Great book for photographers and artists on how to compose pictures to gain maximum viewer interest. Some of the theory behind it seems a bit murky. "S' curves evoking the primal fear of snakes. But it's really good for getting you thinking how your viewers are going to get their eyeballs onto the picture. How you can compose artwork to determine how they track across the picture, and thus input the brain.

"Why does an artist paint pictures, write symphonies, carve statues, tell stories? Is it because he finds joy and spiritual release in the mere doing of these things? Probably; but this is not the whole story. Is it because he makes his living after this fashion? No doubt; but there is still more to it than this.
Here is the third reason. It is a very significant reason, though it is generally disregarded. The artist persists in being an artist because he revels in the feeling that he may affect or influence people by his work. He does not demand approbation, but he does demand *notice and response.* The thought that he may through his work influence people and strike past their defences to their secret emotions gives him a gratifying sense of power." ( )

This guy’s photos are INSANE, super dark. “American grotesque” indeed. I was hoping it would be a nicer art book, but it’s a paperback guide for photographers. Still cool to see these pictures. ( )

From Larry Lytle's introduction, pp. 20-21:
THE COMMAND TO LOOK imparts no technical information whatsoever. It is best seen as a treatise on the use of psychology and visual perception to construct a picture. Early in the book, Mortensen instructs the reader that 'any picture that "goes places" does so by following a definite psychological formula.' The 'formula for picture success' which he then explicates is actually a primer on how to use the brain's hardwired receptors to manipulate or control the viewer's interest in and reaction to a photograph.
"Although he never specifically states which branch (or branches) of psychology provided the basis for his claims, Mortensen seems to have been influenced by Carl Jung's theories concerning the collective unconscious and archetypes. Mortensen conceives this in a broader category, identifying it with an inborn and subliminal response to fear stimuli in all humans."

introduction cont., pp. 24-25:
"Mortensen's theories in THE COMMAND TO LOOK also foreshadow certain aspects of postmodern philosophy. His ideas about how one connects to images through emotion, and how Impact can be used to create a climactic point in the composition, parallel those of philosopher Roland Barthes. In his book CAMERA LUCIDA, Barthes cryptically discusses his encounters with photographs that contained what he calls the STADIUM (emotional connection, an ability to speak to the viewer) and the PUNCTUM (some detectable or indescribable point that catches the viewer's attention). For Barthes, the interaction between the 'spectator' (viewer) and the photograph takes on a primary importance, as it does with Mortensen.
"Last but not least, Mortensen's theories in THE COMMAND TO LOOK foreshadow the use of subliminal techniques in film and advertising that gained precedence in the latter half of the twentieth century. He thought of his system of Impact and Subjective Interest as a way to manipulate and entice the viewer into a consumptive relationship with his photographs."

Mortensen on artistic motivation, pp. 41-42:
"Why does an artist paint pictures, write symphonies, carve statues, tell stories? Is it because he finds joy and spiritual release in the mere doing of these things? Probably; but this is not the whole story. Is it because he makes his living after this fashion? No doubt; but there is still more to it than this.
"Here is the third reason. It is a very significant reason, though it is generally disregarded. The artist persists in being an artist because he revels in the feeling that he may affect or influence people by his work. He does not demand approbation, but he does demand NOTICE AND RESPONSE. The thought that he may through his work influence people and strike past their defenses to their secret emotions gives him a gratifying sense of power.
"The Romantics conceived of the artist living in an ivory tower apart from men and affairs. It is barely possible that an artist could live and create in such sanitary isolation, but in order to get his human recompense for his labors, he must descend to the plane of the marketplace and note and rejoice in the effects of his works on other men. Nor is it enough for him to have his friends dutifully say 'Ah!' He wants to have evidence of the effect of his works on the large, personally indifferent public. It is a matter of less importance to him whether the public is pleased, amused or angered at his works; but SOME sort of reaction he must have, and on this his ego nourishes itself.
"....
"The truth is that there is a great deal of the showman in every artist who is worth his salt. As such, he posts lurid signs, he beats on a gong, he yells himself hoarse - anything to halt the passing crowd and lure them inside his tent. Of course, if he is a wise showman as well as an energetic one, he will have something worthwhile to offer the crowd when he has gotten them inside..."