Why take a self-portrait but obscure your face with a lightbulb (Lee Friedlander Provincetown Cape Cod Massachusetts (1968)? Or deliberately underexpose an image (Vera Lutter Battersea Power Station XI July 13 2004)? & why photograph a ceiling (William Eggleston Red Ceiling 1973)? In Why It Does Not Have To Be In Focus Jackie Higgins offers a lively informed defence of modern photography Choosing 100 key photographs with particular emphasis on the last twenty years she examines what inspired each photographer in the first place & traces how the piece was executed In doing so she brings to light the layers of meaning & artifice behind these singular works some of which were initially dismissed out of hand for being blurred overexposed or badly composed The often controversial works discussed in this book play with our expectations of a photograph our ingrained tendency to believe that it is telling us the unadorned truth Jackie Higginss book proves once & for all that theres much more to the art of photography than just pointing & clicking