Book description
When looking at a photograph, too often a conversation
starts–and, unfortunately, ends–with a statement such
as, “I like it.” The logical next question,
“Why?”, often goes unasked and unanswered. As
photographers, we frequently have difficulty speaking about images
because, frankly, we don’t know how to think about them. And
if we don’t know how to think about a photograph and its
“visual language”– how an image is constructed,
how it works, and why it works–then, when we’re behind
the camera, are we really making images that best communicate our
vision, our original intent? Vision–crucial as it is–is
not the ultimate goal of photography; expression is the goal. And
to best express ourselves, it is necessary to learn and use the
grammar and vocabulary of the visual language.
Photographically Speaking is about learning
photography’s visual language to better speak to why and how
a photograph succeeds, and in turn to consciously use that visual
language in the creation of our own photographs, making us stronger
photographers who are able to fully express and communicate our
vision. By breaking up the visual language into two main
components–“elements” make up its vocabulary, and
“decisions” are its grammar–David duChemin
transforms what has traditionally been esoteric and difficult
subject matter into an accessible and practical discussion that
photographers can immediately use to improve their craft. Elements
are the “words” of the image, what we place within the
frame–lines, curves, light, color, contrast. Decisions are
the choices we make in assembling those elements to best express
and communicate our vision–the use of framing, perspective,
point of view, balance, focus, exposure.
All content within the frame has meaning, and duChemin establishes
that photographers must consciously and deliberately choose the
elements that go within their frame and make the decisions about
how that frame is constructed and presented. In the second half of
the book, duChemin applies this methodology to his own craft, as he
explores the visual language in 20 of his own images, discussing
how the intentional choices of elements and decisions that went
into their creation contribute to their success.
Table of contents
- Title Page
- Copyright Page
- Dedication
- Acknowledgments
- (Way Too Much) About the Author
- Contents
- Introduction
- Part One. The Photographer’s Intent
- Part Two. Visual Language
-
Part Three 20 Photographs
- Line on the Horizon, Iceland, 2010
- Seahorse, Jamaica, 2010
- Distracted, Camogli, Italy, 2010
- Restless, Death Valley, California, 2011
- Vernazza Harbor, Italy, 2010
- Gondolier under Bridge, Venice, Italy, 2010
- Cling, Haiti, 2005
- Upwards & Distracted, Srinagar, India, 2007
- Waiting in Lalibela, Ethiopia, 2006
- Sweeper, Taj Mahal, Agra, India, 2007
- Unseen Too, Kathmandu, Nepal, 2010
- Impressions I, II, III, Rideau County, Ontario, 2011
- The Pour, Sahara Desert, Tunisia, 2008
- Burning Bush, Lake Naivasha, Kenya, 2010
- Hope, Sahara Desert, Tunisia, 2008
- Sweeper Two, Agra, India, 2007
- Matt Brandon, Ladakh, India, 2010
- Smoke Break, Delhi, India, 2007
- Maasai Warrior, Kenya, 2011
- Candles & Prayers, Kathmandu, Nepal, 2010
- Conclusion
- Index
Product information
- Title: Photographically Speaking: A Deeper Look at Creating Stronger Images
- Author(s):
- Release date: October 2011
- Publisher(s): New Riders
- ISBN: 9780132699174
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