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The Photographer's Mind: Creative Thinking for Better Digital Photos Paperback – 1 Nov 2010

4.6 out of 5 stars 19 customer reviews

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Product details

  • Paperback: 192 pages
  • Publisher: Ilex Press (1 Nov. 2010)
  • Language: English
  • ISBN-10: 1905814976
  • ISBN-13: 978-1905814978
  • Product Dimensions: 23.6 x 1.3 x 25.3 cm
  • Average Customer Review: 4.6 out of 5 stars  See all reviews (19 customer reviews)
  • Amazon Bestsellers Rank: 40,812 in Books (See Top 100 in Books)

More About the Author

Michael Freeman, professional photographer and author, with 135 book titles to his credit, was born in England in 1945, took a Masters in Geography at Brasenose College, Oxford University, and then worked in advertising in London for six years. He made the break from there in 1971 to travel up the Amazon with two secondhand cameras, and when Time-Life used many of the pictures extensively in the Amazon volume of their World's Wild Places series, including the cover, they encouraged him to begin a full-time photographic career.

Since then, working for editorial clients that include all the world's major magazines, and notably the Smithsonian Magazine (with which he has had a 30-year association, shooting more than 40 stories), Freeman's reputation has been consolidated as one of the leading reportage photographers. Of his many books, which have sold 4 million copies worldwide, more than 60 titles are on the practice of photography - for this photographic educational work he was awarded the Prix Louis Philippe Clerc by the French Ministry of Culture, and he is the world's leading author on photographic practice. Having been for many years responsible for the distance-learning courses on photography at the UK's Open College of the Arts, Freeman now runs a monthly online Photography Foundation Course at http://www.my-photo-school.com/course/michael-freemans-the-photographers-eye/

Freeman's books on photography have been translated into 27 languages, and are available on all other Amazon international sites.

Product Description

Review

"In this volume, Freeman contemplates what makes a photo gripping, appealing, or beautiful, breaking subject matter, lighting, and composition into component parts and defining and discussing each. Filled with examples at each step, the elements of a photo are organized into three sections - intent, style, and process - with examples of the transformations possible using digital technology surveyed in the final section. This is a superb guide, thought provoking and useful for photographers at all levels."--SciTechBookNews

"In Freeman's follow-up to his popular Photographer's Eye and Photographer's Eye Field Guide, he generously shares experience he has gained as a professional photographer to improve the quality of the digital pictures nearly everyone is now creating. The content is streamlined into three chapters, on intent, style, and process, that tackle both the practical and the intangible aspects of photography more thoughtfully than many similar books. Freeman is as adept at explaining composition as he is at discussing the problem of cliché or the philosophy of the sublime. Suitable for all who are serious about improving their photos."--Library Journal

"The Photographer's Mind is Michael Freeman's follow up to his best-selling book, The Photographer's Eye. Containing more than 400 images with schematic illustrations showing how and why they work, the book is targeted at serious amateurs, intermediate as well as professional photographers."--Photography Blog

"Freeman's latest offering reaffirms his place as a skilled photographer and deep thinker with much to impart about the variety of mental processes at play when viewing an image."--DPReview.com

--This text refers to an out of print or unavailable edition of this title.

About the Author

Michael Freeman, professional photographer and best-selling author, was born in England in 1945, took a Masters in Geography at Brasenose College, Oxford University, and then worked in advertising in London for six years. In 1971 he made the life-changing decision to travel up the Amazon with two secondhand cameras, and when Time-Life used many of the pictures he came back with, he embarked on a full-time photographic career.

Since then, working for clients that include all the world's major magazines, most notably the Smithsonian Magazine (for which he has shot more than 40 stories over 30 years), Freeman's reputation as one of the world's leading reportage photographershas been consolidated. Of his many books, which have sold over 4 million copies worldwide, more than 60 titles are on the practice of photography. For this photographic educational work he was awarded the Prix Louis Philippe Clerc by the French Ministry of Culture.

Freeman's books on photography have been translated into 27 languages.


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Customer Reviews

4.6 out of 5 stars
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Top Customer Reviews

Format: Paperback Verified Purchase
As novice getting back into photography, I struggled with "The Photographer's Eye" - it seemed to take a little while/re-reading for the concepts to take hold but after that, I enjoyed that book.

As per the first book, this is aimed at the intermediate/advanced photographer and as such does not cover technical competencies (shutter speed/aperture/iso etc).

This book to me is a continuation of his previous book and I feel without having read/be aware of the solid concepts/techniques of composition, the reader may be a little lost.

This book takes the reader through and expanding on the 'why's of compositional elements and considerations for certain situations. There's a section in the book that provides a small case study for one of Freeman's images, and whilst not a great image, the thought process and considerations made whilst deciding on the final composition/light control etc is very much appreciated.

One small issue I have is related to the layout of the items on some pages. Whilst Freeman's writing style is flowing, the pages contain images with captions and the layout does not really provide the reader will clear breaks for us to explore the images/captions, before returing to the main text. With this, I found myself jumping between the images, the captions and the main text and getting ahead of myself. The publishers have missed reading Freeman's section on "leading the eye".

If you enjoyed and learned something "The Photographer's Eye" and want the 'why' to the 'what', this is a good choice. Throuroghly recommended for anyone wishing to improve.
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I have only had the book for a day, but even only after such a short time, I can already say it is in the same league as the authors other offerings. I sat down for 10 minutes and after an hour came to the conclusion that it was a very worthwhile purchase. If you are a point and shoot only photographer and intend to do no more than that, then this is not a book for you. Any serious amateurs, or those budding photographers who are studying for a career, or just interested in getting much more from their camera must have this on their shelves.

The book is written as a teacher or lecturer would explain techniques to students. Of course as the author has written many courses to degree level, then this is to be expected. That is not to say that it is difficult to read, as it is not. My feeling is it should be part of a suite which should include "The Photographers Eye", "Mastering Digital Photography", "Perfect Exposure" and others. The images accompanying the text are excellent and bring the book alive.

If you want to realise the full potential of both your camera and your artistic capabilities, then buy this book.
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Bookshops are awash with photography books. The problem for the intermediate/advanced shooter is that irrespective of the cover blurb, most of those books are for beginners.

The Photographer's mind is not for beginners. It is one of the few photography books that truly is for intermediate/advanced photographers. It maintains the level of quality needed to meet its audience throughout. You are not expected to flick through the first 50% of yet another 'padded out with basic photography' type book as it yet again slowly trudges through all the things you know already (basic shutter/aperture, camera lenses, exposure modes, ISO, rule of thirds, layer adjustments and correction). Instead, you are treated as a competent user.

A criticism of the book would be that the author rarely considers photography outside his comfort zone (reportage and travel photography), and there is a hint of snobbishness regarding photography in more mundane and populist settings. This is not explicit, but implied by exclusion. Although this is a stance I have some sympathy for, it may not be appropriate from a book with such a general title (i.e it should be all encompassing and not favour particular photography types). Sure, the book is more conceptual than stylistic, but the example images should certainly have more variety than they do (especially when some images are now becoming familiar to readers of Freeman's previous books - he keeps using the same shots).

Another minor issue is that the author has a tendency towards a noticeably older style of photography than many other competing books (this is the book you would expect a photographer of the 70's to write, complete with a focus on the sights and sounds of the hippie trail).
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I recommend the writings of Michael Freeman to my students of photography - clearly written, excellent illustrations - the book embodies all that's good about an experienced photographer reflecting on a lifetime's experience. Terrific - a great companion to The Photographer's Eye
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If you want a book that tells you the technical details of how to take photographs, don't buy this. If, on the other hand, you are already comfortable with the technicalities of your camera, and want to develop your own style, this may be the book for you.

This is not a manual on which settings to use in which circumstances. Rather, it analyses the creative process around choosing what to photograph, and composition. It also looks at how the viewers may perceive a photograph and how you can, to a certain extent, control the way in which they see a scene.

This has made me think about why I take photos and what response I want to elicit from people. It has also made me consider new approaches, and given me ideas on how to move forward and develop my skills.
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