The Essence of Photography: Seeing and Creativity PDF
Preview The Essence of Photography: Seeing and Creativity
BRUCE BARNBAUM The Essence of Photography Seeing and Creativity The Essence of Photography, 2nd Edition Bruce Barnbaum www.barnbaum.com Editor: Jocelyn Howell Project manager: Lisa Brazieal Marketing coordinator: Mercedes Murray Layout and type: Petra Strauch Cover design: Aren Straiger Cover photos (front and back): Bruce Barnbaum ISBN: 978-1-68198-635-7 2nd Edition (1st printing, March, 2021) © 2021 by Bruce Barnbaum All images © Bruce Barnbaum unless otherwise noted Rocky Nook Inc. 1010 B Street, Suite 350 San Rafael, CA 94901 USA www.rockynook.com Image on page 71 used by permission. Moonrise, Hernandez, New Mexico, 1941 Photograph by Ansel Adams Collection Center for Creative Photography, University of Arizona © 2013 The Ansel Adams Publishing Rights Trust Distributed in the UK and Europe by Publishers Group UK Distributed in the U.S. and all other territories by Ingram Publisher Services Library of Congress Control Number: 2019957979 All rights reserved. No part of the material protected by this copyright notice may be reproduced or utilized in any form, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without written permission of the publisher. Many of the designations in this book used by manufacturers and sellers to distinguish their products are claimed as trademarks of their respective companies. Where those designations appear in this book, and Rocky Nook was aware of a trademark claim, the designations have been printed in caps or initial caps. All product names and services identified throughout this book are used in editorial fashion only and for the benefit of such companies with no intention of infringement of the trademark. They are not intended to convey endorsement or other affiliation with this book. While reasonable care has been exercised in the preparation of this book, the publisher and author assume no responsibility for errors or omissions, or for damages resulting from the use of the information contained herein or from the use of the discs or programs that may accompany it. This book is printed on acid-free paper. Printed in China To you, the reader, Seeking meaning and creativity. In hopes that this book May be of assistance. Bruce Barnbaum 31417 Mountain Loop Highway Granite Falls, Washington 98252 USA Phone or Fax: (360) 691-4105 [email protected] www.barnbaum.com Table of Contents INTRODUCTION 1 GETTING STARTED: CHOOSING YOUR PHOTOGRAPHIC METHODS AND TOOLS Traditional or Digital? What to Look for in a Photograph Carrying Your Vision through to a Final Print or File What Do You Photograph? 2 FINDING YOUR GROOVE Discovering and Developing Personal Interests Photographic Rhythm How Your Equipment Affects Your Photographic Rhythm 3 EXERCISING PHOTOGRAPHIC JUDGMENT Why Today’s Teaching of Digital Photography Too Often Ignores Judgment How Judgment Interfaces with Experimenting Personal Episodes of Experimentation Further Thoughts about Useful and Useless Approaches 4 LEARNING TO SEE Different People Seeing Differently The Eye and Brain versus the Camera: Key Differences What Do Your Eyes See? Recognizing What Does and Does Not Interest You Developing a “Photographic Eye” Participating in a Scientific Study on Eye-Brain Seeing and Stimulation 5 YOUR INTERESTS AND YOUR IMAGERY Finding Your Photographic Interests The Starting Point of Photographic Seeing and Creativity Compositional and Lighting Considerations Composition Light Example Images: Applying Compositional and Lighting Considerations Eliminating Problems in Advance with Careful Looking and Seeing Improving Your Seeing with Film Print Size Exercise Completed 6 WHO ARE YOU TRYING TO PLEASE? Personal Work versus Professional Work Pleasing Yourself versus Pleasing Others Professional Necessities versus Personal Expression Personal Satisfaction versus Photographic Sales The Impediments to New and Different Work Breaking Barriers Photographs versus Fine Art Photographs The Power of Photography Emotional Effects of Photography The Psychological High of Photography 7 HAPPINESS THROUGH PHOTOGRAPHY The Happiness of Photographic Discovery Rewards and Fulfillment Recommendations for Photographers of any Age: Enjoy It All 8 FINDING INSPIRATION FOR REALISM OR ABSTRACTION Inspiration from Daily Life Photographic Inspiration Near and Away from Home Inspiration from Literature Inspiration from Music Interpretation of Realism and Abstraction Color in Realism and Abstraction The Importance of Defining Your Expressive Goals We See Similar Patterns in Different Subjects 9 DID IT LOOK LIKE THAT? Part 1: How Much of the Image is Your Artistic Creation? Part 2: Photographic Realism and Luck Part 3: Fact, Fiction, and Truth in Photography Part 4: What Colors Did Your Camera Record? Part 5: How Does Black and White Fit into This Discussion? Concluding Thoughts 10 THE RIGHT AND WRONG OF “CONNECTING WITH VIEWERS” The Importance of Finding Your Style 11 THE HEART OF INTUITION AND CREATIVITY Creativity Requires Preparation What Drives Creativity? “Know Thyself” Applying Insight and Intuition to Photography Trusting Your Intuition Finding Opportunities for Creativity Personal Examples of Creativity Creativity in Unexpected Places Moving Ahead with Creativity Pushing Yourself versus Pressuring Yourself Putting Everything to Use 12 LEARNING THROUGH PHOTOGRAPHY WORKSHOPS AND ASSOCIATES Photography Workshops Misguided Education in the Arts The Benefits of Photographing with Others Finding Photographic Associates Openness from Instructors Further Thoughts about Outside Influences 13 WHAT MAKES A GREAT PHOTOGRAPH? Man and Man-Made Constructs The Natural Environment Tying It All Together Portraiture and Other Photographic Subject Matter 14 THOUGHTS ABOUT A CHANGED PHOTOGRAPHIC WORLD Photographing versus Editing How Do We Evaluate Images? 15 TECHNICAL KNOWLEDGE, MATERIALS, AND EQUIPMENT FOR CREATIVE PURPOSES Using Technique for Creative and Educational Purposes Combining Known Ideas in New and Creative Ways You Cannot Rely on Good Technique Alone Materials, Equipment, and their Openings to Creativity 16 THE TECHNICAL AND ARTISTIC CONNECTION Misapplication of Technique 17 BOTH SIDES NOW 18 KEEN OBSERVATION IS THE STARTING POINT 19 SEEKING, ACCEPTING, AND OFFERING CRITICISM
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