Free PDF Photographic Composition: Principles of Image Design, by Albrecht Rissler
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Photographic Composition: Principles of Image Design, by Albrecht Rissler
Free PDF Photographic Composition: Principles of Image Design, by Albrecht Rissler
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All fine artists share a common goal: to combine individual elements into a convincing, cohesive whole that tells a story or expresses an intention. Photography is especially suited to this pursuit because the photographer can create multiple, distinct images of a single subject using a variety of design techniques. The display on a digital camera instantly shows the arrangement of elements in an image, allowing the photographer to make changes and refine their creation as they work.
Albrecht Rissler believes that a firm understanding of image design is as important as having an observant eye or having the technical knowledge to operate a camera. Photographic Composition presents the most important concepts of image design and offers 250 beautiful photographs to illustrate these concepts. By applying these concepts to your own work, you will greatly improve your photographic eye and your ability to compose an ideal image.
This book's impressive images are in black-and-white, intentionally removing the distraction of color and making it easy to focus on compositional elements and form. With this book, photographers as well as all visual artists will learn how to infuse their own images with excitement, develop and hone their visual language, and express their personal artistic aesthetic.
Topics include:
- The effect of various aspect ratios
- Perspective and composition
- Form and contrast
- Proportion and harmony
- Symmetry and asymmetry
- Brightness and darkness
- Structures and textures
- The "perfect moment"
- Sales Rank: #1227661 in Books
- Brand: Rissler, Albrecht
- Published on: 2014-10-19
- Original language: English
- Number of items: 1
- Dimensions: 9.97" h x .45" w x 10.04" l, .0 pounds
- Binding: Paperback
- 192 pages
About the Author
Albrecht Rissler began his career as an instructor for artistic-technical classes, but quit the teaching profession in 1980 to form a studio for academic illustration. He taught at Merz Academy in Stuttgart as an associate professor in 1987, and then earned a professorship at FH Mainz University of Applied Sciences, where he taught illustration from 1988-2007. Since 2005, Rissler has been an associate professor at the Art Academy in Bad Reichenhall.
Most helpful customer reviews
24 of 25 people found the following review helpful.
A Black and White Portfolio
By Conrad J. Obregon
To be fair, I have a pet peeve. I don't like photographic portfolios that masquerade as instructional manuals. It's not that looking at a portfolio can't be instructive, but it takes a different kind of approach on the reader's part than an instructional manual. This book seems to be a portfolio rather than an instructional manual.
The book is organized like an instructional manual with chapters entitled the image area, perspectives, light and contrast, and so forth. Each of those has sections with two, or sometimes four pages with two to five photographs, smaller ones on the left with text and larger full page images on the right. The text considers a design element in the images, so that the section called "Death of a Giant" talks about the strength of a diagonal line moving downward from left to right as opposed to a diagonal line moving downward from right to left, but the text seems more about what the author tried to think about in composing the image rather than instructing the reader. This sometimes works as in Jack Dykinga's "Capture the Magic: Train Your Eye, Improve Your Photographic Composition" but not here.
Composition is certainly important in all forms of art, and the author makes reference to many other works from other genres to illustrate his point. But there is no coherent instruction in composition. I prefer to see an organized approach to teaching a subject rather then random, unconnected thoughts.
I tried to consider the images as a portfolio but they belong to a school that I think of as the "branches" school. This school of photography takes photographs of branches that twist, turn and intertwine and finds them artful. I'm old fashioned enough to like my images to have a composition that leads to the content, rather than forcing the viewer to wander about the image, trying to guess what the photo is about. There are a few images that are striking and make a point about compositional elements (although little about the content) but most just require work that may not even achieve a goal. There are also a few gag photos like the cover shot which shows an artist sitting in a chair sketching while a bicycle tourist is capturing the same scene with a compact camera or cell phone.
The images are all in black and white, ostensibly because this better illustrates the compositional points. Of course that means that color as a compositional element cannot be discussed, although admittedly, the author does discuss the range of light in compositional terms.
If you want a portfolio of black and white images that one can learn from, take a look at Bruce Barnbaum's "The Art of Photography: An Approach to Personal Expression".
Perhaps my choler is due to fact that the text is printed in very thin 6 or 8 point sans serif type that is almost impossible to read.
This is not the book to learn photographic composition. Experienced photographers might be exposed to interesting ideas, although I wasn't.
3 of 3 people found the following review helpful.
Do you enjoy great photography books
By J. Frank
Do you enjoy great photography books? Many are designed for the beginner and in the age of digital photography, the technical challenges of the past are negated by advancements in technology. Often forgotten are the elements of composition and design. If you’re looking for a book that will help you take beautiful digital pictures of your family and kids on vacation, this is not the book for you. This is an art book that uses photography as the paintbrush, and it is brilliantly written. Rare are the books that deal with the basic elements of art from an advanced design and composition from a practical and artistic perspective.
The book, Photographic Composition-- Principles of Art and Design, was written and photographed in black and white by the German writer and teacher Albrecht Rissler. I’ve always appreciated the German perspective as it relates to design and quality. This book allows the reader to see transitional images that work into the final fine art photographic photographs as explained by a master photographic artist. In my opinion, Rissler addresses a missing link for many aspiring photographers. Rissler explains, in print and with exceptional photography, the basics of design; to the more refined elements of sharpness, blur and texture. If you wish to venture into the area of fine art photography, this book is for you. It’s a 10 on the 10-scale.
You might want to forgo the digital version and purchase the actual hard copy book. The publisher RockyNook, knows how to produce a VERY high quality book. Their production uses the finest paper with printing processes that yield some of the highest image dynamic printing you’ll see in books. Even the cover has a special “feel” that is going to grace my coffee table for the foreseeable future. In the digital age, this book is delightfully analog.
1 of 1 people found the following review helpful.
Don't expect to learn from so titled book
By reviews again
Having seen this and similar books I can only say: don't waste your money. Outside of Andreas Feininger's book on composition, I have not seen one so titled that comes even half way through, neither is this one. If you enjoy good photography then this one will fit in, but as many great photographers have already stated, there are no rules in composition and by extension, there is no way to teach it effectively. What works on some subjects, it will fail on another, and no it isn't as clear a cut as Eiffel tower will compose well this way and naked woman this way. It is always about fitting a subject at hand to your vision, and there is no cure for that outside of your own intuition.
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