Howard, David. Realities by David Howard.

San Francisco Center for Visual Studies, 1976.  Introduction by Mary Roth.  Photography art book. Work by the experimental photographer David Howard, who got his M.F.A. at the San Francisco Art Institute, that demonstrates one photographic artist's unique reality.  Some of the black-and-white photos are psychedelic using photomontage techniques.  Biographical information in back of book with list of numerous exhibitions and publications.  Wraps, good with page crimps, rubbing on back cover, and small pieces of archival adhesive tape along spine. Not issued with ISBN number.  See photos. Summaary:

Realities (1976) by David Howard is a visionary, mid-century exploration of the "Malleability of Perception." Published during a decade of intense experimentation, Howard’s work serves as a technical and philosophical bridge between traditional documentary photography and the "Constructed Realities" of the digital age that would follow.

Core Themes and Narrative

• The Fragmented Subject: Howard’s central narrative is that "Reality" is not a fixed state but a collection of optical fragments. He uses the camera to deconstruct everyday scenes—urban architecture, human figures, and industrial surfaces—into abstract components.

• The "Psychological Landscape": The book moves away from geographical location toward an internal topography. Howard explores how light and shadow can be manipulated to trigger "Subconscious Finishes," making the viewer question whether they are looking at a physical object or a mental state.

• Man vs. Machine: A recurring theme is the integration of the human form with the built environment. Howard frames the body not as an organic outlier, but as a "Biological Component" within the mechanical grid of the modern city.

Visual and Technical Notes

• Solarization and High-Contrast: The style of the images in Realities is heavily influenced by the techniques of the 1920s avant-garde (reminiscent of Man Ray). Howard employs heavy solarization and extreme tonal compression to create a "Metallic Finish" on his subjects.

• Geometric Layering: Howard’s style often involves double exposures or complex reflections. This creates a "multi-layered reality" where the sharp, forensic detail of a stone wall might bleed into the soft, ethereal silhouette of a face, resulting in a high-performance visual tension.