Download Ebook , by Michael Freeman
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, by Michael Freeman
Download Ebook , by Michael Freeman
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Product details
File Size: 28596 KB
Print Length: 258 pages
Page Numbers Source ISBN: 1781579881
Publisher: Ilex Press (December 5, 2014)
Publication Date: December 5, 2014
Sold by: Hachette Book Group
Language: English
ASIN: B01LZD8AVY
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Amazon Best Sellers Rank:
#118,031 Paid in Kindle Store (See Top 100 Paid in Kindle Store)
There are probably three things I've purchased in the last few years that have fundamentally changed the way I shoot and improved the quality of pictures I make. The three things are: moving to full frame, getting Freeman's Photographer's Eye, and now this book Capturing Light.I've made substantial investment in the last few years procuring a nice set of gear, namely, Canon 6D, 24-70 2.8mk2, Sigma 35 1.4, 135L, 100Lmacro, among others. For a regualr joe like myself, this is a lot of money. Although I saw my photos improving, I always felt that something's missing. The subject looks sharp, the bokeh is gorgeous, and the scene is properly exposed. What's missing?Then I stumbled across Freeman's Photograher's Eye series (along with Photographer's Mind, Story, ect). It's at that point I realized I was only a gearhead who didn't understand enough about basic elements in photography such as composition and exposure. Without digressing too much, it's after reading Photographer's Eye that I began to compose more creatively and received great feedback from people around me. Photography is similar to painting in that composition and how different graphic elements are put together is far more important than resolution.Now I'm sure you've heard of people mention the beauty of the golden hour (sunrise and sunset), and that other times of the day aren't good enough for photos in terms of quality of light. I bought this concept and for a long while I only shot during those golden hours. After reading this book I came to realize how many opportunities I missed because of such misconception. There's one example in the book that showcases a scene of a backlit building. I was amazed that Freeman was able to incorporate a huge tree with its deep shadow, using it as a graphic element to strengthen the composition. In other words he turned a problem into a creative solution.Another example from the book that blew me away is tungsten light against dark blue sky. I was always under the impression that tungsten light was ugly and I always tried to stay away from it. Little do I know that it could be so beautiful against deep blue sky (during the time after the sun has arleady set below the horizon). You'll learn a great deal more from the examples in the book.I feel enlightened and empowered. Freeman opened my eyes to many more possibilities. I feel that now I have fresh eyes to see everything around me, and the options are no longer limited to sunset. The book is not meant to be a manual. You can't think, in this scenario I'm going to copy what he did in the book. What I gained the most is a new way of appreciating light. It is precisely the lack of such quality that made my pictures so repetitive and dull, and I'm proud to feel that I've grown out of it. Even a gray cloudy day can offer photo opportunities. Certain things actually look better under such condition.He shows quite many pictures taken in pre-digital days, and it's incredible how he could nail the exposure just right. A new habit for me now is to look at a scene and mentally calculate how to expose it the way I want. I feel like I'm learning photography properly from an experienced teacher. Read his other book The Perfect Exposure.Let me say this again. I honestly think that going full frame and having read these two books help me substantially more than the expensive gear I acquired. The low price of this book belies the weight of its substance. It's so worth it that I wouldn't even mind paying 10, 20 times as much for what I gained. It certainly doesn't hurt that the book is only 20 bucks. What a steal.
I have been doing photography for a long time and have taken (expensive) workshops at some well known photo schools. I have gotten as much out of this book as from some of those workshops that cost $500 or more. Mr. Freeman shows an example of a lighting situation, writes about how he chose to deal with it and shows us the photo he took. He also shows photos he took which were not selected as "the best" and explains why. He deals with lots of lighting situations, not just "perfect" light and explains how good images can be made, even when one does not have time to wait for lovely morning or evening light, or the sky is overcast or a number of other situations which people generally consider problems. I also appreciate that Mr. Freeman is able to put the styles and photographs into the larger context of the "photography world" explaining why certain styles are popular, or where they are frequently used. He offers ideas for breaking out of the usual lighting approaches and making a good photo with what you have in front of you. Some of the things I have already done, by luck or accident, but it is nice to bring some mindfulness and thought to the process, rather than just stumbling on a scene "that looks cool". It was interesting to be able to see the thought process of a professional and what went into making the images. I highly recommend this book. I'm not a fan of hyperbole generally but I truly think this book could change the way you make pictures by opening up new possibilities and ways of thinking about light as much or more than an expensive (and who knows what you will get) workshop.
When I initially read the book I was new to photography. At that point, the books seemed tedious in its detail. Later, when I had a greater interest in lighting - I can appreciate how great the book is. It is dense with insight and endless observations. Concepts are well illustrated with both images and great diagrams. Going by the number of reviews at least - this books is greatly under-rated. This books reminds me of Color and Light by James Gurner, which is considered a classic on lighting with respect to painting in its systematic approach and detailed nature. For example, both discuss the way that shadows lose their sharpness as there distance from their source increases, and both cover the effects of direct sunlight vs light diffused through sky and clouds, how that affects color of the sky and shade, atmospheric effects,and how that plays out in various settings with different configurations of shade, direct light, and reflected light.The section on 'Axial Lighting' covers much of what Roberto Valenzuela does in the bulk of Picture Perfect Lighting (another great book). Beyond that Freeman covers around some 50 other lighting conditions.Some of the pictures are stunning. Wat Maha Leap (page 92) and High Court Judge (page 14) being among my favorites. Though much of the pictures seem unremarkable and dated. At this point I realize the images were selected for how well they illustrated specific lighting concepts and it is no small task to do that for hundreds of concepts. That said - I think that is what is keeping the books from being more appreciated, and it is certainly a big part of what turned me off when I first read it. I.e. I was drawn to books with much more stunning and contemporary photography, but far less insightful texts. Without knowing any better, I judged the quality of the book by the quality of the images. I think this book could reach the status of classic if in future editions the samples were drawn from many photographers rather than a single one.Another limitation is the examples in the books are weighted heavily toward landscape shots. I wish there was a book that was similarly comprehensive and insightful that addressed portrait photography as well.
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