Customer Reviews

Photographic Composition

5 star:		(6)
4 star:		(9)
3 star:		(4)
2 star:		(4)
1 star:		(2)

 

 

Being a student of photojournalizm in Moscow, Russia, I looked for the most complete book on photographic composition that is available. I had studied one book on the subject by the russian author, but knowing that photography in the US is much more developed and professional I was striving to get a book by a professional photographer.

I was disappointed by the book "Photographic Composition" by Tom Grill for a number of reasons:

1. It does not cover all important compositional elements, and those that it covers are not explained in full detail. It does not explain:
- how elements with the similar shapes, similar sizes or similar tone interact with each other,
- the reverse perspective effect and its uses,
- why right and left sides of the photograph differ and why, how it can be used on practice,
- how to balance "weight" of different elements of the photograph, it touches it briefly and furthermore provides an incorrect example,
- difference between compositional center and the center of interest, how to balance them if they are in different parts of the photo (does not match each other)
- all signs of perspective, it does not say anywhere that overlapping of objects is a clear sign of perspective (trivial as it may sound, it still should be marked in any complete work, especially when the author covers other three elements)
- and much much more.

2. It does not use photographs of the best masters to illustrate the topic, neither does it show how composition works in art, which I believe is very important.

3. Most examples are in color, while most ideas on composition are best explained using B&W photographs.

4. Last but not least, composition is about meaning, making a message, not just how to balance different elements within a frame. The book makes this statement, but in my opinion fails to provide poverful examples, while you can fully appreciate the power of composition only by studying powerful photos with good explanation why precisely this photo is good.

OVERALL: I believe that if you want to study composition you want to know all important considerations, not just a few and briefly explained "how-to-quickly-improve-any-photo-you-take". This books fails to provide complete approach to composition and at times can be misleading.

I'd be very grateful if you could recommend me (and other folks that look at our reviews) a more thorough book on composition, I'm sure there must be a good book in english on that subject. Thanks!

P.S. For those who can read in russian I advise a book by A. Lapin "Fotografiya kak..", which compared to the book by Tom Grill explains composition in full.

As a serious hobbyist with no formal training, I was a bit concerned about how much I could really learn from this book. My experience comes primarily from reading text books, how to books, and from hands on experience. I already compose my shots and have had some training on composition with an online class I took a few years back. I frequently shoot images with my Digital SLR as posted on lbphoto.net and want to improve my compositional skills.

I debated purchasing this book for about a year. The reviews worth considering seem to take opposite view points adding to my uncertainty. Leaving me to wonder what I would gain from reading this book, I left it listed on my wish list. When I received this book as a birthday gift, there was no question that I wanted to read it.

Like most of the Amphoto books I have seen or read, this book stays true to the standard formula. The topics are written in an uncomplicated manner and well organized. Inspiring color and black and white images are paired with each topic to help educate the reader.

Understanding composition is an important difference between a so-so picture and a great shot. The language of composition is explained with five main categories; Expressing Ideas, Graphic Controls, Photographic Controls, Color Controls, and Total Control. The topics within these categories touch on the basic associated principles.

Graphic Controls discusses the rule of thirds, lines, shapes, pattern, and the golden rectangle. While I understand the basic concept of the golden rectangle, this book failed to clearly explain the idea. I can see where people would easily be confused by the provided explanation.

Photographic Controls and Color Controls discuss topics that controlled with the camera or filters. Some topics are clearly universal for both film and digital shooters. Other topics are written exclusively for using film, although adaptable for knowledgeable digital photographers.

Total Control discusses the use of concepts and themes. It hardly takes this book to decide on and shoot multiple images based on a predetermined subject. The themes section may inspire a photographer to shoot a theme though.

This book attempts to translate the meaning of image details without attempting to teach how to photographically achieve the elements discussed. Most of the topics do not need further discussion and can easily be figured out. Others like "High Key/Low Key" will require the know how or another source of learning to obtain the desired results.

Every so often the pictures associated to a topic serve as poor examples, often adding nothing more than confusion. I found the discussion of using the color purple or magenta compared to the pink tinted landing jet image to be one of these cases. I can tell what the authors were intending to teach, but the image just doesn't support the topic very well. To me purple is a royal or power color while pink relates to sweet little girls.

After reading "Photographic Composition" I can say this book will affect the way I think before I shoot. In that respect, I have to say the book achieved part of its goal. However, the book fails to give any in-depth revelations. For that the book fails to achieve its entire goal.

If you have mastered composition, this book is not for you. If you already have a basic understanding of photo composition, this book may or may not be a big help. However, if you are a beginner who barely, if at all, considers composition when taking a picture, this may be the book for you.

PROS:
Well organized in-depth range of topics.

CONS:
Occasionally the pictures serve as poor examples.
Several topics written for film cameras, needs to be updated for digital cameras.

This is a very well organized and concise book on photocomposition. It has a very thoughtful progression of the covered subjects, taking the reader from basic concepts of graphic design to the practical presentational and psychological principals. From the 5 main chapters of the book I found chapters 2 "Graphic Controls" and chapter 5 "Total Control" the best chapters from the point of view of richness of presentation and its practical value. The other chapters seemed to me shallower and less focused. I share the dissatisfaction of other reviewers with the presented photographs. Even though I understand that those photographs are carefully selected not for their extreme photographic value, but rather for their association with the subject of the topic they are presented for, I assume that the authors could had done a better job of finding or making more appealing pictures. Without a rich set of photographs this books seems to be a bit more "theoretical" then a book on photography, I believe, should be.

On the other note, I noted that despite the very careful selection and sequence of presentation of the main subjects, most of them are not covered as deeply as they deserve to. This being a disadvantage on one hand could easily be considered as an advantage, because the book does not overwhelm the reader with details, leaving enough space for creativity.

Overall I consider the book to be very useful and educational, especially for high end amature and beginner professional photographers.

Despite some criticism presented, I still rate it with 5 stars, which I think the book fully deserves.

As an intermediate amateur photographer, I compared this book with "Learning to See Creatively" by Bryan Peterson and "Photography and the Art of Seeing" by Freeman Patterson. I found chapter 2 on graphic controls (e.g., lines, shapes, patterns) quite valuable and not covered in much detail in the other two books. For example, the discussion of "lines and their meanings" on p.31 is thought-provoking. The technical data (e.g., camera, lens, exposure, film, and darkroom techniques) on pp.137-141 were also useful. I agree with the July 30, 2000 review that the text is "meaningful" but disagree that it is "limited"; I thought there was exactly the right amount of text. Unfortunately, some of Grill's photos were unremarkable (e.g., pp.48 & 87) or borderline ugly (e.g., p.92). Hey, buy all three books at Amazon.com!

I liked this book. It explains more about composition than just the 'rule of thirds'. I would have liked a little more practical information, as the books spends a little to much time explaining theory and not as much as showing it in practice, but even with that, it still tells you more about how to compose an actual photography then 3/4 of the other books out there. I would give it 5 stars if it were updated for the digital age and the color options and white balance issue that digital cameras bring to the table.

This is the only text on photographic composition (that I know of) that discusses the elements of composition, techniques to achieve the desired results, and gives examples. It follows through with a discussion of using a series of photographs to explore a theme. The writing is clear and detailed, and progresses logically through the subject. The book is a good reference book for someone taking coourses in photographic composition.

In my view there are 3 stages that must be understood to become a good photographer , Using chess as an analogy , there is the beginning which is mastering your camera equipment, the middle mastering composition and the end mastering light and exposure.

For the first, get out your camera manual and practice till everything is second nature , for composition buy this book , It is required reading for mastering composition , It is more in-depth and may take a little longer to read then other books , Once you finish and understand you will be well on your way to better compositions.

As for light and exposure there are many fine books out there covering the subject and couldnt pick one that is heads and above the others.

Having as a starting point the notion that a photograph is nice when it successfully conveys the message the photographer wanted, Tom Grill takes some organized steps to show you how you can use the medium and your subject to express yourself. For example, you will read how shapes, light, color, distance affect the feeling you get from a photo. Many carefully chosen photos, some with technical data. Another plus is that the text is limited but meaningful. This is not a book to teach you how to take holiday photos that will impress your friends.

Generally, I'm not much of a review writer. I'm not that eloquent, easily bored, and lazy in the extreme. This particular book, however, merits an exception.

To put it succinctly, it's one of the best photography books I've ever come across and I've come across quite a few of 'em.

Despite this, I'm not too surprised at the lukewarm ratings and reviews that it's been getting here. Furthermore, I'm sure that the majority of the current wave of photo hobbyists will find it irritating in the extreme. Here's why.

We're an instant gratification society. We've been conditioned to look for easy solutions to complex problems and to want them here and now. Most photography books that get printed right now cater to that trend. They're full of do-this-get-that examples, pre-canned ideas, standard lighting setups, etc., etc.

You will find none of that in "Photographic Composition". It is a book that deals with concepts, not instructions. If you slow down, think things through, and meditate on the material that's presented, then maybe, just maybe, it will help you create something... interesting.

If you're not willing to do that or just not interested, then you should probably look elsewhere.

I have never understood why this, of any book purporting to instruct on composition/design, has remained in print for so long when several other books of actual merit have been out of print for so long. Other than the most elementary presentations on composing, the books with any meat in them have until 2007 been available only on the used market.

Thankfully, though, there are some top notch books available currently in print. Michael Freeman's "The Photographer's Eye," Harald Mante's "The Photograph," and Torsten A. Hoffmann's book.

This book is incomplete, rather misleading, out of date, boring to look at and to read. Take a pass.