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The Photographer's Eye: Composition and Design for Better Digital Photos | 
 enlarge | Author: Michael Freeman
Publisher: ILEX
Category: Book
List Price: £17.99
Buy New: £11.69
You Save: £6.30 (35%)
New (6) Used (2) from £10.53
Rating:  12 reviews
Sales Rank: 105
Media: Paperback
Pages: 192
Shipping Weight (lbs): 1.8
Dimensions (in): 9.9 x 9.3 x 0.6
ISBN: 1905814046
EAN: 9781905814046
ASIN: 1905814046
Publication Date: June 11, 2007
Availability: Usually dispatched within 24 hours
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| Customer Reviews: Read 7 more reviews...
One worth buying November 3, 2007
Happy snapper (uk)
48 out of 48 found this review helpful
I'm not usually a fan of books by Michael Freeman but when I received this book, I was pleasantly surprised. It covers the basics concepts of composition in-depth with more clarity than his previous books.
The book covers areas such as; graphic photographic elements (horizontal lines, vertical lines, curves, motion etc) composing with light and colour (colour in composition, colour relationships, muted colour, black and white) intent (reactive or planned, simple or complex, clear or ambiguos)
The book has a great and careful selection of photos to support the text and clearly illustrate the concepts covered.
Don't let his previous books stop you from buying this one.
Enjoy!!
Fantastic Book October 31, 2007
J. Edwards
38 out of 38 found this review helpful
This book is really hitting the mark. if you are serious about your photography and want to improve then this is a must purchase. The subject matter, the explanations and the photography are all excellent. I fail to see how anyone could not gain benefit from this book. And you will always want to take a look when you are about to photograph a new subject.
Perhaps the best book regarding photographic composition July 7, 2008
C. Papachristophorou (Lemesos, Cyprus)
25 out of 25 found this review helpful
I have always been skeptical about buying books that deal with photography either because there exist too many online tutorials which cover many aspects in detail or simply because the techniques each book covers are more or less the same rewritten in a different format.
This book by Michael Freeman though is trully a gem and a "must-have" in the library of every photographer.
It covers most photographic composition aspects in a great detail with perhaps images of excellence regarding composition, including schematic figures outlining and justifying the choice of the composition which exactly hit the point the writer is trying to make. It is printed in premium, relatively thick, paper with high quality images.
- The book is well structured in 6 main chapters beginning with the usage of the image frame, the positioning within the viewfinder of the camera and generally the placement of a scenery and objects within the frame
- Chapter 2 explains the objective principles of design and why certain photographs pop up from the lot if thinking is allocated to aspects such as Gestalt theory, Dynamic tension, patterns, visual weight etc.
- Chapter 3 walks us through the elements that compose photographs such as lines, shapes, focus, motion exposure and others.
- Chapter 4 highlights the importance of light needed in composition and its association with color.
- Chapter 5 analyzes the intent in composition, that is the purpose the photograph was taken in order to please aesthetically by teaching and explaining among others, planning, ahead thinking and reactiveness, simplicity and complexity in photographs, ambiguity etc.
- The book finishes with chapter 6 which in detail explains why process is so necessary prior to composing and shooting a photograph.
This draft description only outlines a few of the topics covered and by no means it can show the true depth of the book.
A small word of advice though. This book is not purely intended to teach basic rules of photography (although the writer explains topics such as the rule of thirds and HDR) but it rather builds and expands on some existing knowledge and fine granulates the art of photography through composition and design with the utmost intent to help the user develop the skills to shoot great images.
The Best Single Volume on Design and Composition in Photography June 15, 2007
T. Campbell
139 out of 144 found this review helpful
This is the best single volume on visual design and composition in years. Painters need a book this good. Freeman's earlier book from the 1980s, "Image," had long held the status, IMHO, of being the best single volume. His new book surpasses the older one by a significant margin.
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.
The Best Single Volume on Design and Composition in Photography June 15, 2007
T. Campbell
19 out of 19 found this review helpful
This is the best single volume on visual design and composition in years. Painters need a book this good. Freeman's earlier book from the 1980s, "Image," had long held the status, IMHO, of being the best single volume. His new book surpasses the older one by a significant margin.
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.
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