000 01121cam a22003137a 4500
999 _c15185
_d15185
001 17137961
003 OSt
005 20200519230316.0
008 120127s2012 caua 001 0 eng d
010 _a 2011275524
020 _a9780321750440 (pbk.)
035 _a(OCoLC)ocn704386200
040 _aBLR
_beng
_cBTCTA
_erda
042 _alccopycat
082 0 4 _a770.11 DUC
_223
_b014154
100 1 _aduChemin, David.
_4author.
245 1 0 _aPhotographically speaking :
_ba deeper look at creating stronger images /
_cDavid duChemin.
264 1 _aBerkeley, California :
_bNew Riders,
_cc2012.
300 _axv, 254 pages :
_billustrations (some colour) ;
_c23 cm
336 _2rdacontent
_atext
_btxt
337 _2rdamedia
_aunmediated
_bn
338 _2rdacarrier
_avolume
_bnc
500 _aIncludes index.
505 _apt. 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.
520 _aPHOTOGRAPHIC 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.
650 0 _aPhotography
_xTechnique.
650 0 _aComposition (Photography)
650 0 _aPhotography, Artistic.
942 _2ddc
_cBK