Mastering Photographic Composition, Creativity, and Personal Style by Briot, Alain -- Read -- Imperial Library of Trantor

Index

Mastering Photographic Composition, Creativity, and Personal Style

Foreword Preface 1. About Composition

Art, Facts, and Landscape Photography The Differences Between Composing Factual and Artistic Photographs Photography is Not Dead

I. The Differences Between What We See and What the Camera Sees

2. Learning to See Like a Camera

Of Cameras and Art Good Cameras Equal Good Photographs A Matter of Filters Modifying What the Camera Captures Differences in Print Quality It’s the Print, Silly I Should Have Known The Artist and His Tools It’s Only a Matter of Time

3. The Eye and the Camera

The Difference Between Photography and Reality Two Categories of Differences What the Camera Captures that the Eye Never Sees The Soul of Photography Conclusion

II. New Rules of Composition

4. Composing with Light

Essential Elements Light and Composition Finding the Best Light Finding Sunrise and Sunset Times Using Natural Light Changing Light Quality Skill Enhancement Exercises Conclusion

5. Composing with Color

Color Vision The Three Variables of Color The Munsell Color System Controlling Color in Photoshop Color Balance Color Palette Saturation Color Seeing Aides Taking Notes in the Field Composing with Color: Examples Skills Enhancement Exercises Conclusion

6. Composing in Black and White

Introduction Black and White Is Color with One Variable Seeing the World without Color Black and White and Art Black and White and Manipulation Color vs. Black and White Seeing in Black and White Examples of Composing in Black and White Skills Enhancement Exercises Conclusion

7. Important Elements of a Strong Composition

Introduction Part 1 – The Checklist

Strong Compositions Checklist

Part 2 – Seven Examples

Example 1—Superimposing Objects: Monument Valley Example 2—Creating Visual Metaphors: Manzanar Monument Example 3—Leading Lines: Sand Dunes at Sunrise Example 4—Near-Far Compositions: Brown’s Hole, Dinosaur National Monument Example 5—Near-Far Compositions: Vertical and Horizontal Example 6—Careful Cropping Between Objects: Navajoland Cloudscape Example 7—Cropping and Borders: Escalante Canyon

III. The Creative Process

8. Finding Inspiration

Introduction Inspiration, Creativity, Vision, and Personal Style Example 1: Location as a Source of Inspiration The Muses A Lifestyle Example 2: Remoteness as Source of Inspiration New Equipment, Supplies, and Software: New Possibilities Example 3: Mood as a Source of Inspiration Become an Expert External and Internal Inspiration Inspiration Is Asking Why not How Example 4: Repeat Visits to Favorite Places for Inspiration Memories of What I Have Seen and Experienced Skills Enhancement Exercises: How to Invite the Muses and Bring Out Your Creativity Conclusion

9. Exercising Creativity

Introduction The Difference Between Inspiration and Creativity Do Not Delay Creativity We All Have the Potential to Be Creative Liberating Our Creativity Fear of Failure Moving Out of Your Comfort Zone Overcoming Creative Fear Fear of Critique Everything Has Already Been Done Nobody Cares About Your Work Skills Enhancement Exercises Conclusion

10. Developing Your Vision

Introduction What Is Vision? Making Your Vision Reality Critical Thinking Going Back Your Personality Making Your Vision Reality Doing the Work Do Not Lose Your Vision Skills Enhancement Exercises Conclusion

11. Achieving Your Personal Style

Introduction What is a Personal Style? Finding Your Own Way of Seeing Style Develops through Work Your Personal Style Filter Show Your Personal Style throughout Your Work The Coherence of a Style Projects, Goals, and Deadlines Expect Ebb and Flow Unlearning the Rules Changing the Rules Be Bold and Audacious Don’t Sell Your Soul Don’t Worry about Creating Masterpieces Moving Out of Your Comfort Zone Don’t Try to Please Everyone Expect Detractors Skills Enhancement Exercises Conclusion

IV. You and Your Audience

12. Just Say Yes

Introduction A Little Bit of History The Art of Saying Yes Drama Technique Is Meant to Be Seen Audience In Closing

13. Of Audiences and Bestsellers

Introduction Who Is Your Audience? The Concept of Audience Selling Out Artists Seek a Response from and a Dialogue with the Audience Of Bestsellers and Art How to Create a Bestseller Start a Discussion with Your Audience How to Find an Audience Skills Enhancement Exercises Conclusion

14. The Numbering Affair

Introduction Manipulation and Art A Short History of Numbering in Photography Of Quality and Quantity The Problem The Conflict The Art Show Conundrum To Limit or Not to Limit? Conclusion

V. The Relationship Between the Technical and Artistic Aspects of Photography

15. Technical and Creative Field Checklist for Fine Art Photography

Introduction A Few Notes about this Checklist Field Checklist

16. Image Maladies

Introduction Heavily Cropping Images Images Affected by Edge Maladies Globally Oversaturated Images Locally Oversaturated Images Images with a Global Color Cast Images with a Local Color Cast Images without Black and White Points Images without a Gray Point Images with Clipped Black and White Points Images with Too Much Global Contrast Images without Enough Global Contrast Images with Too Much Local Contrast Images Converted (or Saved) to a Small Color Space Image Density Land and Sky A Challenging Endeavor Skills Enhancement Exercises Conclusion

17. Memories of What I Have Seen

Introduction Reality? Five Senses Conclusion

18. Conclusion

Art and Technique The Creative and Critical Modes Vision and Composition Your Journey Briot Workshops A New Beginning

Prologue

← Prev
Back
Next →

← Prev
Back
Next →