Rent 9781933952222 | Mastering Photographic Composition, Creativity, and Personal Style

Summary Table of Contents

Following his successful first book, "Mastering Landscape Photography," Briot goes beyond the conventional rules of composition and takes on a fresh, new approach to teaching the art of photography.

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Foreword	p. xiv
Preface	p. xvi
About Composition	p. 2
Art, Facts, and Landscape Photography	p. 3
The Differences Between Composing Factual and Artistic Photographs	p. 5
Photography is Not Dead	p. 6
The Differences Between What We See and What the Camera Sees
Learning to See Like a Camera	p. 12
Of Cameras and Art	p. 13
Good Cameras Equal Good Photographs	p. 13
A Matter of Filters	p. 13
Modifying What the Camera Captures	p. 14
Differences in Print Quality	p. 15
It's the Print, Silly	p. 18
I Should Have Known	p. 18
The Artist and His Tools	p. 19
It's Only a Matter of Time	p. 21
The Eye and the Camera	p. 22
The Difference Between Photography and Reality	p. 23
Two Categories of Differences	p. 23
What the Camera Captures that the Eye Never Sees	p. 23
The Soul of Photography	p. 32
Conclusion	p. 36
New Rules of Composition
Composing with Light	p. 40
Essential Elements	p. 41
Light and Composition	p. 42
Finding the Best Light	p. 43
Finding Sunrise and Sunset Times	p. 47
Using Natural Light	p. 63
Changing Light Quality	p. 71
Skill Enhancement Exercises	p. 100
Conclusion	p. 101
Composing with Color	p. 102
Color Vision	p. 103
The Three Variables of Color	p. 104
The Munsell Color System	p. 104
Controlling Color in Photoshop	p. 108
Color Balance	p. 109
Color Palette	p. 111
Saturation	p. 116
Color Seeing Aides	p. 119
Taking Notes in the Field	p. 126
Composing with Color: Examples	p. 128
Skills Enhancement Exercises	p. 137
Conclusion	p. 139
Composing in Black and White	p. 140
Introduction	p. 141
Black and White Is Color with One Variable	p. 141
Seeing the World without Color	p. 141
Black and White and Art	p. 142
Black and White and Manipulation	p. 143
Color vs. Black and White	p. 146
Seeing in Black and White	p. 150
Examples of Composing in Black and White	p. 155
Skills Enhancement Exercises	p. 164
Conclusion	p. 165
Important Elements of a Strong Composition	p. 166
Introduction	p. 167
Strong Compositions Checklist	p. 167
Example 1-Superimposing Objects: Monument Valley	p. 172
Example 2-Creating Visual Metaphors: Manzanar Monument	p. 174
Example 3-Leading Lines: Sand Dunes at Sunrise	p. 176
Example 4-Near-Far Compositions: Near-Far Compositions: Brown's Hole, Dinosaur National Monument	p. 178
Example 5-Near-Far Compositions: Vertical and Horizontal	p. 179
Example 6-Careful Cropping Between Objects: Navajoland Cloudscape	p. 183
Example 7-Cropping and Borders: Escalante Canyon	p. 185
The Creative Process
Finding Inspiration	p. 190
Introduction	p. 191
Inspiration, Creativity, Vision, and Personal Style	p. 191
Location as a Source of Inspiration	p. 193
The Muses	p. 193
A Lifestyle	p. 195
Remoteness as Source of Inspiration	p. 196
New Equipment, Supplies, and Software: New Possibilities	p. 197
Mood as a Source of Inspiration	p. 198
Become an Expert	p. 198
External and Internal Inspiration	p. 200
Inspiration Is Asking Why not How	p. 201
Repeat Visits to Favorite Places for Inspiration	p. 201
Memories of What I Have Seen and Experienced	p. 202
Skills Enhancement Exercises: How to Invite the Muses and Bring Out Your Creativity	p. 205
Conclusion	p. 206
Exercising Creativity	p. 208
Introduction	p. 209
The Difference Between Inspiration and Creativity	p. 209
Do Not Delay Creativity	p. 210
We All Have the Potential to Be Creative	p. 211
Liberating Our Creativity	p. 212
Fear of Failure	p. 212
Moving Out of Your Comfort Zone	p. 214
Overcoming Creative Fear	p. 215
Fear of Critique	p. 216
Everything Has Already Been Done	p. 218
Nobody Cares About Your Work	p. 219
Skills Enhancement Exercises	p. 221
Conclusion	p. 225
Developing Your Vision	p. 226
Introduction	p. 227
What Is Vision?	p. 227
Making Your Vision Reality	p. 228
Critical Thinking	p. 228
Going Back	p. 230
Your Personality	p. 233
Making Your Vision Reality	p. 234
Doing the Work	p. 236
Do Not Lose Your Vision Reality	p. 237
Skills Enhancement Exercises	p. 238
Conclusion	p. 241
Achieving Your Personal Style	p. 242
Introduction	p. 243
What is a Personal Style?	p. 243
Finding Your Own Way of Seeing	p. 245
Style Develops through Work	p. 247
Your Personal Style Filter	p. 247
Show Your Personal Style throughout Your Work	p. 248
The Coherence of a Style	p. 248
Projects, Goals, and Deadlines	p. 250
Expect Ebb and Flow	p. 251
Unlearning the Rules	p. 252
Changing the Rules	p. 253
Be Bold and Audacious	p. 255
Don't Sell Your Soul	p. 256
Don't Worry about Creating Masterpieces	p. 256
Moving Out of Your Comfort Zone	p. 258
Don't Try to Please Everyone	p. 259
Expect Detractors	p. 260
Skills Enhancement Exercises	p. 263
Conclusion	p. 266
You and Your Audience
Just Say Yes	p. 270
Introduction	p. 271
A Little Bit of History	p. 271
The Art of Saying Yes	p. 272
Drama	p. 273
Technique Is Meant to Be Seen	p. 275
Audience	p. 276
In Closing	p. 276
Of Audiences and Bestsellers	p. 278
Introduction	p. 279
Who Is Your Audience?	p. 279
The Concept of Audience	p. 282
Selling Out	p. 282
Artists Seek a Response from and a Dialogue with the Audience	p. 284
Of Bestsellers and Art	p. 284
How to Create a Bestseller	p. 285
Start a Discussion with Your Audience	p. 288
How to Find an Audience	p. 288
Skills Enhancement Exercises	p. 290
Conclusion	p. 290
The Numbering Affair	p. 292
Introduction	p. 293
Manipulation and Art	p. 293
A Short History of Numbering in Photography	p. 294
Of Quality and Quantity	p. 296
The Problem	p. 297
The Conflict	p. 299
The Art Show Conundrum	p. 300
To Limit or Not to Limit?	p. 301
Conclusion	p. 302
The Relationship Between the Technical and Artistic Aspects of Photography
Technical and Creative Field Checklist for Fine Art Photography	p. 306
Introduction	p. 307
A Few Notes about this Checklist	p. 307
Field Checklist	p. 308
Image Maladies	p. 312
Introduction	p. 313
Heavily Cropping Images	p. 313
Images Affected by Edge Maladies	p. 315
Globally Oversaturated Images	p. 317
Locally Oversaturated Images	p. 317
Images with a Global Color Cast	p. 320
Images with a Local Color Cast	p. 321
Images without Black and White Points	p. 324
Images without a Gray Point	p. 325
Images with Clipped Black and White Points	p. 327
Images with Too Much Global Contrast	p. 328
Images without Enough Global Contrast	p. 330
Images with Too Much Local Contrast	p. 331
Images Converted (or Saved) to a Small Color Space	p. 333
Image Density	p. 335
Land and Sky	p. 336
A Challenging Endeavor	p. 337
Skills Enhancement Exercises	p. 338
Conclusion	p. 338
Memories of What I Have Seen	p. 340
Introduction	p. 341
Reality?	p. 341
Five Senses	p. 342
Conclusion	p. 344
Conclusion	p. 346
Art and Technique	p. 347
The Creative and Critical Modes	p. 347
Vision and Composition	p. 348
Your Journey	p. 350
Briot Workshops	p. 350
A New Beginning	p. 351
Prologue	p. 352
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