Ralph Gibson’s The Somnambulist, published in 1970, is a dreamlike photographic exploration of subconscious perception and abstraction, marking a defining moment in his career and significantly influencing the photobook genre. Created between 1967 and 1970, while Gibson was living in the Chelsea Hotel in New York City, the project emerged during a time of financial hardship and artistic transition. After working as an assistant to Dorothea Lange and Robert Frank and a brief association with Magnum Photos, Gibson sought to assert his independence as an artist.
Set against the backdrop of late 1960s America, a time of social unrest and artistic experimentation, The Somnambulist reflected a departure from the documentary tradition that had defined much of photography at the time. The project’s structure emphasizes mood and perception rather than conventional storytelling, reflecting the fragmented and ephemeral qualities of dreams.
Gibson’s images are not intended as straightforward representations of reality but instead function as visual equivalents of poetic or musical compositions. Tight framing, high contrast, and unconventional cropping contribute to a heightened sense of abstraction and mystery. The interplay of light and shadow, coupled with stark black-and-white compositions, evokes a cinematic quality that aligns with Gibson’s interest in film. By emphasizing the unseen and suggesting narratives outside the frame, the work encourages active viewer engagement and interpretation.
Technically, Gibson used a compact rangefinder camera, primarily with a 50mm lens, allowing him to maintain a close, intimate perspective that enhances the viewer’s engagement with his compositions. His meticulous darkroom techniques, particularly the use of high-contrast prints on hard paper, further emphasized the stark tonal qualities that define his aesthetic.
After facing rejection from traditional publishers, Gibson founded Lustrum Press in 1969 to retain control over The Somnambulist. Upon release, the book received critical acclaim, establishing his international reputation and proving the viability of personal, conceptual photobooks. It later became the first in his "Black Trilogy," followed by Déjà-Vu (1973) and Days at Sea (1974), now widely regarded as significant contributions to the photobook genre.
