Street Social Landscape
TO START
This book starts from a consideration: when subject matter is forced to be pigeonholed into labels and rules, there can be no freshness of vision. Following the classic rules of composition can only lead to boring cliches. Following labels and pursuing the genres is not good for our creativity and what we have to say through our photographs.
This book is not about composition or technique, as we are used to see in many photography manuals or blogs. Instead, it can be considered a book about composition as I am using it in my work; it is a book about my approach to composition.
If you want to learn how I photograph, this book is not for you. My goal with this book is about opening the doors of perception to other photographers, and I hope the readers of this book can get inspired and start to think to new ways of seeing and creating images.
The goal with this book is not about reiterating the traditions compositional rules presented in thousand books. In this book I share several notes I take during my study of photography, because my approach to composition comes from my study of cognitive psychology, philosophy, literature.
In other words, my experience as a a continuous scholar shapes my photographic approach, from a compositional and narrative point of view.
This means that this book is not the classic manual about the rules of composition. I think that to limit the entire subject of composition to a set of rules means to limit our creativity, and creativity is the essence of photography when we have the goal to speak with our inner voice and presenting our vision.
Photography is much more than a set of rules. To make photography is about how each photographer uses the “objects” in the frame. Their position inside the frame, the justification on including them inside the frame, the way we arrange them. It is about how we use light, color and contrast. It is about how we see the world and the way we represent it.
The form and how we solve the structure (composition) reveals the photographer way of seeing the world.
53 pages
TO START
This book starts from a consideration: when subject matter is forced to be pigeonholed into labels and rules, there can be no freshness of vision. Following the classic rules of composition can only lead to boring cliches. Following labels and pursuing the genres is not good for our creativity and what we have to say through our photographs.
This book is not about composition or technique, as we are used to see in many photography manuals or blogs. Instead, it can be considered a book about composition as I am using it in my work; it is a book about my approach to composition.
If you want to learn how I photograph, this book is not for you. My goal with this book is about opening the doors of perception to other photographers, and I hope the readers of this book can get inspired and start to think to new ways of seeing and creating images.
The goal with this book is not about reiterating the traditions compositional rules presented in thousand books. In this book I share several notes I take during my study of photography, because my approach to composition comes from my study of cognitive psychology, philosophy, literature.
In other words, my experience as a a continuous scholar shapes my photographic approach, from a compositional and narrative point of view.
This means that this book is not the classic manual about the rules of composition. I think that to limit the entire subject of composition to a set of rules means to limit our creativity, and creativity is the essence of photography when we have the goal to speak with our inner voice and presenting our vision.
Photography is much more than a set of rules. To make photography is about how each photographer uses the “objects” in the frame. Their position inside the frame, the justification on including them inside the frame, the way we arrange them. It is about how we use light, color and contrast. It is about how we see the world and the way we represent it.
The form and how we solve the structure (composition) reveals the photographer way of seeing the world.
53 pages
TO START
This book starts from a consideration: when subject matter is forced to be pigeonholed into labels and rules, there can be no freshness of vision. Following the classic rules of composition can only lead to boring cliches. Following labels and pursuing the genres is not good for our creativity and what we have to say through our photographs.
This book is not about composition or technique, as we are used to see in many photography manuals or blogs. Instead, it can be considered a book about composition as I am using it in my work; it is a book about my approach to composition.
If you want to learn how I photograph, this book is not for you. My goal with this book is about opening the doors of perception to other photographers, and I hope the readers of this book can get inspired and start to think to new ways of seeing and creating images.
The goal with this book is not about reiterating the traditions compositional rules presented in thousand books. In this book I share several notes I take during my study of photography, because my approach to composition comes from my study of cognitive psychology, philosophy, literature.
In other words, my experience as a a continuous scholar shapes my photographic approach, from a compositional and narrative point of view.
This means that this book is not the classic manual about the rules of composition. I think that to limit the entire subject of composition to a set of rules means to limit our creativity, and creativity is the essence of photography when we have the goal to speak with our inner voice and presenting our vision.
Photography is much more than a set of rules. To make photography is about how each photographer uses the “objects” in the frame. Their position inside the frame, the justification on including them inside the frame, the way we arrange them. It is about how we use light, color and contrast. It is about how we see the world and the way we represent it.
The form and how we solve the structure (composition) reveals the photographer way of seeing the world.
53 pages