TY  - BOOK
AU  - duChemin,David
TI  - Photographically speaking: a deeper look at creating stronger images 
SN  - 9780321750440 (pbk.)
U1  - 770.11 DUC 23
PY  - 2012///
CY  - Berkeley, California
PB  - New Riders
KW  - Photography
KW  - Technique
KW  - Composition (Photography)
KW  - Photography, Artistic
N1  - Includes index; pt. ONE THE PHOTOGRAPHER'S INTENT
ch. One It Means Something
"But I Shoot Intuitively"
All Content Has Meaning
The Frame
The Flattening
A Good Photograph?
Visual Language
"I Like It"
Layers of Impact
A Word about Rules
pt. TWO VISUAL LANGUAGE
ch. Two Elements
Lines
Horizontal Lines
Vertical Lines
Diagonal Lines
The S-Curve
Implied Lines
Other Lines
Repetition
Contrast and Juxtaposition
The Seduction of Color
Light
Moment
ch. Three Decisions
Framing
Crop
Orientation
Aspect Ratio
Placement
Gesture
Thirds
The Golden Ratio and Golden Spiral
Relationship
Point of View, Picture Plane, and Perspective
Balance
Optics
Filters
Focus
Exposure
Expose for Aesthetics
Depth of Field
Shutter Speed
Moving On
pt. 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 Nalvasha, 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
N2  - PHOTOGRAPHIC EQUIPMENT &​ TECHNIQUES. Photographically Speaking is a practical primer on visual language. The overarching question at the heart of this book is, "What makes a good photograph?" Why is this important? Because once a photographer understands what makes a good photograph--once he or she learns the visual language--then that photographer is well on their way to being able to "speak" that language, creating stronger images that communicate and connect their intention with the viewer. The discussion about visual language is profoundly pragmatic and useful, but for too long the books that discuss it have been considered "academic," esoteric, and difficult. Here, duChemin writes in an approachable, comfortable, and inspiring way, translating this seemingly difficult conversation into something that the bulk of photographers can understand and then actually put to use in order to make good photographs
ER  -