
PHOTO DESIGN: Image Design and Composition for Photographers is an ebook and was written for photographers of all skill levels. Beginners will learn how to build images from scratch. And self-taught seasoned pros will learn the terminology of the techniques they’ve always used and they will most definitely learn some new tricks and tips.
What makes my book different from all the rest are my composition maps. With these I literally map out every feature of the composition and why its elements were placed where they sit. I provide both a map and an unmarked photo of the same scene so the ideas and techniques can be easily studied. Only someone with a solid understanding of image design could create these maps.
Sample Pages






Table of Contents
About the Author | 11 |
About the Book | 11 |
About the Images | 11 |
Chapter One: Design in Photography | 12 |
The Visual Language | 12 |
The Importance of Learning Design | 13 |
Demystifying Composition | 13 |
Communicating Without Words | 14 |
Chapter Two: Photography in American History | 15 |
Early Cameras | 15 |
The Hand Camera | 15 |
Composing the Early Photographs | 16 |
Innovations in Technology | 16 |
Kodachrome | 16 |
The Digital Camera | 17 |
The Selfie | 17 |
Photography as an Important Art | 17 |
Ansel Adams: A Force in Nature | 18 |
The Greatest Assignment | 18 |
The Zone System | 18 |
Chapter Three: The Visual Experience | 19 |
Approaching The Photographic Image | 19 |
Response to Unfamiliar Art and Styles | 19 |
Beauty In Photography | 20 |
Is It Art? | 21 |
Reading Photographs | 22 |
Evaluating A Photograph | 23 |
Artist’s Intent | 23 |
Emotional Impact | 23 |
Evaluating the Light | 24 |
Structure | 25 |
Execution | 26 |
Sample Execution Mistakes | 26 |
Advanced Evaluation | 27 |
Evaluating Black and White Photographs | 35 |
Evaluation Overview | 36 |
Chapter Four: The Photographic Experience | 37 |
The Art Of Observation | 37 |
Visualizing the Composition | 38 |
Individual Expression | 39 |
More Than Seeing | 39 |
Developing A Personal Style | 40 |
Evaluating Your Progress | 41 |
Evaluating Your Photographs | 41 |
Chapter Five: Considerations For Purpose | 42 |
Horizontal Or Vertical Format | 42 |
Final Format | 44 |
Contrast and Size | 44 |
Sharpness | 44 |
Mood | 44 |
Chapter Six: The Physical Photograph | 46 |
The Frame | 46 |
Edges | 46 |
Mistakes on the Edge | 46 |
Cropping Joints and Limbs on the Edge | 48 |
Image Divisions | 50 |
Chapter Seven: Designing The Tangibles | 51 |
Organizing The Composition | 51 |
Unity and Balance: A Good Start | 51 |
Subject Matter | 52 |
Define Subject Matter | 52 |
Treatment of Subject Matter | 53 |
The Main Or Solitary Subject | 53 |
Distance and Size | 53 |
Lens Selection | 53 |
The Effects of Distance on Detail and Color | 53 |
Positioning the Main Subject | 54 |
Centering the Subject for Emphasis | 54 |
Dealing with Unwanted Objects in the Scene | 54 |
Focal Points | 61 |
Living Subjects as Focal Points | 61 |
Focal Points and Balance | 61 |
Focal Points and a Visual Path | 61 |
Multiple and Competing Main Focal Points | 61 |
Lines | 62 |
Straight Lines | 62 |
Vertical Lines | 62 |
Horizontal Lines | 62 |
Diagonal Lines | 63 |
Converging and Diverging Lines | 63 |
Groups of Lines | 63 |
Arcs | 63 |
Curved Lines | 63 |
Zig-zags and Odd-shaped Lines | 64 |
Repetitive Lines | 64 |
Suggested or Implied Lines | 64 |
Creating Fluidity, Movement, and Motion with Lines | 66 |
Tension Created by Lines | 66 |
Shape And Form | 67 |
Shapes and Forms as Structural Elements | 67 |
Texture of Forms | 67 |
Spatial Organization and the Relationships of Forms and Shapes | 67 |
Shapes and Forms and Balance | 67 |
The Emotional Effects of Shapes and Forms | 69 |
Forms, Shapes and Rhythm | 69 |
Forms, Shapes and Unity | 69 |
Chapter Eight: Designing The Intangibles | 70 |
Light’s Role in Photography | 70 |
The Sun’s Trek through the Sky | 70 |
The Effects of the Sweet Light | 70 |
Reflections: Diffuse and Specular | 71 |
Shadows | 71 |
Direction of Light | 72 |
Front Light | 72 |
Side Light | 72 |
Back Light | 72 |
Top Light | 72 |
Reflected Light | 72 |
Photographing the Effects of Weather | 73 |
Clouds | 73 |
Fog | 74 |
Rain | 75 |
Rainbows | 75 |
Color | 76 |
Basic Color Terminology | 77 |
Analogous Hues | 78 |
Monochromatic | 78 |
Gradations | 78 |
Complementary Colors | 78 |
Neutrals | 78 |
Color Associations | 79 |
Choose Colors to Influence and Create Mood | 79 |
Creating Color Harmony | 79 |
Color Continuity | 80 |
The Perceived Weight of Colors | 80 |
Space and Depth | 81 |
Negative Space | 81 |
Perspective | 83 |
The Picture Plane | 83 |
Line of Sight | 83 |
The Ground Plane | 83 |
Achieving Visual Balance | 83 |
Using the Rule-of-Thirds Grid | 84 |
Using Symmetry | 84 |
Angles And Height | 86 |
Chapter Eight: Popular Composition Styles | 87 |
Bulls-eye Composition | 87 |
Showcase | 87 |
Near-Far | 87 |
Layers | 88 |
Close-up | 88 |
Abstract | 88 |
Composition Maps | 89 |
Map One: Multiple Main Focal Points and a Visual Path | 90 |
Map Two: Lines – Cradle the Subject | 92 |
Map Three: Subject Merge | 94 |
Map Four: Perspective | 96 |
Map Five: Supporting Focal Points, Weight and Color Continuity | 98 |
Map Six: Types of Borders | 100 |
Map Seven: Layers | 102 |
Map Eight: Horizon Line Placement | 104 |
Map Nine: Structure and the Rule-of-Thirds Grid | 106 |
Map Ten: Rule of Thirds Lines and Power points | 108 |
Map Eleven: Value Distribution and Shapes | 110 |
Map Twelve: Harmonious Image Division | 112 |
Map Thirteen: Off-center Placement | 114 |
Map Fourteen: Cool vs. Warm Hues | 116 |
Map Fifteen: Competing Focal Points and Image Division | 118 |
Map Sixteen: Visual Tension | 120 |
Map Seventeen: Distractions | 122 |
Map Eighteen: Organize Basic Elements | 124 |
Map Nineteen: Compare Compositions | 126 |
Map Twenty: Structure and Content Division | 128 |
Glossary | 130 |
Bibliography | 133 |
Books | 133 |
Purchasing Photo Design: $25.00
I use PayPal for all financial transactions and have had not a single problem with financial transactions for almost 20 years. Please contact me for invoicing and transfer of the document. gloriahopkins@gmail.com I usually respond almost immediately.
Because this an intangible, electronic document I offer no refunds. You should rest assured, however, because in the past 11 years of selling Natural Design, the book Photo Design was based on, I’ve had a single request for a refund, and that’s because the student dropped his photography class before it ever started. Thank you so much for your interest and attention.