Ebook Free , by Michael Freeman
Ebook Free , by Michael Freeman
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, by Michael Freeman
Ebook Free , by Michael Freeman
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Product details
File Size: 86844 KB
Print Length: 224 pages
Publisher: Ilex Press; 01 edition (October 6, 2016)
Publication Date: October 6, 2016
Sold by: Amazon Digital Services LLC
Language: English
ASIN: B01ETPYGYM
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Amazon Best Sellers Rank:
#640,639 Paid in Kindle Store (See Top 100 Paid in Kindle Store)
"Brilliant" and "Must-Have" don't begin to describe this very unique book. Perhaps a short quotation from the book works better: " Good photographers master their settings. Great photographers understand how to compose their shots. The best photographers find their own ways, or 'paths,' to reveal their subject's true nature. This book is about those paths, and how to find your own."Unless you understand, in a deep sense composition, and, of course the camera's settings in a creative way, this book is not for you. If you are an experienced "expert", then this book could be for you - - - a way out of the usual into the truly creative world. A great photographer's book should contain great photos as examples, and this book does. Truly superlative work from , Michael Freedman himself and Richard Avedon. Art Kane, Paul Strand, Trent Parke, Ernst Haas, . . and many more.Like all of Freedman's 104 books, his beautiful and concise words convey deep messages that can be acted upon when you next pickup your camera. But I would recommend that you re-read the words at least 3 times and view the illustrative images many times because the messages they convey are subtle and very deep.
If you're looking for one of those hardcore how to books that lists the specs like ISO, shutter speed, aperture, etc. this probably isn't the book for you. It's more a photographers distillation of how to think about things different to go beyond the usual to something a bit more creative. I enjoyed looking at the pictures and reading the thoughts of Michael Freeman. It gives you a glimpse into how a photographer thinks to get that extra something into a shot.
Beautiful layout presenting excellent and easily accessible information (suggestions). This volume serves as a ready reference for any level photographer wanting/needing a jog to their creative genius. Highly recommended.
Great read with tons of useful information to spur creatively thinking about what and how you may not be shooting. For me it's a benefit to read through and be reminded of all the fundamentals I learned years ago. If you're in a creative rut, this book may help!
Avery good book. Delivered in a timely manner .
I’m not generally drawn to list books: 50 of these or 100 ways, and so on. And books purporting to be about creativity or to teach one to see creatively? All with which I am familiar border on the trivial, or at least elementary, including the currently reigning volume.So, what could a book of fifty “paths†do to help photographers enlarge their creative propensities? Could this actually be a successful, informative, useful book? The short answer is, "Yes."Firstly, Michael Freeman is the photographer most able to articulate in both objective and subjective terms what goes on in a practiced photographer’s head writing today, or, perhaps ever. Secondly, the book turns out to be a useful appendix volume to his outstanding series of “The Photographer’s …†volumes, the first being a top best seller: “The Photographer’s Eye.†Thirdly, it is just plain intelligent in looking at his approaches to thinking about images.While this book can be at least as useful to a new photographer as the other creativity volumes out there, one will more deeply appreciate it with some years of experiences shooting and thinking about photography in many aspects and about images. Each section looks at images from a particular point of view, but, unlike most elementary books, Freeman has an essay that may go anywhere in his dealing with the topic.In many sections he pulls images from other top photographers’ bodies of work and uses their words to build his own argument on ways to consider the creative possibilities: Ernst Haas, Alex Webb, Pablo Inirio, to name three out of the twenty three. His essays often incorporate references to literature, music, philosophy, aesthetics, and other areas of creativity and thinking about it. One link to these other areas I’m sorry he didn’t mention is synesthesia, that some artists claim has been important to their visual work. Wassily Kandinsky said that in his mind colors and shapes were inseparable from music; Bill Allard has the same link between music and the image. I suspect that some few of us have a prewired edge on at least some aspects of creative activity with synesthesia.With or without it, though, Freeman’s text is a paean to literacy across all of the liberal arts fields as being a reservoir for inspirations for photographic creativity. Evocations in one’s imagination, the flow and rhythm of words in prose and poetry, and so on. Ernst Haas considered his photography a poetic, spiritual endeavor. Too, deep, real creativity comes from intimate, masterful knowledge of the history and craft of one’s field, and photography is no different. The master painters’ geometric techniques to evoke the finest nuances of harmonious space management in their visual works, while difficult to reproduce in small format photography, are a useful set of organizing sensibilities behind the viewfinder. Freeman uncovered the most delightful tidbit on the origin of that most hackneyed, trivial, and nearly useless of all photographic rules of composition, The Rule of Thirds; for that answer, one must read the book! (The answer is actually rather early.)Freeman assumes that a photographer reading this book has already mastered awareness of the elements of design, the fundamental and color contrasts, camera and technique, and the fundamentals of image composition, the topics which tend to be covered in the more elementary books. The fifty ‘paths’ are each four to six pages and are not overtly grouped, but there is some flow to them that results in some two or three in sequence being related. Freeman cross references other paths that are related in the texts. One compositional technique losing favor owing to the preponderance of small to tiny sensors, most numerously in smart phones, is controlling depth-of-field, which tends toward infinite despite the aperture, the smaller the sensor.This book is useful to any level of photographer, but most useful to the experienced one - especially one who has availed one’s self of his “The Photographer’s …†series, and/or Harald Mante and other authors on design, such as Maitland Graves. It is a wonderful place to look for something new or untried during those times when one is in a creative slump or is searching for inspiration to solve a photographic problem. Freeman is the only writer/photographer today who writes articulately at the advanced level, giving the experienced photographer, amateur or professional, useful, productive avenues to consider the photographic endeavor in ways not covered anywhere else.This book does succeed, is rewarding, and worth buying.
Well written
A very large book with very good aspects to it, but while I like it and am keeping it, I've seen better out there. That is not to say that the book isn't very helpful. It Is.
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