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THE PHOTOGRAPHER'S EYE REMASTERED /ANGLAIS Paperback – July 1, 2017
Purchase options and add-ons
- LanguageEnglish
- PublisherILEX
- Publication dateJuly 1, 2017
- ISBN-101781574553
- ISBN-13978-1781574553
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From the Publisher
Michael Freeman shows how anyone can develop an eye for taking digital photos.
This 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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Product details
- Publisher : ILEX (July 1, 2017)
- Language : English
- ISBN-10 : 1781574553
- ISBN-13 : 978-1781574553
- Item Weight : 1.76 pounds
- Best Sellers Rank: #183,744 in Books (See Top 100 in Books)
- #79 in Photography Equipment (Books)
- #121 in Digital Photography (Books)
- #122 in Photography Reference (Books)
- Customer Reviews:
About the author
Michael Freeman's new book 'Get the Photos Others Can't' is now available to order.
Michael Freeman, professional photographer and author, with 147 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.
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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.
5 May 2009, update. The number of reviews, number of responses to reviews, and other sources of information indicate that this book is a certifiable best-seller among photography books. The response to this book indicates that there is a large market for information about the structure of images and for effective writing on that difficult, intangible interplay between design and content, or of structure and expression/message.
My hope is that Freeman and other capable author/photographers will publish books delving further into the composition problem. To date, the in-print situation is grim. This one, Mante's, and Hoffmann's books are about the only ones yet in English that deal with composing photographs at higher than the most elementary levels. Together these three books comprise quite a strong presentation at the intermediate level of image structure and of various approaches to imparting meaning and expression in one's images.
There is more, though, that can be said. To date there is no thorough look at the role of similarity and proportion in causing a viewer's eye to move through an image. That is to say, which characteristics among, shape, size, tone, color, direction, etc., assume priority in one's eye in which combinations, and how does proportionality, or violations thereof, work?
To date, this reviewer cannot find any published research that updates Alfred Yarbis's ground breaking insights into eye movement in images from the 1950s and 1960s. His work is quoted to this day as the definitive study in this field. His results seem to imply that many artists' assertions about the role of "leading lines" may be nothing but bunk.
Do light tones and bright colors really appear to project toward a viewer and darks recede? A Russian scientist has a considerable argument that, in fact, darks are what appears to "project" and lights recede. His work is not available in English.
Is the success or failure of an image still articulable only at the level of intangibles? At this point in the history of the arts and contributions from visual psychology and brain studies, one should be able to make specific assertions about structure and its role in the success or failure of carrying the artist's expression or meaning.
Unfortunately, there are very few artists or photographers who also write who can focus clearly enough on these nitty-gritty issues to make statements that have actual meaning. An inordinate percentage of writing about the arts still reduces to hand waving and ranting: always has, always will, it seems.
It is one of Freeman's gifts that he can write analytically and be a very successful, versatile artist. This book's success indicates that the demand is there for hard-hitting information on images. Three authors does not amount to much of a supply.
And this book provides exactly that - a brief but concise overview of the most prominent design theories, based on the research on the way we see/interpret things. I am definitely not a design expert after having read this book, but I know as much about it as I need/can afford to learn at this point, being an amateur with no ambition to go pro in the observable future.
The illustrations in the book ARE extremely well-chosen and beautifully reproduced, which is not always the case in photography books, alas. They are a treat to look at.
To address some of the critiques voices here in the respect to this book:
1) No, it does not cover ISO, shutter speed and aperture, and you are better off buying the book by Peterson if that is what you need. I read Peterson first, about a year ago, and it felt right to read this book second, they are not in any way complementary, their focus is totally different, but combined, they provide you with a deeper understanding of what you do when you look through the viewfinder.
2) I find the book very well written. It's concise, clear and well-illustrated and I even found it a pleasurable read. I would definitely not say it is hard to read, it is not the most fun and light-hearted thing you'll ever read, but it's not fiction, it is technical writing, so it will hardly come as a surprise to you. It is definitely among the least convoluted technical books I've ever read.
3) As to "it adds nothing new to the matter"... Well, first of all, it IS a book that basically summarizes the last 100 years of research in the design and its perception, so it does not claim that it is ground-breaking and new!
Second of all, this is a valid criticism only for those who already have dozens of photography books and are looking for more (but then again, if that is the case, why are you even looking into Freeman? he is clearly not geared towards a seasoned pro). If this is your first book on design, as it was for me, pretty much EVERYTHING in this book is going to be new for you to a degree (yeah, I've heard of the rule of thirds before, but never read a detailed overview of how it came about and why).
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Must a have in every photographer’s collection.