Michael Freeman is a renowned international photographer and writer who specializes in travel, architecture, and Asian art. He is particularly well known for his expertise in special effects. He has been a leading photographer for the Smithsonian magazine for many years, and has worked for Time-Life Books and Reader's Digest. Michael is the author of more than 20 photographic books, including the hugely successful Complete Guide to Digital Photography and The Photographer's Eye.
The Photographer's Storyby Michael Freeman
Photography's greatest success has been in storytelling, based on its unique ability to capture images from reality. In fact, capture is what photography does best, reporting the world, life and society. Many enthusiasts who have mastered photography techniques search for direction and themes to help drive their creative ambitions-the kind of structure/b>
Photography's greatest success has been in storytelling, based on its unique ability to capture images from reality. In fact, capture is what photography does best, reporting the world, life and society. Many enthusiasts who have mastered photography techniques search for direction and themes to help drive their creative ambitions-the kind of structure narrative offers. In The Photographer's Story, best-selling author Michael Freeman provides guidance and encouragement, drawing on his own experiences and assignments, but also on the rich history of documentary photography, which blossomed in the 1920s and has never faded.
Michael Freeman is the author of the global bestseller, The Photographer's Eye. Now published in sixteen languages, The Photographer's Eye continues to speak to photographers everywhere. Reaching 100,000 copies in print in the US alone, and 300,000+ worldwide, it shows how anyone can develop the ability to see and shoot great digital photographs.
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Have you ever wondered how photographs come together to tell a story? If you have, then this book is for you! Author Michael Freeman, has done an outstanding job of writing a book that looks at photography as a coherent body of work, rather than a well executed story. Author Freeman, begins by discussing how a photo essay can rarely be as complex and well-explained, because still images work differently from dialog and movies. Then, he explains: If photographs are going to lead in a story, with words helping as captions, then it’s important to know the relative strengths and weaknesses. The author continues by looking at one of the classic early photo essays: “Country Doctor,” which was shot by W. Eugene Smith on assignment for Life in 1948. Next, he shows you how on a professional level, that finding the subjects is at the heart of being an editor; but, even when it’s done for your own photo-shooting pleasure, it needs some serious thought. Then, the author focuses on how classifications (kinds of photographic stories) make sense in a broad, practical way, such as that the making-of a photographic story, whether about a sculpture; a boat or a fence; has a linear progression, with ingredients being assembled and put together, and a finale of the finished product. He continues by looking at why making a photographic story interesting and worthwhile, is not always straightforward, even when you have an approximate idea. Next, the author discusses the working tool that needs careful handling for planning and shooting a photographic story: The picture script, also known as the shooting script. Then, he talks about why photographers think of their edit as being a being a part of the total shoot. The author also shows you how he uses the word agenda in the sense of the “hidden agenda”: An underlying point that is being made in a photographic story­one that is not stated baldly. Next, he discusses how the photographer learns to step back and looks at his/her own images in a non-personal way, which is not at all easy. Then, the author shows you why layout is inseparable from print. He continues by showing you why the essential quality of a photography book is that it is able to carry a big story. Finally, the author shows you how a sequential photo essay works between print and on-screen; and, how the differences run much deeper. This excellent book includes one kind of photography that is redefining itself: Story telling, which for many of you is the classic, essential, and pure form of photography. In other words, there is an entirely understandable new interest among new photographers in directing energy towards making a coherent body of work.