Why it Does Not Have to be in Focus

Why would someone take a self-portrait and obscure their face with a lightbulb, as seen in Lee Friedlander's work from Provincetown, Cape Cod, Massachusetts (1968)? Or intentionally underexpose a picture like Vera Lutter did with her image of Battersea Power Station on July 13, 2004? And what is the purpose of photographing something as ordinary as a ceiling, just as William Eggleston captured in his 1973 piece, "Red Ceiling"? In her insightful book, "Why It Does Not Have To Be In Focus," Jackie Higgins delves into the fascinating world of contemporary photography to offer an enlightening exploration of these questions. Through a selection of 100 pivotal photographs, with a particular focus on the innovations of the last two decades, Higgins delves into the inspirations driving each artist and elucidates the processes behind their creations. Her analysis reveals the intricate layers of meaning and creativity woven into these exceptional images, many of which initially faced criticism for being blurred, overexposed, or seemingly poorly composed. The book highlights how these often contentious artworks challenge our conventional perceptions, questioning the inherent expectation that photographs present an unembellished reality. Jackie Higgins compellingly demonstrates that the art of photography extends far beyond the simple act of pressing a shutter button.