I got my DSLR a few years back, and for a while was desperately looking for ways to improve my photography skills, particularly in composition. Photography is such an integral part of travelling. When I come home from a trip, sorting out my photographs and picking out good ones is one of the things I enjoy most. And so I went on the hunt for some of the best photography books on composition. While there are many factors involved in creating a great photograph, I believe that composition is as important as knowing all the dials on your camera and when or how to use them. After all, a great photograph that evokes strong emotions is most powerful, thus the image has to be something special that tells a story too.
Knowing how to compose a good photo is a priceless art and I have never been convinced it could really be taught. I strongly believed at one point that composition had more to do with the sheer talent and imagination of the person behind the lens. That is, until I read Bryan Peterson's book, 'Learning to See Creatively: Design, Color & Composition in Photography', which happened to be on a few professional photographers' reading lists. All the components that go into a well composed photograph is covered here, such as design, shapes, lines, colours and patterns. Subject placement and focus is one of the most important elements in designing a photograph. He invites readers to think critically when composing, so as when to realise that it is acceptable to 'break' basic compositional rules, such as the times when it is wise to place the subject in the centre of the photograph as opposed to following the common 'rule of thirds'. The bonus is that he includes many fabulous images from his portfolio.
Francis Bacon's Studio
By Margarita Cappock
Merrell Publishers Limited, 2005, 240 pages, hardbound, $59.95
Francis Bacon (1909-1992) was born in Ireland to British parents and today is recognized as one of the most significant post-war painters, his disturbing oil portraits acquired by major museum collections worldwide. Bacon is remembered primarily for his symbolic, macabre portrait of Pope Innocent X. London/New York publisher Merrell has produced a definitive, retrospective coffee-table volume on Bacon using the device of his unique (read unimaginably messy) studio as the springboard into his career and lifework.
Six years after his death in 1992 the contents of his rather cramped London studio were donated to the Dublin City Council in Ireland with the understanding that it would be recreated there with all its contents intact for public viewing. Easier said than done, because the studio, Bacon's home and workplace since 1961, contained 7,500 items - a treasure trove of precious artifacts to an art historian. There are two absorbing stories here: the challenge of cataloging, transporting and reassembling the contents of the studio (front door, paint-encrusted walls and all) across the Irish Sea to Dublin, and then the significance of each uncovered item as it related historically to Bacon's oeuvre.
"Maintaining the studio exactly as it stood was crucial to the experience," Dr. Cappock writes. So a team of photographers, archeologists, conservators and curators went to work, launching an indoor archeological dig to create a detailed diagram of exactly where each item lay/stood/hung so that the recreated space would be precisely accurate. Today the reconstructed studio is open to the public at Dublin City Gallery, The Hugh Lane, Charlemont House, Parnell Square, Dublin 1, Ireland.
Needless to say, the piles and piles of clippings, photos, sketches, catalogs, books and even slashed canvases speak volumes to the historic arc of Bacon's work and Dr. Cappock finds in this detritus the inspiration for each phase of his artistic development. Some of the many graphic images Bacon collected over his lifetime reveal the macabre basis for much of his output: massacres, meat carcasses and the assassination of President Kennedy. Other photos show the subjects of his commissioned portraits including Mick Jagger. By the last page the reader has received a detailed, insider's view of the creative evolution of Francis Bacon.
For anyone building a library on 20th century art this impressive, heavy book, Francis Bacon's Studio, is a must.
Peterson further shows readers how to work with, and get the best out of different lighting conditions. He also writes on the various types of lenses and how to select the appropriate one to use on the field.
A highly regarded professional photographer, teacher and author, Peterson's writing style is engaging and his book is highly readable and easy to digest without being too wordy. While seemingly elementary, budding photographers and more advanced ones alike will likely find Peterson's book a great source of reference. I did find this book highly readable and a worthy investment in helping me improve my own photography skills. I do habitually try to visualise a powerful image in my mind's eye first before I release the shutter these days.
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