The Photographer's Mind: Creative Thinking for Better Digital Photos Paperback – September 28, 2010
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Bathed in light: composition, pose and lighting all move in the same direction--up towards the sun.
A hidden landscape: inside a conch shell, but with none of the clues to suggest what it might be.
A moment: the culmination of seven minutes and almost forty frames.
Another Moment . . .: but an uncertain one.
Amazon Exclusive: A Letter from Michael Freeman on The Photographer's Mind
Dear Amazon Readers,
Well, I’ve written and photographed many books, and I was a little shocked when last month the 150th one appeared. A third of these are about photography, and you might think that’s rather too many for one person to write. I mean, don’t I have anything better to do? Valid question, but I like books--no, more than that, I have a strong belief in them--and as my work involves a lot of travelling, I have a great deal of time to think and write when I’m on the road. In fact, I’ve always spent a little more than half of each year travelling, and usually on long trips. Five or six weeks at a time is my ideal, though it’s sometimes longer by necessity. This isn’t packaged tourism, of course, and many of the places I’m in are a little quieter and more remote than you might expect. Perfect for thinking about writing, and this writing is also about what I’m doing--shooting.
Two and a half years ago I published The Photographer’s Eye, a book which at its core is about composition. This evolved from a much earlier book, long out of print. It always seemed to me that the word "technique" was usually being applied to the wrong things in photography. Technique was taken to mean twiddling knobs and working the controls, not to mention the arcana of imaging software. All very well, but what about the result? You could train yourself to fit a flash unit to the camera faster than a weapons expert could change magazines on a Kalashnikov, or learn to despise anyone who doesn’t use Smart Objects in Photoshop, but if the image is boring at the end of it, what was the point?
The techniques that always engaged me (and to be frank, most of the other professionals I know) have to do with image making, regardless of camera model or Photoshop version. My background is editorial assignment photography, usually features, so the pressure is always on to make the shot interesting. It’s quite often about storytelling, and if I’m trying to tell a part of that story clearly, I might (for instance) need to find a viewpoint and framing that relates one thing in the frame to another. Or, can I find a composition and scale that somehow encapsulates the mood and essence of the scene? Or, did another photographer I know already shoot this in a particular way, and how can I be different and better?
Composition isn’t about the Rule of Thirds (spare me, please!) and getting the framing perfect. There is no perfect. But neither is it vague and happy-feely. There are real techniques that involve knowing what the frame shape is doing to you, how the eye and mind tend to respond to visual stimuli, and how to create the right balance between surprise and comfort simply by the proportion you allocate to elements In the frame. And because these techniques involve choice of subject and being certain of what you’re trying to achieve (for instance, make the scene lush and lovable, or shock the pants off the audience), composition reaches much, much further than placing points and lines in a rectangle.
Well, if I go on much more, this will begin to be a book! And there already is one . . . it’s the sequel to The Photographer’s Eye, and it’s called The Photographer’s Mind. It exists because there was much more that I wanted to say than I was able to in Eye.
There’s even a little bit more that I couldn’t fit into this, either. One thing I touch on in the book is the deep effect of frame shape, and in particular a new trend towards wider. 16:9 is rapidly gaining ground as a "natural" format (aspect ratio, actually) because of HDTV, and a few cameras offer this framing. And of course, its shape alone has an effect on composing that is noticeably different from 3:2 and 4:3. Here are four examples, each illustrating a different effect:
Pushes the attention outwards to left and right--gives a panoramic feeling.
Squeezes top and bottom--less foreground, less sky.
Encourages the "two-shot"--one object left vs. one object right.
Strengthens any left-right movement that the scene may already have.
What Kind of Photographer Are You?
A Photo Personality Quiz
Do you know how to read a histogram?
- More or less
- Fairly well, and I’m getting better all the time
- Of course! What a nerve to ask!
- Trent Parke
- Irving Penn
- Ansel Adams
- A year’s invitations to opening nights at the photo gallery of your choice
- A coffee-table book on grand American landscapes
- The latest Ukrainian software to do something amazing to your image
- Fire hydrant
- Detail of a wall
- Gas station
- 50 plus
- An 85mm ƒ1.4
- A 105mm Macro
- A lens that bends, swings or tilts
- Interesting contrast between elements
- Rule of Thirds
- Getting it all inside the frame
- It’s more important to get it sharp, because you can fix the composition later
- Anything unusual
- Sunset and sunrise
- Frontal and crisp
- The camera is irrelevant
- He understood exactly how the camera works
- This camera is a miracle of modern engineering
How did you score? Add up the numbers for each answer you checked . . .
Either you have a passion for shooting, or you cheated because you guessed that a low score would be best. Even if the latter, at least you wanted to look like a photographer rather than a techno-geek, so you won’t be disappointed to find that this new book is completely about thinking and shooting pictures, with not a piece of a camera kit or a computer screen anywhere in sight!
What a balanced, reasonable and moderate individual you are! The alternative would be that you couldn’t really make up your mind, but that can’t be true, can it? Anyway, I really envy you for steering clear of extremes. Guess what . . . you’ll find an equally balanced view of the range of photographic expression and style in this book!
You just might need a little more excitement in your photographic life. Moreover, you’ll go pasty-faced from sitting in front of the computer screen. Recommendation: close it down, spend an hour reading this book, then go out with the camera and take at least two photographs of a kind you’ve never tried before.
Funny how this book seems to be good for everyone, isn’t it? Admittedly, you’ll still need the camera manual. But please don’t write to me saying how unfair and opinionated the test was, because that’s what these quizzes are all about!
"In this volume, Freeman contemplates what makes a photo gripping, appealing, or beautiful, breaking subject matter, lighting, and composition into component parts and defining and discussing each. Filled with examples at each step, the elements of a photo are organized into three sections - intent, style, and process - with examples of the transformations possible using digital technology surveyed in the final section. This is a superb guide, thought provoking and useful for photographers at all levels."--SciTechBookNews
"In Freeman's follow-up to his popular Photographer's Eye and Photographer's Eye Field Guide, he generously shares experience he has gained as a professional photographer to improve the quality of the digital pictures nearly everyone is now creating. The content is streamlined into three chapters, on intent, style, and process, that tackle both the practical and the intangible aspects of photography more thoughtfully than many similar books. Freeman is as adept at explaining composition as he is at discussing the problem of cliché or the philosophy of the sublime. Suitable for all who are serious about improving their photos."--Library Journal
"The Photographer's Mind is Michael Freeman's follow up to his best-selling book, The Photographer's Eye. Containing more than 400 images with schematic illustrations showing how and why they work, the book is targeted at serious amateurs, intermediate as well as professional photographers."--Photography Blog
"Freeman's latest offering reaffirms his place as a skilled photographer and deep thinker with much to impart about the variety of mental processes at play when viewing an image."--DPReview.com
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Another feature of the book which I liked was Michael's recommended topics, concepts, or individuals to do Web lookups. I pursued some and learned much. This permits the reader to pursue his/her interests and makes the book itself easier to read.
I read the Kindle edition and found both the layout and the orthography challenging. Where the author speaks about ideas or concepts related to a given image which in the printed version is probably on the same or opposite page in the Kindle edition you might find it several "pages" away which makes the dialogue harder to follow. This, coupled with misspellings and lack of capitalization of cities, towns and countries caused me to only give the book a four star rating
Mind, though it falters slightly near the end, for the most part maintains the same high level of quality as Eye in discussing "intent" and "style." Especially interesting is the section on beauty and the sublime ("Dead Monsters"), which dips into classical aesthetic theory going back to Burke, Kant, and Addison. In a book geared for the practitioner, such theorizing can easily go too far, but that is not the case here. In fact I could have done with a bit more classical theory. Even if one chooses to eschew classical principles, I believe it is better to do so knowledgeably than ignorantly. The cataloguing of styles is helpful. I found that I already use a number of styles in my photography, but I can now do so with greater awareness and confidence. I appreciated the web links throughout the book and the references to various photographers whose styles are discussed.
I can highly recommend both books to amateur and advanced amateur photographers.
This book is for the beginner and expert alike. However, it does assume a level of competence with a camera. You don't have to be an expert, you just need to know how to make your camera do what you want. So if you are looking for a book that tells you what to do then look elsewhere. This books are about thinking and in particular teaches you what to think about for advanced composition and creative thinking.
People often get too wrapped around the axel about gear. If only they had a faster camera or more mega pixels or higher ISO, then they would be taking masterpieces. That could not be further from the truth. The cold hard truth is the best and fastest way to take better pictures is to one, take lots of pictures. A way to supercharge your learning in that process is to look at and study beautiful art and pictures. This book not only shows you amazing photos, it also analyzes the photos and explains why they are amazing photos and what he was thinking.
I recommend all 3 of these books as masterpieces you will treasure and will, with practice, accelerate your learning process for taking great pictures.
Top international reviews
As per the first book, this is aimed at the intermediate/advanced photographer and as such does not cover technical competencies (shutter speed/aperture/iso etc).
This book to me is a continuation of his previous book and I feel without having read/be aware of the solid concepts/techniques of composition, the reader may be a little lost.
This book takes the reader through and expanding on the 'why's of compositional elements and considerations for certain situations. There's a section in the book that provides a small case study for one of Freeman's images, and whilst not a great image, the thought process and considerations made whilst deciding on the final composition/light control etc is very much appreciated.
One small issue I have is related to the layout of the items on some pages. Whilst Freeman's writing style is flowing, the pages contain images with captions and the layout does not really provide the reader will clear breaks for us to explore the images/captions, before returing to the main text. With this, I found myself jumping between the images, the captions and the main text and getting ahead of myself. The publishers have missed reading Freeman's section on "leading the eye".
If you enjoyed and learned something "The Photographer's Eye" and want the 'why' to the 'what', this is a good choice. Throuroghly recommended for anyone wishing to improve.
In the first book of the series "The Photographer's Eye", he addressed some aspects of a solid composition: gestalt theory, right choices of tools for different purposes, necessary skills for capturing one's idea, etc. The Photographer's Mind is the second book in this series. It starts right from where the first book ends: the psychological study of what makes a good composition. After all, once you've learnt your tools, got your hands swift enough and known the gestalt rules, you'll need to know more about what makes a good photography in order to advance. This enters the realm of psychology. However elusive this topic is, in "Chapter 1: Intent" of this book, the author analyses the psychology of photo appreciation in seven selected aspects, largely focusing on the choice of arrangement of the image contents.
"Chapter 2: Style" is more on available options of graphical styles to go for rendering your intent. This chapter goes further in the field of gestalt philosophy of composition.
"Chapter 3: Process" talks about practice. Concrete methods for building a sophisticated compositional mind are discussed here. The author is a good guide.
Like Mr. Freeman's other books, this book is again elaborated in stylish and non-pretentious text. A real pleasure to read as essays. Points are also explained or presented with content-rich and beautiful photographs, as well as informative illustrations. Each section in chapter 1 and 2 provides an "extended reading" subsection. The materials suggested in extended readings surely widen the horizon of your photographic mind.
I strongly recommend this book to people having ambition of advancing the quality of their photographs, or sheerly enjoying intellectual contemplation from reading good English.
This is not a manual on which settings to use in which circumstances. Rather, it analyses the creative process around choosing what to photograph, and composition. It also looks at how the viewers may perceive a photograph and how you can, to a certain extent, control the way in which they see a scene.
This has made me think about why I take photos and what response I want to elicit from people. It has also made me consider new approaches, and given me ideas on how to move forward and develop my skills.
I think it is not for the beginners. You need some experience to gain something from it. So I think it is more appropriate for the intermediate photographer who knows a bit about photography and had some experience in taking photos.
In an age of overblown superlatives.........fantastic!
Well worth buying.