This is one of the few negative reviews you'll read of this book.

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	• Radiant Identities: Photographs by Jock Sturges Aperture, 1994 - 96 pages average customer review:based on 29 reviews view larger image
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highly recommended

This is one of the few negative reviews you'll read of this book.

While Jock Sturges has almost flawless control of the technical aspects of the photographs in this book (excellent exposure and placement of the subject matter): the moments it captures leave much to be desired.

Perhaps it is simply that I am looking at it from the wrong perspective, and I am expecting of it something that cannot be expected of straight portraiture, but I don't believe this to be true.
The black and white photographs are very well done in that they have wonderful transitions of gradient tones, and the subject matter is always very clear and concise with little confusion as to what aspect of the photo you should be concentrating on. What i don't like is the overall emotional aspect of the photographs, and the reactions of the people in them. For me, there is only 2 photographs in this book that have any sense of emotive quality that i would actively seek out - and even those two photographs have problems.

- In the photograph of the boys holding hands, and in several others, I see apprehension on the faces of the subjects. I see someone looking at a camera not knowing if they should be going about there normal business, and someone who is unfamiliar with the person taking the photograph. It is not outright anger or dislike - just apprehension.

- In the photograph of the girl and the boy leaning on each other on the beach; it is a beautiful sentiment and it is well done, but you can see, you can FEEL the boy looking at the photographer with a sense of protectiveness, a sense of disconnection from his activities in order to be watchful of this person taking photos of them.

In all but a few of the photographs - the person being photographed is looking at the photographer or the camera itself. this is fine in most photography - but the setting of this book is not the studio, and it is among other people. I would like to have expected an interaction with the people around the subjects, with the surroundings, or at VERY LEAST, an internal reactions of the subject themselves (wonder, happiness, sadness, questioning, SOMETHING).

I am of the school of photography that believes in capturing the essence of a moment, the little tricks the body does to convey an emotion, that which is a moving changing thing, that has a reason, a direction; an engagement. You'll see them every now and again in the people your around a lot, a furrowed brow, an upturning of the mouth.
A big part of being able to capture such moments requires that the person never be looking at the camera. they should be looking at you. at the person behind the camera - and not at a photographer, at a person with whom they FEEL something towards. and if they are simply looking at the camera, there should be something more in it then simple apprehension.
Personally, this book fails in many ways for me. It is titled "Radiant Identities" - but I see no identities, I see no emotional personality, I see only bodies who are unsure and aware of a man taking photographs of them. I give this 3 stars because the techniques are well done; and because as a resource for artists, it has a few selections that are wonderful anatomical and surface muscle studies that are hard to find elsewhere. From the perspective of art however I would give it a 2 at best.

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Stunning.

Many of the images in this book hold me totally spellbound, even after enjoying it (in hardcopy) for several years. I experience a sense of "beckoning", a call to enter the images and pursue the stories that most of them so strongly hint at. The cover photo so captivated me that I bought a official/authorized print of it.

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The early Jock Sturges

I first came across this book about ten years ago and when I did I instantly became a Jock Sturges fan. But it wasn't until resonantly that I realized just how powerful and deep his art can be. Visiting an art gallery I was stunned by the detail, contrast and the three dimensional quality of Jock's full sized prints. The images you see in his books might have been taken with a medium format camera such as a Hasselblad. Viewing his full sized images, with all their extraordinary detail, you become aware of just what an 8 by 10 view camera can achieve in the hands of a true master. The models seem almost alive.

But this wasn't my only surprise. Many of the images I saw at the art gallery had never been published and I thought that these were Jock's most profound and challenging work. One such print, "Julien et Antoine, Montalivet, France; 2004", really knocked my socks off. We see two beautiful young twin brothers, as naked as the day of their birth, in a bedroom. We know this to be an adult's bedroom as there are no toys or other childish things about, only an adult sized backpack beside the bed. The translucent canopy draped over the large bed and the house plant visible in the upper left corner gives the room a romantic, almost feminine feel. Yet the boys, still a year or two from puberty, seem to own this very adult space.

Antoine is seated on the bed, very relaxed with his arms at his side. Julien stands before him and with an almost sensuous sence of self-confidence he establishes a relationship with us by gazing directly into the camera. His arms are crossed over his chest-perhaps for protection-but, like his brother, he makes no attempt to hide his exposed genitals. His weight is resting on his left leg and his body is shifted sideways in a pose that suggests he is well aware of his beauty and emerging sexuality. This little boy is no longer entirely innocent. He knows that evil exists. He is aware that there are those who would see his beauty as an obscenity and his trust as a come on. We feel privileged that this beautiful boy has allowed us, the viewers, to examine every detail of his stunning body as he meets our gaze without fear or shame. But at the same time we feel challenged. The boy knows that if there is any indecency the fault lies not with him, or with his brother, but with us the viewers. If there is evil then that evil is in us, not him. This picture is worth much more than a thousand words.

If "Julien et Antoine, Montalivet, France; 2004" were to be compressed to the point where it was small enough to fit in a book-or be posted on the net-the stunning technical skill and detail of the photo would be lost and as a result it might well appear pornographic. I felt as if Jock had lead us right up to the edge of the void and then, at the last possible moment, pulled us back to safety. This is surly one of the most beautiful, powerful and potentially disturbing images of the twenty-first century.

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Outstanding works of art!

Read my review on "The last day of summer" if you are looking for a book to sexually excite you. In my opinion this is his second best book, maybe is the fact that the book is not as "complete", as it covers too many different surroundings. It still is a 5 star work of art, go ahead and buy it, you'll be pleased!

Beautiful work, great book to own

Mr. Sturges second book, by now he'd fully developed the style his fans all know so well. Some of his best nudes, and clothed portraits, are featured here. This is one of the better photo books I've got, maybe one of Sturges better books.
The most notable feature are perhaps the two contributed essays, the one at the front of the book quotes unidentified subjects of Mr. Sturges on their feelings about posing for him, you won't find anything else like that until the most recent book "Notes".

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reviews: page 1, 2, 3, 4, 5, 6

In Radiant Identities, photographer Jock Sturges explores issues of youth and the liberation of body and spirit. These unforgettable images are made from his own circle of acquaintances and family; the settings are their homes and stretches of naturist beaches in France and Northern California. In superb reproductions, Sturges evokes the classical spirit of Old Master paintings and late-nineteenth-century photographic tableaux, while probing concepts of emergent sexuality and psychological intimacy.

Aperture's 1991 publication of Sturges's first book, The Last Day of Summer, came shortly after the FBI's much-publicized raid on his home in California, the confiscation of thousands of his images--deemed "pornographic"--and the subsequent rejection of the case by a federal grand jury. Now in its fifth printing, The Last Day of Summer has outlived and transcended that ordeal, drawing both critical and popular acclaim throughout the United States, Europe, and Asia, and bringnig Sturges well-deserved artistic recognition.

Radiant Identities is the second volume in Sturges's ongoing work. Physically and psychically revealing, these deeply felt images are glorioiusly natural and wonderfully compelling.

Elizabeth Beverly's introductory essay, drawn in part from conversations with Sturges's subjects, adds a new dimension to the photogarphs. These personal reflections shed light on the unique collaborative process by which Sturges's remarkable photographs are made.

In the book's afterward, noted photography critic A.D. Coleman places Sturges in the context of current debates surrounding censorship in the arts, and discusses the themes of innocence and sexuality in the photographs.

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