SHADOW OF THE CAMERA
I CAN TAKE IT, By Jack Cato, Georgian House, London. F it is refreshing to be breezy, and entertaining to be discursive, the author justifies his autobiography. He was a Tasmanian who grew from an adventurous boyhood to special skills with camera and in the darkroom. He travelled widely and shot people and places from Australia to Europe and back, with a period in South Africa. His technical abilities are varied and should interest the layman as well as the fellow photographer. The many fine plates that illustrate the book are evidence of the author’s mastery of his craft. The standard of writing in the book falls below that of the illustrations. The author is so cocksure that he flings around prejudices disguised as facts, and careless thinking disguised as homespun philosophy. The autobiography has the common fault that its writer pines for the good old days when even the women were more. beautiful! His generalisations on art are biased and his attack on (continued on next page)
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(continued from previous page) Picasso and the Moderns unconvincing. Indeed he shows considerable confusion in mixing photography with art and vice
versa.
J.D.
P.
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https://paperspast.natlib.govt.nz/periodicals/NZLIST19480312.2.38.3
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New Zealand Listener, Volume 18, Issue 455, 12 March 1948, Page 19
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198SHADOW OF THE CAMERA New Zealand Listener, Volume 18, Issue 455, 12 March 1948, Page 19
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Copyright in the work University Entrance by Janet Frame (credited as J.F., 22 March 1946, page 18), is owned by the Janet Frame Literary Trust. The National Library has been granted permission to digitise this article and make it available online as part of this digitised version of the New Zealand Listener. You can search, browse, and print this article for research and personal study only. Permission must be obtained from the Janet Frame Literary Trust for any other use.
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