The Photographer's Eye Remastered 10th Anniversary: Composition and Design for Better Digital Photographs
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- Type：Epub+TxT+PDF+Mobi
- Create Date：2022-05-06 09:54:26
- Update Date：2025-09-06
- Status：finish
- Author：Michael Freeman
- ISBN：1781574553
- Environment：PC/Android/iPhone/iPad/Kindle
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Reviews
Joe Stanton
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Great comprehensive intro to photography。 Likely won’t do much for anyone who’s been in engaged in photography for awhile but it still has some good tidbits and affirmations。
Mohit Gupta
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What a lovely read on photography and design in general。 Eager to do more reading on this after so many years
Alberto
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Highly recommended， great to give you new concepts to put in practica while photographing and explained easy for anyone to understand。
Alex P。G。
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I was struck by how the characters are and in what environment they are and how they took it
Angge
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I was excited about this until I started reading it。 It is quite disappointing to find out that the contents are pretty much about the ramblings of the author of what makes an image "good" and almost nothing about the "why" behind the compositional elements and rule of photography and art。 I take that this book covers much more of the design encapsulating the image than the composition itself。 lol ok。 I was excited about this until I started reading it。 It is quite disappointing to find out that the contents are pretty much about the ramblings of the author of what makes an image "good" and almost nothing about the "why" behind the compositional elements and rule of photography and art。 I take that this book covers much more of the design encapsulating the image than the composition itself。 lol ok。 。。。more
Anichi
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En sí es un libro del que se aprende mucho， sobre todo en lo que respecta en posiciones， luz o sombras， individualismo o conjunto… Sin embargo， a veces se me ha hecho algo tedioso， pesadas las explicaciones del autor。 Eso sí， poner ejemplos de las explicaciones es de 10 y todo muy bien explicado。Eso sí， la letra no es que sea muy grande， lo que le resta punto。
Ermocolle
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"Per me non esiste niente di più bello di prendere un album dalla libreria o una scatola piena di foto e far passare a una a una tutte le stampe。 Girare le pagine di un album permette di percepirne il valore e di sentire tutto il peso della storia。 La copertina poi trasmette un senso di protezione dei meravigliosi ricordi che sono custoditi al suo interno。 Ogni volta che apro una scatola piena di foto sento una sensazione di eccitazione indescrivibile。 È la stessa sensazione che provavo da bambi "Per me non esiste niente di più bello di prendere un album dalla libreria o una scatola piena di foto e far passare a una a una tutte le stampe。 Girare le pagine di un album permette di percepirne il valore e di sentire tutto il peso della storia。 La copertina poi trasmette un senso di protezione dei meravigliosi ricordi che sono custoditi al suo interno。 Ogni volta che apro una scatola piena di foto sento una sensazione di eccitazione indescrivibile。 È la stessa sensazione che provavo da bambino quando scartavo i regali la mattina di Natale。"Jeff AscoughNell'era dei social， del digitale e degli smartphone si va perdendo la magia di foto stampate。 È un peccato enorme。Questo libro del fotografo Freeman va proprio a sottolineare l'importanza di fare belle foto: inquadrare e comporre， posizionare e inquadrare， suddividere e cercare i giusti punti di ripresa。Perché scattare è un arte e ogni movimento， da un battito di ciglia al galoppo di un cavallo richiede un particolare tempo di esposizione。"La fotografia è di per sé un'esperienza esclusivamente visiva， quindi ogni descrizione di cosa sia accaduto al momento dello scatto， una volta tradotta in parole， è una ricostruzione。" 。。。more
Holly
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This is one of my top recommendations for anyone who is looking to improve their photography。 From a creative perspective this will help you understand concepts such as composition。
Jose Luis
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Muy buen libro， muchas información muy bien explicada。 La traducción a veces un pelín mejorable。lo releeré
Bob Nichols
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Freeman writes that those who look at photos and those who take pictures categorize a photo as like/dislike without thinking much about why this might be so。 He doesn’t dismiss those categorizations。 He just digs deeper into what is a good or bad photo from the perspective of a photographer: using the vertical - horizontal lines of the picture frame， the use of frames within frames， balance， composition， color， contrast， etc。 This is a book mainly on photographic technique。 Many photographers “p Freeman writes that those who look at photos and those who take pictures categorize a photo as like/dislike without thinking much about why this might be so。 He doesn’t dismiss those categorizations。 He just digs deeper into what is a good or bad photo from the perspective of a photographer: using the vertical - horizontal lines of the picture frame， the use of frames within frames， balance， composition， color， contrast， etc。 This is a book mainly on photographic technique。 Many photographers “photograph intuitively，” Freeman elaborates。 They like or dislike “what they see without stopping to think why” and they frame their shots in the same way。 “Anyone who does it well is a natural photographer。 But knowing in advance why some compositions or certain combinations of colors seem to work better than others better equips any photographer。” For the best photographers， Freeman writes that “a great deal goes on in the process of making an exposure that is not at all obvious to someone else seeing the result later。" He adds that “This will never prevent art critics and historians from supplying their own interpretations， which may be extremely interesting but not necessarily have anything to do with the circumstances and intentions of the photographer。”I didn’t understand Freeman’s discussion of gestalt theory。 It was too abstract， versus some sort of overarching intuition about a good shot that only later can be parsed into the individual elements not consciously seen at the time。 The author repeatedly makes a big point about how the mind’s eye works as if there is a universal law that applies， as opposed to the preferences of the photographer and the viewer。 For example， he references “design” theory that looks for patterns or series of elements that the eye wants to extend beyond the photo frame。 That to me is a non-relevant point and it even works against the focal point（s） in the photo， particularly as framing encapsulates and doesn’t allow straying。 Freeman talks about the“eye travel” phenomenon that directs the eye toward the intended focal point， but in many gestalt-like photos a focal point is superficial: it’s a point yes， but really the richness of a photo is in the background， as elements waiting to be discovered。 They have their own independent standing and in some cases， singly or collectively， they and not the focal point are what make a photo great。 As another universal， Freeman says viewers are especially drawn to the face。 Here again， I’d say that this is a matter of personal taste， especially in this era of selfies， fake smiles and marketing when it’s a relief to get non-peopled shots。 The author discusses vectors that establish direction in a photo。 In one shot， he waits for workmen on a dry docked ship’s propeller to rotate in such a way as to mirror the propeller’s direction as if it were in water。 That’s technique that adds nothing。 It even detracts。 Workmen do their work without， presumably， trying to align themselves with the propeller’s movement in water。 Interestingly， in the one photo the author uses to demonstrate faces as vectors， Freeman comments on the two faces in the foreground that are looking at a focal point， but he says nothing about two easily missed， shadowy faces， deep in the background， doing the same。 These， not the obvious faces， make the picture interesting。 In another example， Freeman uses a bull’s horns to frame cow herder in the Sudan to illustrate both the use of the horns to frame his shot to demonstrate anticipation， waiting for a perfect alignment。 My reaction， though， was that this kind of framing was technique， that imposes itself on what was otherwise an interesting shot。 As in other discussions of photographic technique， the photos the author uses to illustrate design principles are ho hum and prompt a certain yawning about why a viewer should even bother with viewing these photos at all。 Later in the book， though， Freeman digs into the content aspect of photo taking and this leads to the observation that capturing good content with good technique， though secondary and contributory， is the objective。 This leads to a broader conclusion， at least for me， that a great content photo captured somewhat poorly is much preferred to boring content captured with excellent technique。 As to what constitutes good content， Freeman notes seeing the unusual， or seeing the usual in unusual ways。 These capture provocative moments。 I would add that historic photos evoke a freshness that captures a long-gone time or event。 Some pictures illustrate a larger point or an underlying form amid the noise。 Some photos stand alone in their evocative power。 Others need a caption or a fuller description to explain the “why” of the photograph。 But there’s also this issue of beauty of what pleases the eye。 This is content too。 It is color and color combinations for sure， but those pleasing or oddly contrasting juxtapositions also reveal the photographer’s sense of irony or humor。In capturing good content， Freeman references Cartier-Bresson who spoke of “a creative fraction of a second” for the right moment to capture a photo - a second sooner or later would be too early or too late。 I also like his advice that a photographer’s mission is to explore the world and to explore one’s imagination about how one sees the world。 A good photographer， he says， hunts for prey - for the desired image， which he says “is creative perception。。。with a photographic end result。” 。。。more
Stefano
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Adatto soprattutto ai principianti， offre spunti d'interesse anche a fotografi un po' più esperti。Si concentra soprattutto sulla teoria della composizione， ma tratta talvolta di argomenti più generici come la teoria del colore。Talvolta prolisso， talvolta troppo sbrigativo， l'ho trovato poco incisivo （forse per il fatto di conoscere gran parte del materiale trattato）。 Gli esempi sono tanto e spesso di buona qualità， anche se mi è capitato di rimanere perplesso davanti ad alcuni。 Adatto soprattutto ai principianti， offre spunti d'interesse anche a fotografi un po' più esperti。Si concentra soprattutto sulla teoria della composizione， ma tratta talvolta di argomenti più generici come la teoria del colore。Talvolta prolisso， talvolta troppo sbrigativo， l'ho trovato poco incisivo （forse per il fatto di conoscere gran parte del materiale trattato）。 Gli esempi sono tanto e spesso di buona qualità， anche se mi è capitato di rimanere perplesso davanti ad alcuni。 。。。more
Ekin Aksu
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So instructive and well written。 Teaches not only basic design elements in photography， but also how to apply them with real world examples and tips。 Lots of photos with schematics explaining why they work。 Highly recommended。
LewLew
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Even if you're not into photography， it's a great read for any artist， especially when it comes to understanding composition ect。 Even if you're not into photography， it's a great read for any artist， especially when it comes to understanding composition ect。 。。。more
TΞΞL❍CK Mith！lesh
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High-Level ThoughtsAn #extremely useful book for the beginning photographer， full of heuristics for better photo taking。 It was fun reading it then going through the National Geographic award-winning photos， since I could pick out some of the elements discussed in the book and how they helped make the photos work。#refer
immanuel Joshua
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This book was a eye opener for me， personally i learnt a lot about Photography composition and i have just finished reading but only after implementing what i learnt i might feel the completeness of reading this book
Jonaq
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I have never read a book this extraordinarily dull， it bored me out of my wits。 The information presented is valuable to new photographers， and the examples are great， but the writing is garbage。 The whole textbook feels like a sixth grader's ramblings in an exam， trying to meet the word count requirements while forcing in all of the big words they know， and cite the only two books they have read at every opportunity。 These picture filled 200 pages took more effort to read than a 1500 page engin I have never read a book this extraordinarily dull， it bored me out of my wits。 The information presented is valuable to new photographers， and the examples are great， but the writing is garbage。 The whole textbook feels like a sixth grader's ramblings in an exam， trying to meet the word count requirements while forcing in all of the big words they know， and cite the only two books they have read at every opportunity。 These picture filled 200 pages took more effort to read than a 1500 page engineering textbook。Jesus christ， I wish I had read something else。 。。。more
Mathew Duman
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Kudos to Michael Freeman for directly tackling this important but elusive component of photography。 His concepts are well explained & demonstrated。
Silvia
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La Bibbia per qualunque appassionato di fotografia， sia esperto che alle prime armi。
Mike Walmsley
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Balances practical and philosophical。 Barely mentions digital photography， but it was so helpful for composition I didn't mind。 Balances practical and philosophical。 Barely mentions digital photography， but it was so helpful for composition I didn't mind。 。。。more
Lukácsi Alpár
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The Bible of photography， any photography enthuziast should read it ！ Many many things to learn ！
Cristina
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Ottimo manuale， ricco di esempi e immagini che ben illustrano gli argomenti di ciascun capitolo。 Sarebbe da leggere prima di qualunque altro libro， pure prima di quello sul funzionamento della propria macchina fotografica。 In teoria。 Perché purtroppo nella mia testolina， pur volenterosa di ricordare le tante utili nozioni sulla composizione fotografica， sono andate velocemente perdute。 Temo che ci voglia soprattutto esperienza，。 Quindi scattare， scattare， scattare。
Tom Rozsas
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I read The Photographer's Eye as a long time photo enthusiast who also uses photography as meditation。 I have a strong technical background but no formal training in art， so I enjoyed approaching photography from the aspect I am less familiar with。Learning about design and composition may help us become better photographers， but I recommend Michael Freeman’s book for a different reason。 Photography is the art of seeing。 Even taking pictures only to capture family moments， looking for photo oppor I read The Photographer's Eye as a long time photo enthusiast who also uses photography as meditation。 I have a strong technical background but no formal training in art， so I enjoyed approaching photography from the aspect I am less familiar with。Learning about design and composition may help us become better photographers， but I recommend Michael Freeman’s book for a different reason。 Photography is the art of seeing。 Even taking pictures only to capture family moments， looking for photo opportunities and capturing our story in pictures helps us see the world in a more subtle way。The Photographer’s Eye， in return， helps us develop our eyes further。 It helps us see photos from angles we may have not even thought before。 By introducing the tools and language of visual design and composition， the book helps us contemplate photos mindfully。 The effort to apply what we learn in our own photography then helps us see aspects and angles we have never seen before。A special strength of the book lies in the beautiful photos illustrating the concepts。 The collection of images accompanying the text let us immerse in visual exploration and transform reading into a meditative journey。 。。。more
Mireia
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Un libro muy interesante y del que he aprendido mucho。 Lo único que no me ha gustado es el tipo de papel donde se ven todas la huellas
Gianfranco Nerdi
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Decent book for beginners。 I wish the rule of thirds had been explored in greater detail。 The last two chapters are filler material and I am somewhat skeptical that composition is something we can [fully] control and that it's not something one does intuitively and IF the circumstances present themselves， though; to me， a large portion of it has to do with luck。 You can write books like this all you want and fill them with examples of shots that made it to the pages of a serious publication， and Decent book for beginners。 I wish the rule of thirds had been explored in greater detail。 The last two chapters are filler material and I am somewhat skeptical that composition is something we can [fully] control and that it's not something one does intuitively and IF the circumstances present themselves， though; to me， a large portion of it has to do with luck。 You can write books like this all you want and fill them with examples of shots that made it to the pages of a serious publication， and analyze them in great detail， but these will still be the lucky few shots out of thousands of discarded ones。 Carefully staged composition where one is 100% in control is actually rare and difficult to pull off。 A good photographer is good precisely because he is good at showing you only his best work。 。。。more
Jenny Ashby
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Since beginning a more serious focus on photography a couple of years ago I've got （most of） my technical skills worked out but still feel like I'm falling short in creativity。 I'm not sure that's a skill that can be taught， but I purchased this book as one of the tools to try to do that。 A lot of it covered composition tricks I've already heard， but it's still great to have those repeated until they sink in。 And if you are somewhat new to photography， this is a great primer on shapes， depth of Since beginning a more serious focus on photography a couple of years ago I've got （most of） my technical skills worked out but still feel like I'm falling short in creativity。 I'm not sure that's a skill that can be taught， but I purchased this book as one of the tools to try to do that。 A lot of it covered composition tricks I've already heard， but it's still great to have those repeated until they sink in。 And if you are somewhat new to photography， this is a great primer on shapes， depth of focus， color， and many other aspects of good composition。 It left me thinking more about what to be looking for when deciding to take a shot。 。。。more
Viktorija Gulbinaitė
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Iš šios knygos tikėjausi labai daug。 Kiek teko skaityti atsiliepimų internete， didžioji dauguma teigiami。 Ar sutinku su jais？ Ne。 Ar man patiko？ Ne。Mėgstu aiškiai apibrėžtas taisykles， struktūrą， turinį， kokybę。 Žinant taisykles gali jas laužyti panaudojant savo kūrybiškumą， interpretacijas， įberti prieskonių。 Sukurti naują， originalų kūrinį。 Tai galioja bet kur – gaminant maistą， dirbant， poilsiaujant， vairuojant， rašant。 Netgi grindis gali išplauti daugybe skirtingų būdų！ Tačiau ši knyga man b Iš šios knygos tikėjausi labai daug。 Kiek teko skaityti atsiliepimų internete， didžioji dauguma teigiami。 Ar sutinku su jais？ Ne。 Ar man patiko？ Ne。Mėgstu aiškiai apibrėžtas taisykles， struktūrą， turinį， kokybę。 Žinant taisykles gali jas laužyti panaudojant savo kūrybiškumą， interpretacijas， įberti prieskonių。 Sukurti naują， originalų kūrinį。 Tai galioja bet kur – gaminant maistą， dirbant， poilsiaujant， vairuojant， rašant。 Netgi grindis gali išplauti daugybe skirtingų būdų！ Tačiau ši knyga man buvo kažkoks nesusipratimas。 Nei tai taisyklės， užduotys， nei kūrybiškumą skatinantis turinys， nei tai galų gale mokomoji medžiaga！ Veikiau knyga man priminė autoriaus nuotraukų rinkinį， kuriame pasakojama jų sukūrimo istorija， nuotraukos idėjos atskleidimas。 Tiksliai kaip viršelyje: nuotrauka; jos planai （1， 2， 3）， objektų kompozicija; tikslas ir idėja。 Panašu， kad autorius （fotografas） norėjo atskleisti SAVO požiūrį ir supratimą per SAVO fotografijas。Mano nuomone tai nėra tinkama knyga pradedančiajam mokytis， nes joje nėra aiškiai apibrėžiamos pagrindinės fotografijos taisyklės， o vaikštoma abstrakcijos keliu， tarsi skaitytojas jau turėtų žinių apie fotografiją: „ši nuotrauka užfiksuota remiantis trečdalių taisykle“， - o kas ta trečdalių taisyklė？ Jokių išsamių paaiškinimų。 Skaityti šią knygą nieko nenusimanančiam sudėtinga， nes fotografijos pagrindų， daugelio terminų ar teorijos nenutuoki。 O išmanančiam neįdomu， nes viskas pateikta labai paviršutiniškai ir subjektyviai。 Jeigu aš visiškai nieko nenusimanyčiau fotografijoje， po šio „vadovo“ perskaitymo tikrai net nemėginčiau imti kameros į rankas。 Man pasirodė， kad medžiaga išdėstyta painiai ir nesuprantamai。 。。。more
Max Robles
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No trata sobre los elementos técnicos de la cámara， si no sobre composición y el proceso subjetivo de sacar una foto。 Es muy completo， pero lo que hace es explicitar todos los elementos que normalmente se intuyen al sacar fotos， así que solamente vale la pena leerlo si no se tiene buena intuición y se quiere desarrollar。 Eso si， tiene muy buenas fotos para analizar。
SACHIN 2。0
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One of the Best and Must read book in photography for beginners。 Theoretical book on photography without mixing the photographic gears: camera and other things。
Harold D。 Dyer
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Excellent ResourceGreat information done in an easily digestible format。 a great source to reference in the future as well as to learn from today。 Highly recommended。
Omid Roshani
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