Learning to Photograph, Volume 2 by Banek, Cora -- Read -- Imperial Library of Trantor

Index

Cover Page Title Page Copyright Page Foreword Table of Contents Introduction 01 The Basics of Image Design

1.1 From Idea to Picture

The Photographer Designs Limitations of Design The Design Process The Balance of Content, Form, and Technology The Role of Image Editing

1.2 The Process of Perception

Steps of Perception Perception in the Strictest Sense Subconscious Evaluation Schematic Understanding Getting into the Picture Examining the Image Mental Processing How Photos Work Saving Images Internally

1.3 Designing Images with Purpose

Motivation Subjects Aspirations versus Reality Intentions and Goals Image Design as a Means to a Goal What You’ll Find in this Book . . . . . . And What You Won’t

02 Composition

2.1 Image Format

Aspect Ratios Landscape Format Landscape Panorama Portrait Format Portrait Panorama Square Format Creating Formats Format Limitations

2.2 Image Area

Telling Stories Showing and Not Showing Combining Subjectively The Right Perspective Field Sizes How Image Borders Work Spontaneous Framing

2.3 Cropping

Complete Representations Reducing Visual Dominance Creating Closeness Cropping Off, Not Cropping Out Location Is Everything Dividing the Background

2.4 Arranging Visual Elements

Visual Elements The Basics of Gestalt Theory The Quantity of Visual Elements Main and Secondary Elements The Golden Ratio Grid Methods Symmetry and Asymmetry Arranging the Main Element Arranging Two Elements Arranging Multiple Elements Busy Scenes

2.5 Visual Levels

Three, Two, One Level(s) Foreground Middle Ground Background Weighting

03 Shapes and Lines

3.1 Points

Appearance Anchors and Attention-Grabbers Multiple Points Distracting Points Invisible Points

3.2 Lines

Appearance Linear Composition Contained Systems of Lines Movement and Countermovement Horizontal Lines Vertical Lines Slanted and Diagonal Lines Curved Lines The Contrast of Lines

3.3 Shapes

Appearance Organic and Symbolic Shapes Geometric Shapes Circles and Ovals Triangles Rectangles, Squares, and Diamonds Stars and Crosses Shapes in a Picture Combining Shapes

3.4 Structures and Repetition

Appearance The Effects of Structures

04 Standpoint and Point of View

4.1 The Position of the Camera

Selecting a Vantage Point Proportions Arranging and Overlapping Exposure Height and Perspective Normal View Downward View Upward View

4.2 Lens Characteristics

Basics Angle of View Angle of View and Sensor Size Designing with Small Sensors Focal Length Ranges Normal Lenses Wide Angles of View Fisheye Lenses Narrow Angles of View Macro Tilt-Shift Exposures

05 Light

5.1 The Nature of Light

How Much Light? Harsh, Directed Light Soft, Diffuse Light Qualities of Natural Light Qualities of Artificial Light

5.2 The Direction of Light

Front Lighting Backlighting Sidelighting Top Lighting Bottom Lighting Undirected Light

5.3 Light Sources and Their Colors

Natural Light Artificial Light Flash Light White Balance Mixed Light

5.4 Shadows

Seeing Shadows Depicting Shadows Shadows as Subjects

5.5 Light Management

Guiding Light Diverting Attention Over- and Underexposure

06 Color and Black-and-White

6.1 The Effects of Individual Colors

The Color Wheel The Double Cone Associations and Emotions Warm and Cold Colors Color Brightness Color Saturation Color Tones and Their Effects Red Orange Yellow Yellow-Green Green Blue-Green Blue Violet Red-Violet Achromatic Colors High-Key and Low-Key Metallic Colors Neon Colors Memory Colors

6.2 Color Combinations

Harmonious Colors Discordant Colors Color Chords Musical Color Chords Contrasting Colors The Contrast of Color Itself Complementary Contrast Cold and Warm Contrast Brightness Contrast Contrast of Quality Contrast of Quantity Simultaneous, Successive, and Shimmer Contrast

6.3 Shades of Gray

Colorless Reality Converting to Black-and-White Controlling Contrast Monochrome Images and Toning

6.4 Colors in Practice

Color as the Main Element Colorful Eye-Catchers Colorful Side Elements Post-Processed Colors

07 Sharpness and Blur

7.1 Establishing Sharpness and Blur

Focusing Depth of Field The Impression of Sharpness A Hazy Blur

7.2 Designing with Sharpness and Blur

Sharp or Blurry? Depth of Field Preview Large Depth of Field Shallow Depth of Field Sharpness in Macro Photography

7.3 Movement

Shutter Speeds Camera Shake Intentional Blur Motion Blur Freezing Motion Panning with Motion Image Sequences Video

08 The Overall Effect

8.1 The Interplay of Design Elements

The Model of Visual Impact The Dimensions of Impact Analyzing Impact Attention versus Credibility The Interplay among Photos

8.2 The Effect of the Setting

Frames and Matting Image Size and Viewing Distance Presentation Medium Additional Information Thematic Context The Context of Perception

8.3 Visual Design and Language in Practice

Practicing Design Applying Image Design Purposefully The Principal Dimensions of Design Imperfection and Chance as Tools of Design Photographers and Their Visual Languages

09 Image Analysis and Evaluation

9.1 Structured Analysis and Evaluation

Focused Evaluation Image Analysis The Subject The Objective The Intended Audience The Visual Design Evaluating Balance

9.2 Applications

After Shooting Assembling a Collection of Images Self-Criticism and Continual Improvement Handling External Criticism Playing the Critic

9.3 Common Design Mistakes

Camera Shake Central Positioning Overlapping Subjects Chaotic Lines Harsh Light and Distracting Shadows Distracting Backgrounds Too Many Elements

9.4 Analysis Examples

Red Beauty To the Corner! Colorful Decay Feminine Curves Alone Together A Splash of Color at the Edge Fashion Lines Refreshing Colors Clearly Confusing Traces of Light

Online Resources

Notes

Thanks The Authors

About the Authors

Index

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