was originally published, the basic strategy is still the same as it will ever be: to sell us not a product but a lifestyle.

Anyone who has travelled in a less-well-off country that has a functioning advertising industry (Greece, for instance) will have noticed that billboard ads there tend to be like early 70s ads in richer countries: they promote a dream of luxury, wealth and sophistication. Ads in the UK and Ireland are aimed at people who already think of themselves as reasonably wealthy and sophisticated, and so UK and Irish ads tend to promote an idea of the consumer as being rootsy, down-to-earth, unpretentious, sensible - all the things that we secretly fear we aren't. The tactic is different, but the strategy (to play on the consumer's hopes and fears about what kind of person they are) is the same.

Berger's work is hardly full of undigested chunks of Marxist doctrine, unlike the far more impenetrable and far less useful work of (e.g.) the Art & Language group. If you come across his work when you're young or ignorant enough, he is one of the most liberating writers around. He teaches you not to agree with him, but how to be critical in the first place; he provokes you into wondering if and how he could be right, which is a gift from a writer to a reader.

This is a relatively entry-level Berger. The early novels are not really very good, except for the first one, "A Painter of our Time". The Booker-winning "G" is a masterpiece, and the more recent fiction has been equally excellent but different in tone and method. The book-length non-fiction, such as "A Fortunate Man", "A Seventh Man", "Another Way of Telling", is all superb. He is one of the best English writers and as he passes 80, his work shows no sign of declining in quality or intensity.

It should be stated that this is only the accompanying book of a TV series which, shamefully, isn't available on DVD. "Ways of Seeing" the programme is still pretty mind-blowing, right from the cheeky opening sequence where Berger appears to cut up an actual Botticelli. The whole show is, or used to be, available in bits on YouTube. I would rather sit through a TV show by Berger than the whole of Kenneth Clark's contemporary and far more expensive "Civilisation", which has been released on DVD.

Thought provoking..., 20 Feb 2008
I recently had to read this as the basis for an essay, but was pleasantly surprised. It is an interesting snippet questioning our view of art and if it has changed throughout history. I found a few of the assumptions a little irritating, such as that Reubens would not have been aware of the device of depicting the human body in an anatomically incorrect pose in order to give the impression of movement. (Particularly as this is something that was well known among artists for hundreds of years and had been used by Leonardo da Vinci for example).

However, if you are looking for a thought provoking, unusual look at how images have been used throughout history, give it a go. Its not a long book and some of the chapters are purely visual to allow the viewer to come to their own conclusions.

Essential reading for any kind of visual artist, 10 Feb 2008
This compact, easy to read pictoral/text book is a great aid to understanding the semantics of visual conception. You may think some of it obvious, and some of it a bit cooky, for example its marxist angles on the reasons why we see things the way we have come to, but it does get the student of all things visual thinking hard about it all. Whilst not being a specific aid to any particular field, it is an essential general reader for anyone studying the visual arts, from graphic design to theatre design, and from architecture to photography, and it's why it is still a standard first year college issue on so many courses.

Confounding seeing with perception., 27 Sep 2007
Berger's book is a typical leftist product of the period. He is so desperate to bring class war into the topic that he comes across as faintly absurd. For example - and there are many such - he talks of "..the esoteric approach of a few specialised experts who are the clerks of the nostalgia of a ruling class in decline." when criticising other art critics. I often found myself laughing aloud at such pompous absurdities.

When it comes to his "seeing comes before words" he shows he does not understand the difference between 'seeing' and 'perception' which he muddles turn and turn about. He suggests we drop our assumptions of form, status, taste when viewing an artwork as these are 'mystifications' and we should instead 'see' the art in unencumbered form, as it were. He proceeds to suggest we 'Study this evidence and judge for yourself'. But how could we apply thought to our 'seeing' and avoid it becoming a perception? For that is what he is asking us to do. How could we differentiate what we see without perception? All he does is to introduce his own view of how we should look at art and claim it is better than a different (capitalist?) way.

His views on the representation of women will fascinate archeologists of sociology. He appears oblivious of the fact that women have always been able to view images of men sexually.

Some sound ideas, but out-of-date and prejudiced, 23 Sep 2007
A short beginner's guide to the philosophy of art, John Berger's 1972 book "Ways Of Seeing" is often talked about as being a seminal piece of critical writing about art, but it lacks the relevance and profundity that it may have been credited with on its first publication 35 years ago.

The principles that Berger details about the viewer and the subject in imagery are simple but sound. All too often Berger is either stating the obvious or making rather questionable generalisations (for example "All publicity works on anxiety. The sum of everything is money, to get money is to overcome anxiety.")

It is, though other reviewers disagree, definitely dated. Image production and manipulation has developed too far, and become too international, in the last 35 years for "Ways Of Seeing" to even hope to be relevant. It is inherently bigoted, fixated by the English upper classes, and also for example gives some importance to the 'recent' arrival of colour photography as being an important influence on advertising.

Berger seems to particularly enjoy writing chapter 3 (one of the longest chapters), about nude women, which makes very few points about the form and seems like a cheap excuse to reproduce various images of undressed ladies...

A big drawback is that the typography of this book is awful. Considering that its subject matter is that of images, I am staggered that whoever arranged it decided it would be a good idea to put the entire text in BOLD type with expanded line spacing, which leaves limited room for the reproductions of the images, many of which are reproduced far too small and with poor print quality so that you can't make out the details that Berger is actually referring to.

SUPERB!, 28 Sep 2008
Only Watchmen can be considered to be on the same level as Batman: The Dark Night Returns. However where Watchmen had an absolute myriad of characters bursting out of the seams, Batman: The Dark Night Returns is better able to create characters the reader can emphasise with.

The reader is introduced to an ageing Bruce Wayne who has come out of retirement to continue is vengeful fight against crime. This dark, disturbed and sad character is pitted against those he considered allies, new enemies that are stronger than him and an all too familiar nemesis. The story is wonderfully written, well paced with a few twists and turns that keep the story interesting and a surprise shock ending with a man in tights. The artwork is brilliant, quick loose drawings capturing the action and suspense of a dark brooding story in a way some comics are unable to achieve.

Batman: The Dark Night Returns is a must own and a must read. The story is brilliantly told and features a damaged, weary character that draws you in to his own one man war.


The Greatest...., 24 Jul 2008
In all types of history there are defining moments. A moment that is so extraordinary that you have to see it again to believe what you have just seen. It sometimes takes time for the dust to settle to appreciate such a moment.
This comic is one of those moments.
The Dark Knight Returns took a tired out superhero genre and re-injected it with the modern paced style we see today. A comic that in fact saved the superhero himself. The multi-layering of story lines in this epic tale is almost cinematic in its construction.
Maybe a little dated now, but at the time it re-defined everything in comics and the way superheroes where percieved. If you are a fan of Batman, this should be the cornerstone to your collection.

DARK KNIGHT RETURNS, 23 Jul 2008
If you are used to the slick, photo-realistic art of some modern Graphic Novels/Comics, then the look of this book may take some getting used to... but get passed that, and it's one of the best comics you'll ever read.

A very good read., 05 Jun 2008
If I had to choose one word to describe this, I would choose the word epic. Why? Because its an interesting look on how Bruce Wayne would handle himself in his later years with excellent action sequences and crisp dialogue. There's really only one thing bad about this, and that is the lack of Joker. Sure he's in it, but he's not really as important to the plot as he should have been. And he's camper than ever. But aside from that, buy it. It should tickle your fetish.

Dissapointing..., 13 May 2008
Honestly, I didn't see what the fuss was all about with this graphic novel. I thought the plot was all over the place, the pacing was shot to pieces, the art was average and there were more than a few absurdities which I found hard to swallow.

I don't read many comics or graphic novels, but I went through a brief obsession last year and bought about 25 or 30 over a few months. Given the hype and acclaim which has been heaped on this, I was expecting great things, and sadly I was disappointed on almost every level.

As others have said, Frank Miller's characterisation is probably closer to Bob Kane's original vision of the Dark Knight than anyone's (except perhaps Tim Burton). However, his motivations here are never wholly clear and the excessive scripting and repetitive 'news report' cells do little to help. The plot meanders through a handful of scenarios over its four chapters but they never feel wholly cohesive - and things take a turn for the frankly ridiculous when Batman is deemed such a menace that Superman is called in [personally by the president] to deal with him (not to mention the resolution of this encounter, which I won't detail). Further, the new Robin is just utterly irritating and a somewhat needless character (given that she brings very little to the proceedings).

It is rare that I get bored of a graphic novel part way through, but I found that on both read-thoughs I was losing interest in the character, the story and the situation as a whole (hence why I had to read it a second time reasonably quickly - to see if there was something I missed). I feel defensive in explaining why I didn't think much of this book, as I am well aware I am in the minority, and although I can appreciate how influential and important this may have been on release, that does not automatically make it a great read by today's standards.

So, to anyone who has yet to read this I'd probably suggest you to go for it, if only to make up your own mind, but for me this just wasn't what it had been hyped up to be.

Why? They ask me. Why does he do it?, 06 Oct 2008
Well, it is art and it is very hard to someone to explain the reason why he's an artist don't you think?

"Why" was the question several of my colleges at work asked me when I received this little book from Amazon this morning. First they've asked me why does he do it and then, why did I bought it. To the first question I answered that Slinkachu is an artist and this is his art. For the second question I didn't need to answer anything. Just passed the book to their hands and let them see for themselves.

I've been following Slinkachu work on the Internet for some time now and when I knew this book was on sale, I just had to bought it.

A little book that's a lot for the money., 02 Oct 2008
An entertaining and extremely interesting form of street art, this little gem will appeal to anyone interested in street art: it's a must if you're a fan of Banksy! Each piece has a shot showing its surroundings as well as a macro shot with its title. You really do empathise with each little figure! I'm sure any student would be happy to add this to his or her collection.

Brilliant street art, 05 Sep 2008
This is a really brilliant idea, and great "little" book. The idea is simple - take small people (1 inch high or so), paint them and put them somewhere, create a story around them, and take close up (macro) shots.

throw in some heartfelt life messages, and you have this book. It's a great alternative view on life, and life in London specifically.

Recommended.

Excellent, 05 Sep 2008
It's strange how something like this can be beautiful and hold so much emotion, but I guess that's the whole point of art.

Flick through and you're reminded that we're all little people at the end of the day. Slink captures that lost, vulnerable feeling we all get sometimes and then throws in the comic moments too.

I first saw "Dreams of packing it all in" when I was trapped in a big corporate and had just been prescribed the happy pills. It now takes pride of place on my self-employed office wall and reminds me of how things used to be.

And at this price, cannot we all afford some art in our lives?

Simply Outstanding!, 11 Aug 2008
Banksy's Wall and Piece is simply an amazing collection of his graffiti art all across the UK and the world. His unique style has won him international acclaim to fame. His artwork is not just vandalism but sends out a political statement which is bold and isn't afraid to mention things we would otherwise keep quiet. I first heard Banksy on a news website when he created another piece of work and then visited his website banksy.com, and since then fallen in love with his work. The other day I came across the book in a store and really enjoyed his collection of work. This is a must have book for any of those interested not just in art, but also those who have been shaped by the news in recent years.

To be honest, I am not a massive fan of art, or graffiti either but this is totally different! 5 STARS well deserved!

Colourful, vibrant, real, hopeful!, 24 May 2008
Persecuted in our fast and modern ways we thought the happiness will emerge eventually out of the individualistic work and the enhanced personal security. But instead of happiness we became fearful of the person next to us in such a way we caused depression.

We thought of a million ways to overcome the walls of our communication. Then Banksy, simply and quietly, used the language the humans always knew: "art". Using the freedom we always envy: "our walls". Exposing the obvious where political correctness or personal gain make us go silent: "graffiti".

Enjoy the book.

Banksy - a great summary of his work, 12 May 2008
The book summarizes his work pretty good. The new book (Banksy's Bristol - Home sweet home) does contain a lot of background stories - but this book just contains much more images and niece pieces of art.

Definitely a must-have, if you are interested in (stencil) graffiti.

There's Another Banksy, 25 Apr 2008
I have this book and absoluetly love it, it exaplains why he did it, how he did it and some of his experieces and anecdotes. The book is excellent to be able to see decent street art, but then I came across the person Bansky is inspired by. He is fairly unknown here in the UK but HE is BANKSY'S idol, he is called Blek Le Rat and he too has a book out, he is a 56 year old frenchman who has been doing the things Banksy has been doing for years longer, you can buy his book off amazon. I would say buy Banksy's book to see the British side of street art, but buy Blek Le Rat if you want to see the true inspiration behind Banksy's work.

brilliantly cool!!!!, 25 Mar 2008
I bought this book because im into graffiti, hip hop culture and art. Im doing a degree at the moment and thought it would be helpful, and im glad i did because not only is it funny and unique there is also a really clever message behind it all. If your considering buying it for influence with uni work or anthing like that then i seriously recommend it, if your just curious then its a really cool book to have.

"Your phd for living", 23 Sep 2008
If you search on youtube for "the art of looking sideways" you'll come across a 10 minute interview with the late Alan Fletcher. The man was clearly a visionary and apparently loved his Mac ;-)

If you're not into graphic design that much (like me) yet you're into philosophy or psychology, marketing or coaching, leadership or teaching or any other field where the human condition is front & center you'll still find lots of wonderful things in this book, if only by reading the quotes and the stories.

This book has been created by a discovering man, a collecting man and especially a listening and thinking man. He supposedly worked 18! years on this book. No wonder it's such a source of inspiration and insight.

I adore the 'chapters' on creativity and meanings. There are 72 'chapters' in total in this book, each covering a certain 'topic'. I prefer to call them 'mentalities'. Fletcher calls them '72 slices of life' and '72 slices of your brain'.

The two most genius properties of this book are:

- no two pages have similar layout
- you don't know what to expect when turning any page

Only buy this book if you want to discover. Fletcher was a designer but before one can design one has to discover. This book is a discovery by itself and it's filled with thousands of discoveries.

Stuck for an idea? Dive in here..., 24 Mar 2008
Alan Fletcher was one of the creative powerhouses of design from the 1960s on, and this book puts together some of his musings on life, the Universe and everything. The book is designed to spark ideas and thought, so even the paper used changes from page to page.

In typically quirky fashion, only the left hand pages are given a number so if you buy this book you actually get over a thousand pages of inspiring graphics, calligraphy, typography and photographs collected over the course of a long and illustrious career: he founded Pentagram; he designed logos for Reuters and the Victoria and Albert museum. The book gives a glimpse of the thought processes that went in to that work. For the money it's an astonishing bargain.

A homage to concept-driven design and thinking, 27 May 2007
This book provides so many examples of both the mechanics of a good concept and the power of lateral thinking. A great feat to have documented and communicated such an eclectic range of thoughts and ideas.

Inspirational, 27 Jan 2007
This is the book to have next to your desk: dip into it, when you need escape or inspiration. Or start from the beginning and work your way through it: whichever way you do it: I defy you not to find something interesting on virtually every page!!

Rowland Jones

A fantastic collection of interesting "factlets" and a good dose of self-indulgence by the author, 31 Dec 2006
What a wonderful title for this book of more than 530 pages. The target is visual awareness and it has 72 chapters devoted to themes such as "ideas", "thinking", "seeing", "camouflage" and "handedness". The author claims it is "a journey without a destination", and he is probably right, the implication being that it is the voyage that counts in life. It is truly a massive collection of bits and pieces collected by the author, thrown on to a basic structure, and presented "shaken not stirred" (to misuse a common quote from James Bond). Her lies the books major asset and its major defect. It is full of interesting images and text bites, yet at the same time it is full of bits of useless or uninteresting trivia. There are times when you get the impression that the author has been overly self-indulgent, but it is certainly a lesson to us all - collect every little bit of dross since it could become a book one day. Yet it also a fantastic collection of interesting "factlets" and for the price it is certainly worth having on your shelves. I suspect it is also a book that I will go back to occasionally just to skim through the odd 100 pages. I was planning to give this extravagantly over-indulgent book only 3-stars, but in writing this review I've convinced myself to give it a solid 4-stars for its fun content and the gall of the author in thinking his lifetime collection of "odds and bods" would interest others. It did.

Fantastic!, 08 Oct 2008
I have just bought this book and only really to get my free postage on my order - but what a great book! I only have a passing inerest in photography but often wondered how people got shots like they do. This book is presented in an easy to understand format and don't take any notice about the negative remarks about humour - it's there for a reason, to fix the ideas in your memory. I'm going to order the second volume as well.

A Groan A Minute, 30 Sep 2008
However useful this book may be the so-called humour is so thoroughly irritating that I ended up hurling across the room into the waste basket!

Highly recommended, 16 Sep 2008
Purchased this and the follow-up volume 2 and I have to say, I've read many books on the subject and all follow a similar path. These two books however are amazing. I have learned so much just reading volume one, that I can highly recommend these two books to anyone, who is wanting to improve their technique and produce not just good photo's but Great photo's. Scott has a very unique style which is easy to follow and along with his quirky humour (which I find actually helps get the message across) has produced two of the most amazing guides to the world of digital photography, I have had the pleasure of reading.

digital photgraphy book, 07 Sep 2008
this book is amazing,with in 2 days of reading the book,my photos improved 100 per cent.i highley rocomend this book for any beginners.well done scott.

A good combo with the 2nd Edition., 05 Sep 2008
Comical and spoken in easy-to-understand terms with excellent tips! Only problem is it's left me with an equipment and accessories lust, and all added together is a hefty sum (you'll see what I mean after reading the 2nd edition). He does compare prices of things according to your budget, but for someone like me, I'm only satisfied with the best. All in all, good books to get you started on the right track with photography.

If it's outdated now, it's because it opened a new era, 16 Sep 2008
'Ways of Seeing' is a book which some readers may find a bit puzzling. The ads reproduced in its pages look naive to us, in their unsophisticated emphasis on luxury and glamour, and Berger's commentary on advertising may seem a bit simple, but if so it's because he was one of the first and best critics to compare the effects and uses of advertising and fine art. The main difference between him and most contemporary commentators is that Berger had an independent perspective that they lack; his analysis has far more steel and indignation than the work of someone like Peter York, who comments on ads from the insider's perspective of "Is it effective or not?" Berger refuses to be seduced into talking about ads on their own terms. While the specific tactics used in advertising may be different now from what they were when this book was originally published, the basic strategy is still the same as it will ever be: to sell us not a product but a lifestyle.

Anyone who has travelled in a less-well-off country that has a functioning advertising industry (Greece, for instance) will have noticed that billboard ads there tend to be like early 70s ads in richer countries: they promote a dream of luxury, wealth and sophistication. Ads in the UK and Ireland are aimed at people who already think of themselves as reasonably wealthy and sophisticated, and so UK and Irish ads tend to promote an idea of the consumer as being rootsy, down-to-earth, unpretentious, sensible - all the things that we secretly fear we aren't. The tactic is different, but the strategy (to play on the consumer's hopes and fears about what kind of person they are) is the same.

Berger's work is hardly full of undigested chunks of Marxist doctrine, unlike the far more impenetrable and far less useful work of (e.g.) the Art & Language group. If you come across his work when you're young or ignorant enough, he is one of the most liberating writers around. He teaches you not to agree with him, but how to be critical in the first place; he provokes you into wondering if and how he could be right, which is a gift from a writer to a reader.

This is a relatively entry-level Berger. The early novels are not really very good, except for the first one, "A Painter of our Time". The Booker-winning "G" is a masterpiece, and the more recent fiction has been equally excellent but different in tone and method. The book-length non-fiction, such as "A Fortunate Man", "A Seventh Man", "Another Way of Telling", is all superb. He is one of the best English writers and as he passes 80, his work shows no sign of declining in quality or intensity.

It should be stated that this is only the accompanying book of a TV series which, shamefully, isn't available on DVD. "Ways of Seeing" the programme is still pretty mind-blowing, right from the cheeky opening sequence where Berger appears to cut up an actual Botticelli. The whole show is, or used to be, available in bits on YouTube. I would rather sit through a TV show by Berger than the whole of Kenneth Cla