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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. 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 Photographer's Eye shows how anyone can develop the ability to see and shoot great digital photographs. 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. Features *Covers both traditional in-camera composition and the new opportunities for picture-making made possible by digital imaging editing *Shows how to explore situations and locations in order to find the best possible photographic possibilities *Uses clear examples from real photographic assignments, with schematic illustrations of how and why the pictures work
Table of Contents
|The Image Frame||p. 8|
|Frame dynamics||p. 10|
|Frame shape||p. 12|
|Stitching and extending||p. 18|
|Filling the frame||p. 22|
|Dividing the frame||p. 26|
|Frames within frames||p. 30|
|Design Basics||p. 32|
|Gestalt perception||p. 38|
|Dynamic tension||p. 44|
|Figure and ground||p. 46|
|Pattern, texture, many||p. 50|
|Perspective and depth||p. 52|
|Visual weight||p. 58|
|Looking and interest||p. 60|
|Content, weak & strong||p. 62|
|Graphic & Photographic Elements||p. 64|
|A single point||p. 66|
|Several points||p. 70|
|Horizontal lines||p. 72|
|Vertical lines||p. 74|
|Diagonal lines||p. 76|
|Circles and rectangles||p. 88|
|Composing with Light and Color||p. 108|
|Chiaroscuro and key||p. 110|
|Color in composition||p. 114|
|Color relationships||p. 118|
|Muted colors||p. 122|
|Black and white||p. 126|
|Conventional or challenging||p. 130|
|Reactive or planned||p. 134|
|Documentary or expressive||p. 136|
|Simple or complex||p. 138|
|Clear or ambiguous||p. 140|
|Style and fashion||p. 146|
|The search for order||p. 152|
|Case study: Japanese monk||p. 160|
|Photographs together||p. 180|
|Acknowledgments & Bibliography||p. 192|
|Table of Contents provided by Ingram. All Rights Reserved.|