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title: "The Photographer's Eye Remastered 10th Anniversary: Composition and Design for Better Digital Photographs"
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# The Photographer's Eye Remastered 10th Anniversary: Composition and Design for Better Digital Photographs

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## Description

With a completely refreshed look to celebrate its tenth anniversary, Michael Freeman''s iconic guide, The Photographer''s Eye , has never looked better. Design is the single most important factor in creating a successful photograph. The ability to see the potential for a strong picture and then organize the graphic elements into an effective, compelling composition has always been one of the key skills in making photographs. Of course, digital photography has brought a new, exciting aspect to design first because the instant feedback from a digital camera allows immediate appraisal and improvement; and second because image-editing tools make it possible to alter and enhance the design after the shutter has been pressed. This has had a profound effect on the way digital photographers take pictures. The Photographers Eye shows how anyone can develop an eye for seeing great digital photos . The book explores all the traditional approaches to composition and design, but crucially, it also addresses the new digital technique of shooting in the knowledge that a picture will later be edited, manipulated, or montaged to result in a final image that may be very different from the one seen in the viewfinder.

Review: The Best Single Volume on Design and Composition in Photography - This is the best single volume on visual design and composition in years. Painters need a book this good. Freeman's earlier book from the 1980s, "Image," had long held the status, IMHO, of being the best single volume. His new book surpasses the older one by a significant margin. Freeman is one of very few photographers, or artists of any ilk, who can articulate their art-related thoughts in concrete, accurate, analytical ways, and not in the jargon of so much of what is written about art that lacks any actual content. Not only is he an outstandingly gifted photographer, with dozens of books to his credit, but one who has mastered the grammar of images and is one of the few who can describe how and why visual phenomena work. This is the most complete volume on this subject out there in terms of numbers of topics introduced and discussed at a reasonable length. It is also the most effective melding of the insights of current Gestalt perception theory with traditional design elements/principles in print. The first 60% of the book deals with the more concrete aspects of designing an image. The last two chapters marry the other part of composing that is harder to articulate well: the message in a image, or the photographer's intent. Only in this book has an author attempted to define major categories of intent in making an image. And then categorizes the physical and mental aspects of how a photographer goes after, constructs, or recognizes an image - the process. Throughout the discussions he introduces those aspects of digital imaging that a photographer can use to influence a picture's design. Perhaps the most powerful development is that digital in-camera and post processing technologies allow the photographer to apply to color images all those image control aspects formerly available only in the wet chemistry darkroom to monochrome images, as well as many more. Make no mistake.... This is a book for readers. One cannot get all of this book's benefit from the illustrations alone, in the manner of so many "how-to" art and photography books these days that have pictures, but little text. But this is the book to which thoughtful photographers will return over and over for many years. The only way it can be significantly better would be to have twice as many pages. It would make a wonderful textbook for any studio art, photography, art history, or art appreciation course in high school or college/university. 5 May 2009, update. The number of reviews, number of responses to reviews, and other sources of information indicate that this book is a certifiable best-seller among photography books. The response to this book indicates that there is a large market for information about the structure of images and for effective writing on that difficult, intangible interplay between design and content, or of structure and expression/message. My hope is that Freeman and other capable author/photographers will publish books delving further into the composition problem. To date, the in-print situation is grim. This one, Mante's, and Hoffmann's books are about the only ones yet in English that deal with composing photographs at higher than the most elementary levels. Together these three books comprise quite a strong presentation at the intermediate level of image structure and of various approaches to imparting meaning and expression in one's images. There is more, though, that can be said. To date there is no thorough look at the role of similarity and proportion in causing a viewer's eye to move through an image. That is to say, which characteristics among, shape, size, tone, color, direction, etc., assume priority in one's eye in which combinations, and how does proportionality, or violations thereof, work? To date, this reviewer cannot find any published research that updates Alfred Yarbis's ground breaking insights into eye movement in images from the 1950s and 1960s. His work is quoted to this day as the definitive study in this field. His results seem to imply that many artists' assertions about the role of "leading lines" may be nothing but bunk. Do light tones and bright colors really appear to project toward a viewer and darks recede? A Russian scientist has a considerable argument that, in fact, darks are what appears to "project" and lights recede. His work is not available in English. Is the success or failure of an image still articulable only at the level of intangibles? At this point in the history of the arts and contributions from visual psychology and brain studies, one should be able to make specific assertions about structure and its role in the success or failure of carrying the artist's expression or meaning. Unfortunately, there are very few artists or photographers who also write who can focus clearly enough on these nitty-gritty issues to make statements that have actual meaning. An inordinate percentage of writing about the arts still reduces to hand waving and ranting: always has, always will, it seems. It is one of Freeman's gifts that he can write analytically and be a very successful, versatile artist. This book's success indicates that the demand is there for hard-hitting information on images. Three authors does not amount to much of a supply.
Review: Sometimes we forget photography is an art - Looking for a book on ISO settings? Shutter speed suggestions? Proper metering? Correct aperture for night shots? Photoshop techniques for HDR photos? Lighting for studios? Suffice to say there are 1,000's of books out there that cover these very important topics. This book is NOT one of them. As a pro photographer who values artistic vision over technical know-how, this book is a beautiful breath of fresh air. In this book, Michael Freeman takes you on a journey that will question everything you think you know about photography in general, as well as everything you think you are as a photographer. In an age where digital photography has become such a technological affair, it is nice to see a book that reminds you that photography is still an art. This is a book that reminds you that the camera-eye relationship to the environment, not the post-production, is the real paintbrush. This is a book that emphasizes framing a picture, rather than editing one. In essence, this is a book about how to take photographs, not what we can make them. It is a book about why photographs are interesting when we take them, not how we made them interesting later. If you are a beginner or a pro, this book can be extremely provocative in all the right ways. The sections about how to fill a frame, horizontal vs. vertical lines, movement, justifying your take on a shot, photographer's intent, exploration, and finding your style are some of the best I have read in any book. Overall, this is a book about composition and these are the main questions asked and explained in detail throughout: 1. What is your intent as a photographer? 2. Why did you put these particular objects in your picture? 3. What makes an interesting and thought provoking photo and why? I highly rec. this book to anyone who is interested in the seemingly forgotten ART of photography. It is well written, well thought out, and extremely useful as a tool in thinking about why we take the pictures we do and composing photos that are both artistic and compelling.

## Technical Specifications

| Specification | Value |
|---------------|-------|
| Best Sellers Rank | #1,008,423 in Books ( See Top 100 in Books ) #64 in Digital Photography (Books) #463 in Photography Equipment (Books) #672 in Photography Reference (Books) |
| Customer Reviews | 4.4 out of 5 stars 1,369 Reviews |

## Images

![The Photographer's Eye Remastered 10th Anniversary: Composition and Design for Better Digital Photographs - Image 1](https://m.media-amazon.com/images/I/A15gpVehoKL.jpg)

## Customer Reviews

### ⭐⭐⭐⭐⭐ The Best Single Volume on Design and Composition in Photography
*by T***L on June 14, 2007*

This is the best single volume on visual design and composition in years. Painters need a book this good. Freeman's earlier book from the 1980s, "Image," had long held the status, IMHO, of being the best single volume. His new book surpasses the older one by a significant margin. Freeman is one of very few photographers, or artists of any ilk, who can articulate their art-related thoughts in concrete, accurate, analytical ways, and not in the jargon of so much of what is written about art that lacks any actual content. Not only is he an outstandingly gifted photographer, with dozens of books to his credit, but one who has mastered the grammar of images and is one of the few who can describe how and why visual phenomena work. This is the most complete volume on this subject out there in terms of numbers of topics introduced and discussed at a reasonable length. It is also the most effective melding of the insights of current Gestalt perception theory with traditional design elements/principles in print. The first 60% of the book deals with the more concrete aspects of designing an image. The last two chapters marry the other part of composing that is harder to articulate well: the message in a image, or the photographer's intent. Only in this book has an author attempted to define major categories of intent in making an image. And then categorizes the physical and mental aspects of how a photographer goes after, constructs, or recognizes an image - the process. Throughout the discussions he introduces those aspects of digital imaging that a photographer can use to influence a picture's design. Perhaps the most powerful development is that digital in-camera and post processing technologies allow the photographer to apply to color images all those image control aspects formerly available only in the wet chemistry darkroom to monochrome images, as well as many more. Make no mistake.... This is a book for readers. One cannot get all of this book's benefit from the illustrations alone, in the manner of so many "how-to" art and photography books these days that have pictures, but little text. But this is the book to which thoughtful photographers will return over and over for many years. The only way it can be significantly better would be to have twice as many pages. It would make a wonderful textbook for any studio art, photography, art history, or art appreciation course in high school or college/university. 5 May 2009, update. The number of reviews, number of responses to reviews, and other sources of information indicate that this book is a certifiable best-seller among photography books. The response to this book indicates that there is a large market for information about the structure of images and for effective writing on that difficult, intangible interplay between design and content, or of structure and expression/message. My hope is that Freeman and other capable author/photographers will publish books delving further into the composition problem. To date, the in-print situation is grim. This one, Mante's, and Hoffmann's books are about the only ones yet in English that deal with composing photographs at higher than the most elementary levels. Together these three books comprise quite a strong presentation at the intermediate level of image structure and of various approaches to imparting meaning and expression in one's images. There is more, though, that can be said. To date there is no thorough look at the role of similarity and proportion in causing a viewer's eye to move through an image. That is to say, which characteristics among, shape, size, tone, color, direction, etc., assume priority in one's eye in which combinations, and how does proportionality, or violations thereof, work? To date, this reviewer cannot find any published research that updates Alfred Yarbis's ground breaking insights into eye movement in images from the 1950s and 1960s. His work is quoted to this day as the definitive study in this field. His results seem to imply that many artists' assertions about the role of "leading lines" may be nothing but bunk. Do light tones and bright colors really appear to project toward a viewer and darks recede? A Russian scientist has a considerable argument that, in fact, darks are what appears to "project" and lights recede. His work is not available in English. Is the success or failure of an image still articulable only at the level of intangibles? At this point in the history of the arts and contributions from visual psychology and brain studies, one should be able to make specific assertions about structure and its role in the success or failure of carrying the artist's expression or meaning. Unfortunately, there are very few artists or photographers who also write who can focus clearly enough on these nitty-gritty issues to make statements that have actual meaning. An inordinate percentage of writing about the arts still reduces to hand waving and ranting: always has, always will, it seems. It is one of Freeman's gifts that he can write analytically and be a very successful, versatile artist. This book's success indicates that the demand is there for hard-hitting information on images. Three authors does not amount to much of a supply.

### ⭐⭐⭐⭐⭐ Sometimes we forget photography is an art
*by T***0 on January 2, 2012*

Looking for a book on ISO settings? Shutter speed suggestions? Proper metering? Correct aperture for night shots? Photoshop techniques for HDR photos? Lighting for studios? Suffice to say there are 1,000's of books out there that cover these very important topics. This book is NOT one of them. As a pro photographer who values artistic vision over technical know-how, this book is a beautiful breath of fresh air. In this book, Michael Freeman takes you on a journey that will question everything you think you know about photography in general, as well as everything you think you are as a photographer. In an age where digital photography has become such a technological affair, it is nice to see a book that reminds you that photography is still an art. This is a book that reminds you that the camera-eye relationship to the environment, not the post-production, is the real paintbrush. This is a book that emphasizes framing a picture, rather than editing one. In essence, this is a book about how to take photographs, not what we can make them. It is a book about why photographs are interesting when we take them, not how we made them interesting later. If you are a beginner or a pro, this book can be extremely provocative in all the right ways. The sections about how to fill a frame, horizontal vs. vertical lines, movement, justifying your take on a shot, photographer's intent, exploration, and finding your style are some of the best I have read in any book. Overall, this is a book about composition and these are the main questions asked and explained in detail throughout: 1. What is your intent as a photographer? 2. Why did you put these particular objects in your picture? 3. What makes an interesting and thought provoking photo and why? I highly rec. this book to anyone who is interested in the seemingly forgotten ART of photography. It is well written, well thought out, and extremely useful as a tool in thinking about why we take the pictures we do and composing photos that are both artistic and compelling.

### ⭐⭐⭐⭐ The journey to the inner self
*by M***O on January 26, 2009*

IT IS A FULL 5-STAR MASTERPIECE I reviewed this book for the first time on January 26, 2009. Today, May 18, I feel like improving my ranking from 4 to 5 stars (although the system does not allow me to do it). I still think that the book is not an easy reading, but it's the subject that is truly a difficult mission: HELP PEOPLE THINKING. Now, after having ground in my mind Michael's tips for several weeks, I have to admit that he mastered the topics with rare ability and profoundness. "The Photographer's Eye" is an endless source of sheer inspiration and a genuine spur to a different way of thinking, more comprehensive and thorough approach to photography. Believe it or not, my friends tell me that my pictures improved. I'm a better photographer, a deeper thinker, a more complete artist. To me, this book lives up to his title...... Max ------------------------------------------ First review on Jan 26, 2009 After a few weeks spent reading this book, I cannot help but giving only four stars, in open disagreement with many other reviewers. To me, the title is deceiving; by any means do not expect to find an easy-to-read check list of what to do or how to do it, nor a list of recommendations or tricks. Moreover, as far as the "composition and design" is concerned, the organization of the arguments and paragraphs doesn't give a proper flow of information and easiness to grab the messages. Bottom line: the book is not for beginners. Having said that, I would strongly recommend this book to a number of persons. I would recommend it to those experienced photographers that have lost their compass. To those that got stuck with and endless repetition of every day boring shots. To those that are forgetting to think before pressing the black button. To those that need to step back from their first, used reaction to shoot like a machine gun. The book is in fact a challenging journey to the inner self of any photographer. Mr. Freeman did write it not for pure business, but really to help any willing reader to grow. The Photographer's eye takes your hand through the most recessed convolution of your brain in a page-after-page involvement in a process that ultimately leads you to think to the way you take pictures compared to the way you want to take pictures. It's kind of father asking you what you would like to do when you become a grown up person (or photographer in this case). I really don't know whether I'll take any better photo after reading this book, but I'll for sure be a better photographer. Thanks Michael. Max

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