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The Photographer's Eye: Composition and Design for Better Digital Photos
Ebook Download The Photographer's Eye: Composition and Design for Better Digital Photos
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Review
"Beautifully presented with generous and helpful color illustrations, this book is a very affordable addition to the library of the serious photographer."--Canadian Camera (Feb. 08)
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About the Author
Michael Freeman is a renowned international photographer and writer who specializes in travel, architecture, and Asian art. He is particularly well known for his expertise in special effects. He has been a leading photographer for the Smithsonian magazine for many years, and has worked for Time-Life Books and Reader's Digest. Michael is the author of more than 40 photographic books, including the hugely successful Complete Guide to Digital Photography and The Photographer's Eye. For his photographic educational work he was awarded the Prix Louis Philippe Clerc by the French Ministry of Culture. He is also responsible for the distance-learning courses on photography at the UK's Open College of the Arts.
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Product details
Paperback: 192 pages
Publisher: Focal Press; 1st edition (June 6, 2007)
Language: English
ISBN-10: 0240809343
ISBN-13: 978-0240809342
Product Dimensions:
9.2 x 0.5 x 9.8 inches
Shipping Weight: 2 pounds
Average Customer Review:
4.1 out of 5 stars
448 customer reviews
Amazon Best Sellers Rank:
#66,958 in Books (See Top 100 in Books)
This book is better, IMHO than venerable creation of the same author called "Photographer's Eye. And you know why. Because in a former book author writes beautiful essay in order to explain composition. Here, on the other hand, he shows you how to do it using graphs, point of view of camera, angles of sun, shades and so on. This book is graphic and it is better than Photographers Eye. Do you want to hear eloquent prose as to how make your picture astonishing? Buy, former book. Do you want to see, really see, how it is done? Buy this one.
This is a really important book. Most photography books are solely concerned with cameras and lenses, but this book focuses (pun intended) on the psychology of the way images are interpreted and understood by people, which I think is far more important than equipment. The book is beautifully written and filled with gorgeous photographs illustrating the photographic and artistic concepts explained within. Photography has become bigger than ever before, and with the affordability of high-quality DSLRs and the image-sharing world of social media, everyone is a photographer today. In and of itself that is not a bad thing since Photography as a medium of documenting life as well as a medium for creative self-expression should be available to everyone. The problem, I feel, is that we've become too obsessed with technology, and we've forgotten that understanding the psychology and philosophy involved in all visual art is of paramount importance in creating images. Most books and YouTube videos are dedicated to catering to the consumer mentality. Everyone wants the newest, most expensive cameras with the most bells and whistles and highest megapixel counts, not realizing that you can take a great photograph with ANY camera, even point and shoot cameras and mobile phones. But the way to do that is to understand the elements of a good photograph and to think deeply about your compositions. That's where a book like this comes in. The author also wrote another book entitled The Photographer's Mind, which is equally a great book and also deals with the psychology of image making. Both books should be on the bookshelf of any serious photographer or artist.
This is a catalog of compositional ideas for organizing the visual elements of a photograph. The catalog is organize into 10 major areas of interest, then further divided into 80 subgroups. For each subgroup, the concept being discussed is illustrated by a full page photograph followed by a second page (or more) of discussion using mostly graphical diagrams illustrating the organizing principles involved. These pages give a thorough and enlightening education in designing and constructing photographs. Note that the list is NOT organized by the subject of the photograph (nature, cityscape, people. macro, etc.) Rather it contains the design elements that determine how ALL pictures look (framing, placing, dividing, viewpoint, color, etc.). In this sense the catalog is applicable to all photos regardless of the subject matter.The methodology used to discuss each of the subgroups is unusual. Verbal description are kept to minimum while the main points are illustrated with graphical explanations. The reasoning is that the discussion of graphical images might best be conducted using graphics. It works well once you get into the spirit of the venture.The question remains of what to do with this valuable information and analysis. It is not likely that many photographers will memorize the essence of 80 compositional subgroups. Most will probably start with their present range of photo subjects and relate these photos to the analyses shown in the book. Comparing what they do to compose their pictures with the analyses shown by Freeman can help clarify their photographic thinking. Further, investigation of related subgroups can broaden their photographic thinking. They can experiment with new compositional variations and expand their photographic horizons.Freeman's great contribution is in providing a comprehensive framework that photogrphers can use in many ways to help expand their visual perception.
I have about 50 books on photography. They are the "recommended" books and are actually just rubbishBut The Photographer's Eys is pure genius. I've read this book about ten times and I'm still learning from it
This book is an excellent look at the framing and composition of photos. It is very comprehensively written and beautifully illustrated. While composition is something that is ultimately, in the eye of the photographer, Freeman operates on the principal that you need to understand all the basics before you can specialize. Not only that, but the underlying knowledge of many different ways to compose a photo allows a photographer to create the best setting for each one, instead of always relying on the rule of thirds or the golden rectangle. The way that the information is presented, essentially from the outside edge inward, requires the reader to pay close attention and think about what's being said - this is not a quick and simple "just do this and all your pics will be InstaGram worthy!" book, but a book for artists who are seeking a deeper understanding of this important design principle. Freeman writes very well and intelligently about some difficult, often passed-over ideas. He is not afraid to delve into areas like the intention or message behind a photograph, and how best to communicate those ideas. His book is definitely the comprehensive guide to this subject.
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