Michael Freeman On Colour Tone
Michael Freeman On Colour Tone
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Fifteen years after the publication of the hugely influential bestseller The Photographer's Eye, Michael Freeman returns with fresh ideas on the medium, in the third book in the exciting new series from the master of photography guides.
Color isn't 'just there' in photography, an ordinary fact of life. It's much more special and can be a subject and pursuit in its own right, because it triggers an emotional and aesthetic response like no other. Color is processed not in the eye, but in the mind, and that makes it personal.
In this third book in the series, Michael Freeman talks about color in photography in a completely fresh, thoughtful and useful way, unlike any other book on the market. In recent years, photography-about-color has exploded as a shooting phenomenon, taking inspiration not just from the great colorist photographers like Outerbridge, Haas, Gruyaert, Leiter, Eggleston and Porter, but from the new freedom that modern sensors and processing software give.
This book both celebrates and advises this new trend, drawing on Freeman's long experience editorially and professionally, spanning the two eras of film and digital color.
Color isn't 'just there' in photography, an ordinary fact of life. It's much more special and can be a subject and pursuit in its own right, because it triggers an emotional and aesthetic response like no other. Color is processed not in the eye, but in the mind, and that makes it personal.
In this third book in the series, Michael Freeman talks about color in photography in a completely fresh, thoughtful and useful way, unlike any other book on the market. In recent years, photography-about-color has exploded as a shooting phenomenon, taking inspiration not just from the great colorist photographers like Outerbridge, Haas, Gruyaert, Leiter, Eggleston and Porter, but from the new freedom that modern sensors and processing software give.
This book both celebrates and advises this new trend, drawing on Freeman's long experience editorially and professionally, spanning the two eras of film and digital color.
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Fifteen years after the publication of the hugely influential bestseller The Photographer's Eye, Michael Freeman returns with fresh ideas on the medium, in the third book in the exciting new series from the master of photography guides.
Color isn't 'just there' in photography, an ordinary fact of life. It's much more special and can be a subject and pursuit in its own right, because it triggers an emotional and aesthetic response like no other. Color is processed not in the eye, but in the mind, and that makes it personal.
In this third book in the series, Michael Freeman talks about color in photography in a completely fresh, thoughtful and useful way, unlike any other book on the market. In recent years, photography-about-color has exploded as a shooting phenomenon, taking inspiration not just from the great colorist photographers like Outerbridge, Haas, Gruyaert, Leiter, Eggleston and Porter, but from the new freedom that modern sensors and processing software give.
This book both celebrates and advises this new trend, drawing on Freeman's long experience editorially and professionally, spanning the two eras of film and digital color.
Color isn't 'just there' in photography, an ordinary fact of life. It's much more special and can be a subject and pursuit in its own right, because it triggers an emotional and aesthetic response like no other. Color is processed not in the eye, but in the mind, and that makes it personal.
In this third book in the series, Michael Freeman talks about color in photography in a completely fresh, thoughtful and useful way, unlike any other book on the market. In recent years, photography-about-color has exploded as a shooting phenomenon, taking inspiration not just from the great colorist photographers like Outerbridge, Haas, Gruyaert, Leiter, Eggleston and Porter, but from the new freedom that modern sensors and processing software give.
This book both celebrates and advises this new trend, drawing on Freeman's long experience editorially and professionally, spanning the two eras of film and digital color.
