Creative Nature and Outdoor Photography (英語) ペーパーバック – 2003/3/1
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Professional and amateur photographers alike will find an array of surefire strategies in Creative Nature and Outdoor Photography, an indispensable guide that demonstrates how to use classic visual design principles to create strong, compelling, nature photos.
Veteran photographer and naturalist Brenda Tharp presents a full-color guide that incorporates classic design principles with a deeper understanding of the natural world and its “moments.” While many photographers may be experts with the technical aspects of photography, they must also know how to incorporate visual design, strong composition, mood, and bold use of color in order to take their work to the next level. Learning to capture the moment in nature—which, as all photographers know, is an unpredictable subject at best—is the primary focus of this valuable reference.
Readers will find not only dozens of specific techniques for effective outdoor photography, but also practical advice for creating photographs that are emotionally compelling and, in turn, an artistic success. Individual chapters are devoted to such topics as “Light—The Raw Material,” “The Elements of Visual Design,” “Using Color Effectively,” and “Putting It All Together.” Plus, clear and to-the-point exercises along with 200 lush, full-color reproductions inspire readers to achieve more creative, more expressive, and more personal photographs.
A well-known photographer and lecturer, Brenda Tharp has long specialized in nature/outdoor photography. Her extensive client list includes the National Parks Service, Colorado Tourism, Costa Rica Tourism, the Chicago Academy of Sciences, and many others. She has lectured at all the major photo shows and workshops (Maine, Santa Fe, Photo Plus East and West, to name only a few), and lives in Novato, California.
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It's also full of great pictures to support the subject.
Like a few other top-notch photographers/writers, Brenda uses examples to make her points. By including the settings with each photo, and explaining clearly, why she made choices as to angles and settings, she demonstrates how different decisions impact the results. Do you want a really good image, or a great one?
This book was written while Brenda was using film (and teaching classes in film photography.) Brenda's lessons in this version should easily transition into digital photography, although I plan to buy the digital version also.
You might already have the "Eye", but in my opinion, books like this just help you see things a little more clearly.
I prefer John Shaw's Focus on Nature: The Creative Process Behind Making Great Photographs in the Field which is longer, more detailed and seems more articulate. However I own both books.
To take one example: Brenda Tharp recommends that plants be photographed from ground level, so that we are looking horizontally or slightly upward at the subject, which is separated from the background. John Shaw gives the same advice, but only as an option. He also demonstrates the possibilities for an image looking directly downward: a stunning masterful image of a green expanse of leaves contrasted with rich red flowers, seen from directly above like a carpet.
Brenda Tharp's book is more instructional, shorter, and perhaps a bit more dogmatic than John Shaw's. Which is best for you will depend on your own level of skill and awareness in photography. I suspect Brenda Tharp's book is based on a photography class/workshop - it has explicit lists of photographic exercises. It does help you focus on your photographic goals. The main message of the book is a good one ("What are you trying to say in this photograph?"). It's on my shelf and I refer to it occasionally.
It almost feels as if some of the detailed information has been held back from the book, so as not to devalue the content of classes/workshops. for example the author mentions that she has a checklist that she runs through when photographing a landscape, but she doesn't share the list with us.
I quibbled with some of the technical statements in this book, and some of the assertions about composition seem too fluffy (borrowed from art theory?). But it is quite stimulating all the same.
The book requires you to know your equipment pretty well, as she dosen't really elaborate on the technical side of things.
Other than that, I found the book interesting and intreguing, but I will probably need a second review as I take her tips to practise. Plus for interesting excersizes tips and ways to see differently and original ways of using teles/macros and multiple exposures.
The colour theory was new for me and very helpful, complementing colours, colos that draw attention and how we preceive them is something I will use in my photography in the future.
A wonderful book that hits the mark on what it was made for, this is about the "feel" for photography, not the technical side of things.