Book Review: The Lives of Others By James Carroll

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Book Review: The Lives of Others By James Carroll

October 21st, 2024 by Michael Ernest Sweet

Riverside Drive, New York City,1966 © James Carroll

James Carroll had an eye for life, a rare quality that his only monograph, The Lives of Others, magnificently showcases. His deep passion for the beauty of existence is evident in every frame—something not always associated with the street photography genre. As Sean Corcoran writes in his essay for the book, Carroll possessed a unique combination of “restlessness and curiosity,” qualities that fueled a lifetime of exceptional, singular photographs. This collection stands as proof of that enduring commitment. It’s deeply unfortunate that Carroll did not live to see the book’s release, though he did see it through to completion, and his sharp editorial instincts are clearly on display. The result is a book of undeniable excellence.

Much of the contemporary street photography we encounter today tends to be wide-angle, offering a sprawling visual representation of urban life in every frame. While these images can be interesting, they can also grow tiresome. Carroll, however, favored more intimate compositions, often focusing on the details of a moment rather than overwhelming the viewer with extraneous context. His choice of a tighter shot—likely captured with a 40mm or perhaps even a 50mm lens—allowed him to distill the scene to its essence. Carroll found the sweet spot between closeness and restraint. His photographs resonate with a quiet power that I find particularly compelling.

Brian, Mount Kisco, New York,1970 © James Carroll

Yet, it is not merely the intimacy of Carroll’s framing that elevates his work. Carroll’s images are infused with a range of qualities that make them compelling: an innate sensitivity to the human condition, a profound understanding of black-and-white photography, and an impressive capacity for self-editing. The book offers a rare glimpse at one of his contact sheets (how I wish there were more), and it’s a masterclass in precision. It’s evident that Carroll rarely shot multiple versions of the same scene, and he almost always captured the perfect moment. He was, as we might say, a born photographer. While his work may bear echoes of figures like Mark Cohen, Robert Frank, or Lee Friedlander—contemporaries with whom he may have shared influences—the truth is that Carroll’s style is distinct and stands on its own merit. It’s clear that his work embodies the hallmarks of the greats.

Mark and Ross, Mamaroneck, New York,1975 © James Carroll

Retrospectives of a photographer’s career can be tricky. How does one distill forty years of work into a cohesive volume? Too often, such collections end up presenting a disparate selection of strong images that fail to convey a unified artistic vision. The most compelling photography books typically focus on a single project or a tight time frame, rather than attempting to encapsulate an entire lifetime of work. But in The Lives of Others, Carroll and Kehrer Books have gotten it right. The collection not only showcases Carroll’s formidable skill as a photographer, but also offers a glimpse into his broader artistic vision. This is a book that feels deliberate and well-curated, a window into the life and work of a man who photographed not for fame or recognition, but because he was compelled to do so. Carroll’s work is authentic, humble, respectful, and beautiful—qualities that stand in stark contrast to today’s image-driven culture. His photographs are filled with humanity and kindness, and they are deeply relatable. One image, in particular, the cover shot of two children in Bethlehem, Pennsylvania, struck me personally. My husband, who is from Bethlehem, would have been the same age as the children when this photograph was taken in 1986. That connection made the image resonate even more deeply, but every other photograph in the book touched me for its own reasons. Carroll had a remarkable ability to capture the pulse of American life, and his work is a testament to that skill. As a fellow photographer, I find myself both in awe and, frankly, a bit humbled.

Kutztown Folk Festival, Pennsylvania,1970 © James Carroll

While Carroll does occasionally step indoors, he is first and foremost a street photographer. And in this genre, it’s incredibly difficult to stand out, commercially or artistically. Street photography is rarely regarded as “art” in the traditional sense, and it often struggles to find a place in galleries or on the walls of collectors. Carroll is a powerful counterexample to this prevailing notion. His photographs are, without question, art—some are as evocative and beautifully composed as any painting by Edward Hopper. His images deserve a place in museums and homes alike, as they capture not just moments, but the very essence of American life.

Sparks, Nevada,1990 © James Carroll

My criticisms of this book are few, and largely minor. If I were to nitpick, it would be the inclusion of text scattered throughout the pages. Photographs, in my opinion, should speak for themselves, or not. The trend of pairing images with written commentary feels unnecessary, and I often find it detracts from the visual experience. A well-placed introductory essay or afterword is one thing, but I would prefer that the photographs stand alone without the distraction of too many words. As I often say, less is more and publishers need to move on from this rather annoying trend.

Ultimately, it’s a shame that James Carroll did not live to see the full impact of his book. How proud he would have been to see his work celebrated, and how deserved that recognition would have been. The Lives of Others has already secured its place as an iconic volume in the world of street photography, and its reputation will only grow from here.

James Carroll
The Lives of Others
Edited by Régina Monfort
Texts by James Carroll, Sean Corcoran
Designed by Francesca Richer
Cloth hardcover with tipped-in plate
24 x 22 cm
192 pages
123 duotone ills.
English
ISBN 978-3-96900-150-9
Euro 50,00 / US$ 58.00

About Michael Ernest Sweet

Michael Ernest Sweet is a Canadian photographer, writer, and art critic. He is the author of The Human Fragment and Michael Sweet's Coney Island. Michael has written about photography for over a decade for publications such as the HuffPost, FStoppers, StreetPhotography.com, as well as print-based magazines like Photo Life and Digital Camera. He is the recipient of a Queen's Medal for significant contributions to the arts and education in Canada.

View all posts by Michael Ernest Sweet →

Location: Online Type: Book Review

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