Rating:
(8 reviews)
Author: Michael Freeman
ISBN : 024081519X
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Format: PDF, EPUB
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Photography's greatest success has been in storytelling, based on its unique ability to capture images from reality. In fact, capture is what photography does best, reporting the world, life and society. Many enthusiasts who have mastered photography techniques search for direction and themes to help drive their creative ambitions-the kind of structure narrative offers. In The Photographer's Story, best-selling author Michael Freeman provides guidance and encouragement, drawing on his own experiences and assignments, but also on the rich history of documentary photography, which blossomed in the 1920s and has never faded.
Michael Freeman is the author of the global bestseller, The Photographer's Eye. Now published in sixteen languages, The Photographer's Eye continues to speak to photographers everywhere. Reaching 100,000 copies in print in the US alone, and 300,000+ worldwide, it shows how anyone can develop the ability to see and shoot great digital photographs.
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- Paperback: 192 pages
- Publisher: Focal Press; 1 edition (October 15, 2012)
- Language: English
- ISBN-10: 024081519X
- ISBN-13: 978-0240815190
- Product Dimensions: 7.5 x 0.7 x 9.8 inches
- Shipping Weight: 1.7 pounds (View shipping rates and policies)
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Since at least the 1970s there have been a number of fine books on photographic story telling and essays by noted photographers, magazine and book publishers such as Time-Life and National Geographic, how-to authors, and others with many emphases, ranging from theoretical, to how a publisher manages the whole program, to how one photographer operates. Most are long out of print; some are classics and highly collectible. Freeman's "The Photographer's Story" is the latest contribution on this subject, but is more comprehensive, thorough, and up-to-date than others I am familiar with.
Freeman is uniquely qualified to write this book for two main reasons. Firstly, he has been walking the walk since the 1970s doing stories, essays, photographic picture story books, and how-to books in such numbers as makes keeping track no longer useful. He's done so many stories for "Smithsonian" magazine that I'm not sure he still keeps count. But the uniqueness of his qualification is, IMHO (not really H), his ability to articulate his mind in objective, analytical ways on subjects most artists are shy to, refuse to, or cannot address in a concrete fashion. Most artists of any stripe are experts at handwaving and telling about their "feelings," but couldn't say why an image works in an objective sense if their lives depended on it. Freeman is comfortable in making that leap into those unpopular domains.
Better than almost anyone else, he can take a process, define its characteristics and components, talk about how they work to achieve the goal, and how to get there.
Michael Freeman says that "a series of still images, precisely captured and carefully edited, can tell a story in a way like no other". "The Photographer's Story" is his explanation of how to capture and edit such a series, in a variety of media, from classic magazines to electronic tablets.
The book begins with a discussion of the nature of a photo essay, including a famous case history, the "Country Doctor" essay of W. Eugene Smith, shot for Life Magazine in 1948. In the following section, Freeman categorizes these stories into several kinds, including people stories, location stories and commodity stories, and explains how to organize such stories. In the final section he shows how to edit such stories and present them using a variety of media.
Underlying all of this is the idea that putting together a series of photographs can have a synergistic result greater than any one picture, including even a great single shot. Whether talking about the rhythm of presentation or the selection of images from a single shoot, the idea is always how to strengthen the telling of the story. The book is not concerned with the single great shot telling a story in itself, or with the most effective presentation of a series of unrelated shots as in a portfolio presentation.
Freeman has developed a thoughtful style and presents concepts that are not often encountered in the world of photography. At first glance I was slightly confused because just as I became interested in a story he was using for illustration, he jumped to another that followed from his prior point. I soon realized that he was not concerned with telling us any particular story, but rather, was interested in illustrating a technique across several different stories.