Michael Freeman in Composition
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#1. "RE: Michael Freeman in Composition" | In response to Reply # 0
marnigirl Nikonian since 16th Dec 2011Sat 19-Mar-22 05:24 PMSounds incredibly interesting Conrad. I will google the name, however if you would reply with more info on how to attain the book, I would be grateful. take care, DaleMany times when I click the shutter, I just hope ....
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#2. "RE: Michael Freeman in Composition" | In response to Reply # 1
Obregon Charter MemberSat 19-Mar-22 06:00 PMI have no affiliation with Amazon other than posting my reviews there. You can find the book there at:
https://www.amazon.com/Michael-Freeman-Composition-ebook/dp/B09SFYMT8F/ref=tmm_kin_swatch_0?_encoding=UTF8&qid=&sr=
I had an advance copy of the printed book but you can get the Kindle edition now and the hard copy in the beginning of April.-
#3. "RE: Michael Freeman in Composition" | In response to Reply # 2
mklass Nikonian since 08th Dec 2006Sat 19-Mar-22 06:29 PMThanks for this info, Conrad. That's 2 copies you've sold!Mick
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Most photography composition books discuss composition in easy to grasp terms: lines, shapes, the rule of thirds and the likes. Michael Freeman takes a different approach (although he doesn’t reject those ideas). He draws his analysis from Gestalt psychology. He examines compositions by using scientific tools to follow the movement of a viewer’s eyes around the contents of a photograph. He explores the question of what will draw in and hold the viewer’s attention.
The book is illustrated with the author’s photographs for each of the points he raises. They are also accompanied by small scale graphics that overlay a smaller image of the picture and show the flow of attention. The author sometimes uses so-called heat maps that show where viewers’ eyes have been drawn within the photographs.
One can read this book quickly but I recommend studying each photograph carefully before reading the related text. In many of the images the subject at first eluded my eyes. My initial impression often was that the picture was too busy. Then I considered that my stick-in-the-mud eyes were too bound to a traditional way of looking. Perhaps this book was just what I needed to break out of the mold that I had been building on for many years.
It is Freeman’s difference of approach that made this book worthwhile. Whether this will ultimately make a difference in the way I compose photographs remains to be seen. Still, this was a good start at shaking up my complaisance.