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Product Description
Review
'When I first heard about this book I wondered how a topic like composition would take 190+ pages to cover - but the above six chapters do it really well and provide readers with lots of ideas, examples, theory and lessons. I particularly like that this book is not just about theory or compositional rules - but challenges the reader to look at their own intentions and processes. I particularly enjoyed chapter 5 on intent which I'd never given much consideration to previously.
The images in this book complement the words very well. Not only do you get photos but also a variety of diagrams (including some helpful line diagrams) that illustrate what you're seeing in the images by reducing them to lines and shapes. This gives the examples a lot more usefulness as they are effectively unpacked before you.' 9/10 --Darren Rowse, www.digital-photography-school.com
Product Description
Design is the single most important factor in creating a successful photograph. The ability to see the potential for a strong picture and then organize the graphic elements into an effective, compelling composition has always been one of the key skills in making photographs. Of course, digital photography has brought a new, exciting aspect to design first because the instant feedback from a digital camera allows immediate appraisal and improvement; and second because image-editing tools make it possible to alter and enhance the design after the shutter has been pressed. This has had a profound effect on the way digital photographers take pictures. The Photographers Eye shows how anyone can develop an eye for seeing great digital photos. The book explores all the traditional approaches to composition and design, but crucially, it also addresses the new digital technique of shooting in the knowledge that a picture will later be edited, manipulated, or montaged to result in a final image that may be very different from the one seen in the viewfinder.
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Most Helpful Customer Reviews
115 of 118 people found the following review helpful
Format:Paperback
I'm not usually a fan of books by Michael Freeman but when I received this book, I was pleasantly surprised. It covers the basics concepts of composition in-depth with more clarity than his previous books.
The book covers areas such as; graphic photographic elements (horizontal lines, vertical lines, curves, motion etc) composing with light and colour (colour in composition, colour relationships, muted colour, black and white) intent (reactive or planned, simple or complex, clear or ambiguos)
The book has a great and careful selection of photos to support the text and clearly illustrate the concepts covered.
Don't let his previous books stop you from buying this one.
Enjoy!!
The book covers areas such as; graphic photographic elements (horizontal lines, vertical lines, curves, motion etc) composing with light and colour (colour in composition, colour relationships, muted colour, black and white) intent (reactive or planned, simple or complex, clear or ambiguos)
The book has a great and careful selection of photos to support the text and clearly illustrate the concepts covered.
Don't let his previous books stop you from buying this one.
Enjoy!!
234 of 242 people found the following review helpful
Format:Paperback
This is the best single volume on visual design and composition in years. Painters need a book this good. Freeman's earlier book from the 1980s, "Image," had long held the status, IMHO, of being the best single volume. His new book surpasses the older one by a significant margin.
Freeman is one of very few photographers, or artists of any ilk, who can articulate their art-related thoughts in concrete, accurate, analytical ways, and not in the jargon of so much of what is written about art that lacks any actual content. Not only is he an outstandingly gifted photographer, with dozens of books to his credit, but one who has mastered the grammar of images and is one of the few who can describe how and why visual phenomena work.
This is the most complete volume on this subject out there in terms of numbers of topics introduced and discussed at a reasonable length. It is also the most effective melding of the insights of current Gestalt perception theory with traditional design elements/principles in print. The first 60% of the book deals with the more concrete aspects of designing an image.
The last two chapters marry the other part of composing that is harder to articulate well: the message in a image, or the photographer's intent. Only in this book has an author attempted to define major categories of intent in making 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 discussions he introduces those aspects of digital imaging that a photographer can use to influence a picture's design. Perhaps the most powerful development is that digital in-camera and post processing technologies allow the photographer to apply to color images all those image control aspects formerly available only in the wet chemistry darkroom to monochrome images, as well as many more.
Make no mistake.... This is a book for readers. One cannot get all of this book's benefit from the illustrations alone, in the manner of so many "how-to" art and photography books these days that have pictures, but little text. But this is the book to which thoughtful photographers will return over and over for many years.
The only way it can be significantly better would be to have twice as many pages. It would make a wonderful textbook for any studio art, photography, art history, or art appreciation course in high school or college/university.
Freeman is one of very few photographers, or artists of any ilk, who can articulate their art-related thoughts in concrete, accurate, analytical ways, and not in the jargon of so much of what is written about art that lacks any actual content. Not only is he an outstandingly gifted photographer, with dozens of books to his credit, but one who has mastered the grammar of images and is one of the few who can describe how and why visual phenomena work.
This is the most complete volume on this subject out there in terms of numbers of topics introduced and discussed at a reasonable length. It is also the most effective melding of the insights of current Gestalt perception theory with traditional design elements/principles in print. The first 60% of the book deals with the more concrete aspects of designing an image.
The last two chapters marry the other part of composing that is harder to articulate well: the message in a image, or the photographer's intent. Only in this book has an author attempted to define major categories of intent in making 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 discussions he introduces those aspects of digital imaging that a photographer can use to influence a picture's design. Perhaps the most powerful development is that digital in-camera and post processing technologies allow the photographer to apply to color images all those image control aspects formerly available only in the wet chemistry darkroom to monochrome images, as well as many more.
Make no mistake.... This is a book for readers. One cannot get all of this book's benefit from the illustrations alone, in the manner of so many "how-to" art and photography books these days that have pictures, but little text. But this is the book to which thoughtful photographers will return over and over for many years.
The only way it can be significantly better would be to have twice as many pages. It would make a wonderful textbook for any studio art, photography, art history, or art appreciation course in high school or college/university.
33 of 34 people found the following review helpful
Format:Paperback
This is the best single volume on visual design and composition in years. Painters need a book this good. Freeman's earlier book from the 1980s, "Image," had long held the status, IMHO, of being the best single volume. His new book surpasses the older one by a significant margin.
Freeman is one of very few photographers, or artists of any ilk, who can articulate their art-related thoughts in concrete, accurate, analytical ways, and not in the jargon of so much of what is written about art that lacks any actual content. Not only is he an outstandingly gifted photographer, with dozens of books to his credit, but one who has mastered the grammar of images and is one of the few who can describe how and why visual phenomena work.
This is the most complete volume on this subject out there in terms of numbers of topics introduced and discussed at a reasonable length. It is also the most effective melding of the insights of current Gestalt perception theory with traditional design elements/principles in print. The first 60% of the book deals with the more concrete aspects of designing an image.
The last two chapters marry the other part of composing that is harder to articulate well: the message in a image, or the photographer's intent. Only in this book has an author attempted to define major categories of intent in making 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 discussions he introduces those aspects of digital imaging that a photographer can use to influence a picture's design. Perhaps the most powerful development is that digital in-camera and post processing technologies allow the photographer to apply to color images all those image control aspects formerly available only in the wet chemistry darkroom to monochrome images, as well as many more.
Make no mistake.... This is a book for readers. One cannot get all of this book's benefit from the illustrations alone, in the manner of so many "how-to" art and photography books these days that have pictures, but little text. But this is the book to which thoughtful photographers will return over and over for many years.
The only way it can be significantly better would be to have twice as many pages. It would make a wonderful textbook for any studio art, photography, art history, or art appreciation course in high school or college/university.
Freeman is one of very few photographers, or artists of any ilk, who can articulate their art-related thoughts in concrete, accurate, analytical ways, and not in the jargon of so much of what is written about art that lacks any actual content. Not only is he an outstandingly gifted photographer, with dozens of books to his credit, but one who has mastered the grammar of images and is one of the few who can describe how and why visual phenomena work.
This is the most complete volume on this subject out there in terms of numbers of topics introduced and discussed at a reasonable length. It is also the most effective melding of the insights of current Gestalt perception theory with traditional design elements/principles in print. The first 60% of the book deals with the more concrete aspects of designing an image.
The last two chapters marry the other part of composing that is harder to articulate well: the message in a image, or the photographer's intent. Only in this book has an author attempted to define major categories of intent in making 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 discussions he introduces those aspects of digital imaging that a photographer can use to influence a picture's design. Perhaps the most powerful development is that digital in-camera and post processing technologies allow the photographer to apply to color images all those image control aspects formerly available only in the wet chemistry darkroom to monochrome images, as well as many more.
Make no mistake.... This is a book for readers. One cannot get all of this book's benefit from the illustrations alone, in the manner of so many "how-to" art and photography books these days that have pictures, but little text. But this is the book to which thoughtful photographers will return over and over for many years.
The only way it can be significantly better would be to have twice as many pages. It would make a wonderful textbook for any studio art, photography, art history, or art appreciation course in high school or college/university.
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Most Recent Customer Reviews
Buy this book
If you buy one book on composition make it this one. It's also avaialble as an iPad app. It's not the usual Janet-and-John how to take photos stuff: it's a really solid tutorial on... Read more
Published 3 hours ago by O. Scott
Five stars for content, three stars for writing style
This is the third Michael Freeman book I've bought, and it's the most frustrating one to review.
The content is five star and is helping me to slow down and be much more... Read more
The content is five star and is helping me to slow down and be much more... Read more
Published 3 days ago by Insula
Not as good as expected
I bought this for my husband who is a very good amateur photographer and he was underwhelmed and a little disappointed by it. Read more
Published 3 months ago by Firefly
Page 94
There's nothing particularly special about page 94, but it's the one I am up to and am having the serious decision of whether to actually finish reading this book or not! Read more
Published 3 months ago by HollowSpy
Learning the whys and hows of good composition
As someone only just playing around with digital photography, I picked up this book as a complement to Bryan Peterson's Understanding Exposure to get me started and provide some... Read more
Published 4 months ago by Felix Valencia
Outstanding book
Photographic skills do improve only by shooting, shooting & shooting. No doubt. Theoretical knowledge would not help much. Read more
Published 5 months ago by Damoo
Great piece of advice
I used this book to take my next step in photography. It's not a beginners book, I would say it's targetted at advanced amateurs. Read more
Published 5 months ago by Eugenio
Take the next steps
I found this book great. It covers all the aspects of composing a photograph. As a very experienced amateur I found I still learned lots of new things about lines, curves, shapes... Read more
Published 6 months ago by G. Smith
Good book
Although the book presents so many useful and interesting aspects about composition. I prefer the book: "Photographic composition" to this book. Read more
Published 6 months ago by Hung Nguyen Huy
Really helpful!!!
A great introduction to the way a photographer thinks and feels when designing and taking great photos. Read more
Published 7 months ago by Alkiviadis D. Kanidis
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