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Creative Portrait Photography: Innovative digital portraiture to reveal the inner subject Paperback – 30 Apr 2012


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Product details

  • Paperback: 160 pages
  • Publisher: ILEX (30 April 2012)
  • Language: English
  • ISBN-10: 1907579907
  • ISBN-13: 978-1907579905
  • Product Dimensions: 23.5 x 1.2 x 25.4 cm
  • Average Customer Review: 3.8 out of 5 stars  See all reviews (12 customer reviews)
  • Amazon Bestsellers Rank: 98,511 in Books (See Top 100 in Books)

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Customer Reviews

3.8 out of 5 stars

Most Helpful Customer Reviews

11 of 12 people found the following review helpful By JustMe on 27 Mar 2013
Format: Paperback
It may be creative at times, it's sometimes portraiture, but photography it is NOT.

Miss Aniela expressively waxes lyrical about all the famous artists through history that she based her work on, or is inspired by. No problem...she's certainly got a talent with words and selling herself; if only her photography could support those words.

Almost every explanation of how Miss Aniela set up her (90% self portrait) shots simply details how she applied A LOT of heavy Photoshop to fix errors made while originally shooting. On the rare occasion that she did not admit to a mistake the "photography" is just a lot of compositing in Photoshop (adding parts of photos to other photos, such as adding a background to an existing shot, or adding a person to a background, replacing a sky etc.)

The other aspect is the cheating/trickery ("floating"/cloning people) which in my opinion gets pretty tedious and repetitive after the first few. If you want to learn this just do a search on Google for Multiplicity/cloning or 'floating in photoshop'. Not to mention the seemingly constant and narcissistic desire to pose naked in her self portraits, of which I can only really see one as being truly beneficial to the creative aspect of the photo.

In addition to this, any avid amateur or professional would certainly see the blatant errors in her editing immortalised in this book with so many halos around many of the composite figures. I find it surprising this these images actually comprise a book printed by Ilex, a respected and reputable publisher whose books rarely do anything but impress me.

___________________

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17 of 21 people found the following review helpful By pdesai_e- on 19 Sep 2012
Format: Paperback Verified Purchase
Naked. Random pretty thing. Overlaying in Photoshop. Naked. Self-indulgent, photos. Naked. Overlay in Photoshop. Naked. Nude.

If you understood that, then you will have got more out of my review than I did out of the book. I bought this book hoping to gain an interesting, non-technical perspective into portraiture. Sadly the author is not yet capable of writing such a work. I think she has it in her, but I think she is currently lacking in the experience and consideration required to articulate anything philosophical or interesting about portraiture.

Most of the book is overly indulgent, nude self-portraits (involving overlaying frames) that seem to be justified post-shoot as opposed to taken with deliberate artistic intent. Every chapter conveys the same meagre information and ideas in a different setting, making the book very repetitive.

While I found it generally quite irritating to read, there were a few things that I found quite useful. Sadly I can't remember them for all the other rubbish that I was forced to wade through.
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The first thing to do before buying this book is to have look online to see whether you like Natalie Dybisz style of photography. If you do not then you will not like the book, so do not buy it. If you like what she does (which I do), it is an excellent book. It assumes a reasonable knowledge of photoshop, which some reviewers have not liked, and basically talks you through a range of her photos and how they were shot and processed. She does not provide you with images to download so you can work through the processing, nor do you get enough detail on her workflow to do this, so it is not a strict instructional book along the lines of Matt Kloskowsi or Martin Evening. But if you want to get into creative portraiture using post-processing, there is plenty of stuff here to provide inspiration.
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1 of 1 people found the following review helpful By GIMAGES on 4 Dec 2013
Format: Paperback Verified Purchase
Wow. A talented photographer offering a creative and conceptual approach to portraiture. If you want to get ahead of the competition this book gets you not only thinking, but experimenting. A great book for the coffee table too.
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13 of 17 people found the following review helpful By Andy_atGC TOP 100 REVIEWERVINE VOICE on 25 July 2012
Format: Paperback
There is a distinction between classic portraiture and the modern, creative form. With classic portraiture, the concept was to show the personality of the sitter and sometimes their profession or occupation, and certainly not least, for the sitter to be recognisable. In the 1930s-50s, the names to follow would have been those of Cecil Beaton and Yousef Karsh for their studio work and Edward Weston and Robert Doisneau for location photography. From the 60s onwards, it would be David Bailey, Richard Avedon, and the Lords Snowdon and Lichfield, amongst others. Although they often photographed those becoming famous and famous, the viewer can often understand what the sitter is if not whom. With creative portraiture, the purpose is very different and it is often more about the photographer and the final image than the subject/sitter, who is usually irrelevant, unknown and non-identifiable. The end purpose is perceptive art!

With most classic portraiture, there may sometimes be some retouching and, if originally for advertising purposes, more extensive retouching would be acceptable, but there would be a limit as to how far was too far. Creative portraiture has no limits; the original image may form the basis for that presented but may include substantial layering, object removal and addition, extensive retouching and other techniques available via Photoshop and sometimes also Adobe Illustrator or CorelDraw. The face, rather than occupying a major portion of the image space, can either be obscured or in deep shadow, turned away from the camera, or so tiny as to be unrecognisable. In essence, the person in the image is almost incidental and sufficiently unimportant as to be replaceable by any other.
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