使用手机摄像头 - 扫描以下代码并下载 Kindle 阅读软件。
The Photographers Eye: A graphic Guide: Instantly Understand Composition & Design for Better Photography (The Photographer's Eye) (English Edition) Kindle电子书
Taking a new look at composition, the theme of his best-selling classic The Photographer's Eye, Michael Freeman now explores the visual mechanics of photography in its own native terms. Lushly illustrated with straight-to-the-point diagrams and graphic deconstructions, this book speaks in that intuitive, visual, and instantaneous language in which photographers think and work.
Each section is organised into discrete units that articulate a working method for communicating particular ideas and capturing certain subjects. Dive into beautiful images and explore how each compositional element is placed and arranged in relationship to each other. Examine the outtakes from each shoot to understand why one particular image succeeded, compared to those shot before and after. Track the viewer's eye as it moves throughout the photo to see the optical dynamics held within each frame. And most of all, internalise this graphic language so you can instantly recognise amazing and powerful shots as they appear in your own viewfinder.
- ASIN : B00WX4XNUK
- 出版社 : Ilex Press; 第 1st 版 (2013年10月7日)
- 出版日期 : 2013年10月7日
- 语言 : 英语
- 文件大小 : 11940 KB
- 标准语音朗读 : 已启用
- X-Ray : 未启用
- 生词提示功能 : 未启用
- 纸书页数 : 194页
- 亚马逊热销商品排名: 商品里排第80,129名Kindle商店 (查看商品销售排行榜Kindle商店)
|5 星 (0%)||0%|
|4 星 (0%)||0%|
|3 星 (0%)||0%|
|2 星 (0%)||0%|
|1 星 (0%)||0%|
This book is laid out in chapters that focus on a particular "style" with each page going into depth about individual techniques that fall into the corresponding style. There's usually several large photographs that depict the technique and style, a few paragraphs that talk about how it's achieved and why it works, and then a very simple graphic representation of the SHAPES in the photograph. The graphic representation is what I generally find most interesting and compelling in the book. A photo is broken down into its individual colors and shapes so you can see exactly what the composition is trying to achieve rather than focusing or being distracted by the details in the actual photo. Sure, the photo and its details are the end result and what everybody sees, but cutting it apart and "posterizing" it simplifies the whole purpose of the book.
You can't please everybody all of the time, and art is ALWAYS going to be very subjective. But here's my hot take: the subject matter in the majority of this book is just plain boring. This is my biggest complaint. There's a wealth of great information, but I honestly think the overwhelming majority of the photos are plain uninteresting. They do a fantastic job of describing what makes the composition work and like I said earlier, the graphic breakdown of the photos helps, but a lot of them are just not what I would ever consider a great photo. There isn't a single one that I'd hang on my wall or give much of a second glance to. A lot of the photographs come across as "travel documentary" style photos, and it's just not my thing. I don't know anything about the author-photographer but I suspect he is a photojournalist.
So, overall, I learned some great things and I'd like to try to apply the ideas and philosophies when the opportunity arises. I just won't be photographing african fisherman, Indian spice sellers, or stonehenge from a helicopter.
The concept of graphic representations of compositions sounds good it theory, but in execution if falls short of the mark. In many cases the composition is self-evident, such as a village shot through two tree trunks that frame the scene. The photo is accompanied by a brief description of Freeman’s photo assignment and a smaller version of the photograph with two computer-generated images of trees (brown cylinders) superimposed on it. The graphic was simply redundant. In another case the photograph is of a woman helping harvesting tea leaves by pulling them out of a large basket being held by another person. This is accompanied by twenty thumbnails of the entire series of shots and, again, two graphic representations of the woman gathering leaves from the basket as if we can’t see that by looking at the photograph itself.
In other cases the graphics are confusing. For example, a B&W photograph in square format of a group of children in a room is deconstructed using a graphic of a large square under smaller squares topped by a circle under another square topped by a smaller circle under a diamond beneath four triangles. Call me obtuse, but that didn’t do anything to increase my understanding of how to compose a photograph.
In the text Freeman employs terms from cinematography such as reveal and two-shot, not terms I’ve run across in other discussions of photographic composition, but they make the point well enough. Other terms I found less than helpful. Freeman describes the division of elements in his compositions as classical, disruptive, eccentric, rectilinear, extreme, etc. Personally, I didn’t find the terminology enlightening, but the text contains, in most cases, brief but useful, explanations.
One bit of information that is conspicuous by its absence is that on exposure. Nowhere in the book is the reader told how the exposure was made. In a couple of instances the author mentions wide-angle or telephoto but information about how the exposure was made is completely missing. I realize this is a book on composition, but I would like to know how the shot was exposed in addition to how it was composed. The lack of exposure information might be explained by the age of the photographs, though. The majority of them date to the 70s, 80s, and 90s, so that information might not exist.
I wouldn’t go as far as another reviewer in calling this book rubbish, but for me it just didn’t do the trick. I think someone looking for an understanding of composition would do better to look elsewhere. Freeman’s other book The Photographer’s Eye: Composition and Design for Better Digital Photos, which I have not read, might be one of them. I also like Bryan Peterson for his clear, casual style of presenting information about how to compose and capture a variety of images. I find his field guide on understanding photography quite useful. Sean T. McHugh’s Understanding Photography: Master Your Digital Camera and Capture That Perfect Photo is very good as well for anyone breaking into the world of digital photography. The book under review, though, I don’t recommend. I have read it through a couple to times but come away not feeling any better off for the effort. I gave it two stars because there are tips on composition to be gleaned from the text, and some of the photographs are striking. Otherwise, I rather wish I hadn’t spent the money.
If you are an advanced photographer, give it a chance.