The Photographer’s Eye: Composition and Design for Better Digital Photos
July 9th, 2010 | 
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- ISBN13: 9780240809342
- Condition: NEW
- Notes: Brand New from Publisher. No Remainder Mark.
Product Description Design is the most important factor in creating a successful photograph. The ability to see the potential for a strong image and then organize the graphic elements in an effective, compelling composition has always been persuasive one of the most important skills to make photographs. Digital photography has an exciting new aspect of design – first because of the immediate feedback from a digital camera allows immediate assessment and improvement, and secondly because the IMA. . . More>>
The Photographer’s Eye: Composition and Design for Better Digital Photos
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This is the best single volume on visual design and composition over the years. Painters need a book this good. Freeman’s previous book of the 1980s, “Image, had” long been the situation, in my humble opinion, the best bundle. His new book surpasses the former by a wide margin.
Freeman is one of the few photographers and artists of all kinds who can express their thoughts related to art concrete, precise, analytical way, not in the jargon of Much of what is written about art that lacks any real content. Not only is he a talented photographer, with dozens of books to his name, but he who has mastered the grammar of the image is one of the few who can describe how and why visual phenomena work.
This is the most comprehensive volume on this subject, there is at in terms of number of topics presented and discussed in a reasonable time. It is also the most effective statement of the findings of the current theory of Gestalt perception with traditional design elements / principles in print. The first 60% of the book covers the more practical aspects of designing an image.
The last two chapters to marry the other party for which is harder to articulate well: the message in an image, or photographer intended. Only in this book the author has tried to define the broad categories of intention to make an image. And then categorizes the physical and mental aspects of how a photographer goes after, constructs, or recognizes an image – the process.
Throughout the discussion, he introduced aspects of digital imaging, which a photographer can use a picture of the influence of design. Perhaps the most powerful development is that the digital camera and post processing technologies allow the photographer to color images all aspects of image control that were previously available only applicable in wet chemistry darkroom to monochrome images, and much more. < , Br />
Do not get me wrong. . . . This is a book for readers. We can not all benefit from this book, the illustrations alone, in the style of so many “how to” art and photography books these days than photos, but some text. But this is the book that got photographers will be exhibited for many years.
The only way it can be much better to be two times more pages. It would be wonderful for a manual for the visual arts, photography, art history appreciation of art, or a course in high school or college / university. />
My hope is that Freeman and the other is the author / photographers publish books, then plunged into the problem of the composition. To date, the situation is grim impression. This, Mantis, Hoffman and books are virtually the only English on the selection of photos above that the most basic levels. Together, these three books contains a very strong presentation at the intermediate level of image and structure of various approaches to give meaning and expression in any of the images.
While there are more than one can say. To date, not a comprehensive look at the role of similarity and to share in the cause of a spectator in the eye moved through a afbeelding. In other words, functions, shape, size, color, color, direction, etc., take priority in the order in which combinations, and how the principle of proportionality, or violations, work?
< , br /> So far, this review has not published research that updates the Alfred Yarbis groundbreaking overview of eye movements in the images from the 1950s 1960. His work is cited today as the definitive research in this area. The results suggest that the statements of many artists on the role of “leading lines” that can be superimposed.
The bright colors and bright colors really seem to project to a spectator and dark? A Russian scientist has an important argument in fact, shadows are a bit like a “project” and light areas. His work is not available in English.
Is the success or failure of an image even articulable only in terms of intangibles? At this stage in the history of art and the contribution of psychology and visual examination of the brain must be capable of precise statements about the structure and role in the success or failure of development implementation of the expression of the artist or sense it.
Unfortunately, there are few artists or photographers who can write, who can focus clearly enough on these matters to retailers statements that the true meaning. An excessive amount of writing on art and even less hand waving and shouting: Always, always, apparently.
It is a gift that Freeman can analytically written and very successful, versatile artist. This book shows that the success of the application there is information on powerful images. Three authors did not have much of an installation.
Let me start by saying that even if I write books for a living (including The Joy of Digital Photography (Lark Photography Book), I did not know Michael Freeman never contacted him. That said, this is by far the best composition and product design, you’ll find – and that goes for both professionals and amateurs. This is the first book, in fact, that I can recall that covers these topics with such depth and clarity of thought.
Freeman has long been one of my favorite picture book authors and this book continues his series of Great bed (his other recent book, The Complete Guide to Digital Photography is well worth owning). I laugh sometimes to see how his writing British, but it’s just funny, do not bother.
; The main thing I liked the photographer’s eye is that Freeman approached the subject from a perspective very nice. Although the book discusses the basic elements (lines, shapes, the dynamic tension, balance, etc.) He also speaks extensively on issues related more emotionally: the chiaroscuro and the key research agenda, the reactive mind, etc. These are concepts that most photographers experienced (and artists) are confronted once they have a strong sense of design and construction elements. />
The design is a more thoughtful or instinctive – and I think it is a combination of both. In reading this book, in fact, I can better see the value in taking an objective and analytical compositions are what we do and how we respond scenes quickly and instinctively and useful means to transform them into dynamic images. Very often when you have a good story you do not have the luxury of time to decide how to build image “get” what you see to find.
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This is the value of studying the composition and image design: you prepare to make decisions quickly. When you walk in the desert outside of Tucson, for example, and saguaro cactus you have a great potential silhouette at sunset, you only have two or three minutes for the item to organize, to choose the best point of view, the best lens and exposure. It is tragic for day after day to spend exploring the powerful images and do not come close.
Freeman’s book is filled with an extraordinary number of wonderful photos with great emotional and geographical diversity. This beelden are world class and not just “how to” examples and it is difficult to imagine a photographer with all these beautiful pictures. As I said, I write and illustrate books, and even I am impressed by Freeman proflific sometimes work.
If you are looking for a book on design, let alone $ 20 between you and this great knowledge and hundreds of fine (something I could tell my own book as well!). Just buy the book – or ask the library to order.
Freeman journey through the principles of photographic composition is an eye opener, eloquent, and beautifully published.
This is not a book about the basics of taking “best picture,” so people looking for information on exposure, cameras, lenses will not find here. Nor does the record of such information for all photos entered. In a general book on photography, this would be a major flaw, but here, that information does affect the main purpose of the book: the composition of a visual image.
The surface, the photographic composition, seems very subjective and idiosyncratic subject, you may one thing, I want something else. And if everything is subjective, just a matter of personal preferences, tastes and opinions, why would you write a book? Most books on photography thread carefully on this fragile, uncertain ground, and their authors are usually limited to a few simple pointers predictable: the rule of thirds and the golden section, with particular emphasis on the rectangle gold.
But Freeman thinks that clear, although that ultimately every photographer of their choice on what works best for the composition of their plans, those choices are voluntary (not chance), and informed by the height of all the options available. The eye of the photographer, any intermediate or advanced photographers provide a better awareness and understanding of the choices made.
Freeman begins at the edge of the image (chapters on the frame) and moves inside. Formats, for example (4:3, 3:2, square, horizontal and vertical, etc.) and have been scrutinized by numerous examples and well chosen. Unlike many books as examples of different images of different formats, often chosen Freeman, an image and shows how the perception depends on the chosen format or composition principle to show play. In the chapters on the effects I particularly liked the points focused on “going against” or against the natural meaning of the image, ie, most shooting “vertical” themes ( For example, a man standing) as horizontal frame, and vice versa (for example, a man sleeping on a bench in a vertical format used Freeman).
Gradually, the The author moves inward, to discuss the content of the photographs in the forms (curves, lines, etc.) and principles of composition (eg, symmetry, or a comprehensive discussion and an indication of the types of product contrast). The final chapters deal entirely “outside” view only image the impact of external development and space around the image (carpet, for example), and multi-image compositions (as a book or magazine spreads).
As some readers have rightly pointed out, a number of information published before the author’s earlier books, and other sources, but here, all comments are systematic and very elegantly put together in a full and complete work.
, this book is not easy to read, or quickly. It forces the reader on both sides of their brains going, because that much attention to images is as important as the words carefully. But it’s worth, and pay, in addition to access to the authors’ knowledge scope is a new way different to see things that are not new. For me, this is the function and the definition of a master, and this book deserves to be called and zeker.
It is a good book for someone looking for a guide to the theory of the composition of the photograph. It covers much ground and teaches in fact, you the principles of composition, but it is really bothered by the poor writing style. The language is just not very concise, lively, and sometimes the author would get to the point instead of writing complex sentences in 1910, which essentially say one thing. Unfortunately, there is not anything else close to this book are available, so if you want to build and shape, which is probably your best choice when learning, writing ondanks De Stijl.
You should not buy this book because I want to dominate the world through the art of photography myself! It is a simple treatment composition principles that apply to photography. The book was cheap, valuable knowledge. It would be nice if a workbook with it, though. I will reread this book several times because the book is thick with rich content. Ever read a book that only one or two concepts to help? This type covers a lot of ground – and he does it effectively.