9781933952222

Mastering Photographic Composition, Creativity, and Personal Style

by
  • ISBN13:

    9781933952222

  • ISBN10:

    1933952229

  • Edition: 1st
  • Format: Paperback
  • Copyright: 2009-08-28
  • Publisher: Rocky Nook
  • Purchase Benefits
  • Free Shipping On Orders Over $35!
    Your order must be $35 or more to qualify for free economy shipping. Bulk sales, PO's, Marketplace items, eBooks and apparel do not qualify for this offer.
  • Get Rewarded for Ordering Your Textbooks! Enroll Now
List Price: $44.95 Save up to $6.74
  • Buy New
    $38.21
    Add to Cart Free Shipping

    THIS ITEM IS TEMPORARILY UNAVAILABLE FROM THE PUBLISHER, BUT IS EXPECTED IN SOON. PLACE YOUR ORDER NOW AND WE WILL SHIP IT AS SOON AS IT ARRIVES.

Supplemental Materials

What is included with this book?

  • The New copy of this book will include any supplemental materials advertised. Please check the title of the book to determine if it should include any access cards, study guides, lab manuals, CDs, etc.

Summary

Following his successful first book, "Mastering Landscape Photography," Briot goes beyond the conventional rules of composition and takes on a fresh, new approach to teaching the art of photography.

Table of Contents

Forewordp. xiv
Prefacep. xvi
About Compositionp. 2
Art, Facts, and Landscape Photographyp. 3
The Differences Between Composing Factual and Artistic Photographsp. 5
Photography is Not Deadp. 6
The Differences Between What We See and What the Camera Sees
Learning to See Like a Camerap. 12
Of Cameras and Artp. 13
Good Cameras Equal Good Photographsp. 13
A Matter of Filtersp. 13
Modifying What the Camera Capturesp. 14
Differences in Print Qualityp. 15
It's the Print, Sillyp. 18
I Should Have Knownp. 18
The Artist and His Toolsp. 19
It's Only a Matter of Timep. 21
The Eye and the Camerap. 22
The Difference Between Photography and Realityp. 23
Two Categories of Differencesp. 23
What the Camera Captures that the Eye Never Seesp. 23
The Soul of Photographyp. 32
Conclusionp. 36
New Rules of Composition
Composing with Lightp. 40
Essential Elementsp. 41
Light and Compositionp. 42
Finding the Best Lightp. 43
Finding Sunrise and Sunset Timesp. 47
Using Natural Lightp. 63
Changing Light Qualityp. 71
Skill Enhancement Exercisesp. 100
Conclusionp. 101
Composing with Colorp. 102
Color Visionp. 103
The Three Variables of Colorp. 104
The Munsell Color Systemp. 104
Controlling Color in Photoshopp. 108
Color Balancep. 109
Color Palettep. 111
Saturationp. 116
Color Seeing Aidesp. 119
Taking Notes in the Fieldp. 126
Composing with Color: Examplesp. 128
Skills Enhancement Exercisesp. 137
Conclusionp. 139
Composing in Black and Whitep. 140
Introductionp. 141
Black and White Is Color with One Variablep. 141
Seeing the World without Colorp. 141
Black and White and Artp. 142
Black and White and Manipulationp. 143
Color vs. Black and Whitep. 146
Seeing in Black and Whitep. 150
Examples of Composing in Black and Whitep. 155
Skills Enhancement Exercisesp. 164
Conclusionp. 165
Important Elements of a Strong Compositionp. 166
Introductionp. 167
Strong Compositions Checklistp. 167
Example 1-Superimposing Objects: Monument Valleyp. 172
Example 2-Creating Visual Metaphors: Manzanar Monumentp. 174
Example 3-Leading Lines: Sand Dunes at Sunrisep. 176
Example 4-Near-Far Compositions: Near-Far Compositions: Brown's Hole, Dinosaur National Monumentp. 178
Example 5-Near-Far Compositions: Vertical and Horizontalp. 179
Example 6-Careful Cropping Between Objects: Navajoland Cloudscapep. 183
Example 7-Cropping and Borders: Escalante Canyonp. 185
The Creative Process
Finding Inspirationp. 190
Introductionp. 191
Inspiration, Creativity, Vision, and Personal Stylep. 191
Location as a Source of Inspirationp. 193
The Musesp. 193
A Lifestylep. 195
Remoteness as Source of Inspirationp. 196
New Equipment, Supplies, and Software: New Possibilitiesp. 197
Mood as a Source of Inspirationp. 198
Become an Expertp. 198
External and Internal Inspirationp. 200
Inspiration Is Asking Why not Howp. 201
Repeat Visits to Favorite Places for Inspirationp. 201
Memories of What I Have Seen and Experiencedp. 202
Skills Enhancement Exercises: How to Invite the Muses and Bring Out Your Creativityp. 205
Conclusionp. 206
Exercising Creativityp. 208
Introductionp. 209
The Difference Between Inspiration and Creativityp. 209
Do Not Delay Creativityp. 210
We All Have the Potential to Be Creativep. 211
Liberating Our Creativityp. 212
Fear of Failurep. 212
Moving Out of Your Comfort Zonep. 214
Overcoming Creative Fearp. 215
Fear of Critiquep. 216
Everything Has Already Been Donep. 218
Nobody Cares About Your Workp. 219
Skills Enhancement Exercisesp. 221
Conclusionp. 225
Developing Your Visionp. 226
Introductionp. 227
What Is Vision?p. 227
Making Your Vision Realityp. 228
Critical Thinkingp. 228
Going Backp. 230
Your Personalityp. 233
Making Your Vision Realityp. 234
Doing the Workp. 236
Do Not Lose Your Vision Realityp. 237
Skills Enhancement Exercisesp. 238
Conclusionp. 241
Achieving Your Personal Stylep. 242
Introductionp. 243
What is a Personal Style?p. 243
Finding Your Own Way of Seeingp. 245
Style Develops through Workp. 247
Your Personal Style Filterp. 247
Show Your Personal Style throughout Your Workp. 248
The Coherence of a Stylep. 248
Projects, Goals, and Deadlinesp. 250
Expect Ebb and Flowp. 251
Unlearning the Rulesp. 252
Changing the Rulesp. 253
Be Bold and Audaciousp. 255
Don't Sell Your Soulp. 256
Don't Worry about Creating Masterpiecesp. 256
Moving Out of Your Comfort Zonep. 258
Don't Try to Please Everyonep. 259
Expect Detractorsp. 260
Skills Enhancement Exercisesp. 263
Conclusionp. 266
You and Your Audience
Just Say Yesp. 270
Introductionp. 271
A Little Bit of Historyp. 271
The Art of Saying Yesp. 272
Dramap. 273
Technique Is Meant to Be Seenp. 275
Audiencep. 276
In Closingp. 276
Of Audiences and Bestsellersp. 278
Introductionp. 279
Who Is Your Audience?p. 279
The Concept of Audiencep. 282
Selling Outp. 282
Artists Seek a Response from and a Dialogue with the Audiencep. 284
Of Bestsellers and Artp. 284
How to Create a Bestsellerp. 285
Start a Discussion with Your Audiencep. 288
How to Find an Audiencep. 288
Skills Enhancement Exercisesp. 290
Conclusionp. 290
The Numbering Affairp. 292
Introductionp. 293
Manipulation and Artp. 293
A Short History of Numbering in Photographyp. 294
Of Quality and Quantityp. 296
The Problemp. 297
The Conflictp. 299
The Art Show Conundrump. 300
To Limit or Not to Limit?p. 301
Conclusionp. 302
The Relationship Between the Technical and Artistic Aspects of Photography
Technical and Creative Field Checklist for Fine Art Photographyp. 306
Introductionp. 307
A Few Notes about this Checklistp. 307
Field Checklistp. 308
Image Maladiesp. 312
Introductionp. 313
Heavily Cropping Imagesp. 313
Images Affected by Edge Maladiesp. 315
Globally Oversaturated Imagesp. 317
Locally Oversaturated Imagesp. 317
Images with a Global Color Castp. 320
Images with a Local Color Castp. 321
Images without Black and White Pointsp. 324
Images without a Gray Pointp. 325
Images with Clipped Black and White Pointsp. 327
Images with Too Much Global Contrastp. 328
Images without Enough Global Contrastp. 330
Images with Too Much Local Contrastp. 331
Images Converted (or Saved) to a Small Color Spacep. 333
Image Densityp. 335
Land and Skyp. 336
A Challenging Endeavorp. 337
Skills Enhancement Exercisesp. 338
Conclusionp. 338
Memories of What I Have Seenp. 340
Introductionp. 341
Reality?p. 341
Five Sensesp. 342
Conclusionp. 344
Conclusionp. 346
Art and Techniquep. 347
The Creative and Critical Modesp. 347
Vision and Compositionp. 348
Your Journeyp. 350
Briot Workshopsp. 350
A New Beginningp. 351
Prologuep. 352
Table of Contents provided by Ingram. All Rights Reserved.

Rewards Program

Write a Review