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The Photograph: Composition and Color Design, by Harald Mante
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Harald Mante, one of the most distinguished teachers of the photographic arts in Germany and an internationally recognized master of photography, brings his teaching to us in the English language for the first time in more than 30 years. In The Photograph Mante explains the elements that are essential to achieving the highest level of visual design in photographs. This book is geared toward the serious intermediate and advanced photographer who strives to create outstanding images.
While a deep understanding of photographic techniques is required in order to master photography, technical knowledge alone is not sufficient to create outstanding images. Beyond the technical aspects, the crucial elements that determine the quality and strength of a photograph are the content of the image and its organization within the image frame. This is where the "art" of photography comes into play. Truly creative photography is based upon knowledge and mastery of design, and insight into how the viewer perceives images. The creative photographer can exploit this knowledge and push image making in new directions.
In this book, Mante explores the principles of line, shape, point, color, contrast, composition, and design in significantly greater depth and at a higher level than most any book available to date. He also covers a number of techniques to enhance expressiveness in a photograph and support the photographer's intentions.
These in-depth lessons are beautifully illustrated with more than 750 images from Mante's own portfolio, including over 160 diagrams.
The Photograph is a unique book that is sure to become an invaluable reference for anyone involved in photography-from the hobbyist to the professional; for both the digital and analog photographer; and for those practicing, studying, criticizing, or administering in the visual arts.
This second edition has been extensively revised and updated, and includes 60 new images and illustrations. Also included are new chapters that cover analyzing shapes and colors and a discussion of the square image format.
- Sales Rank: #150087 in Books
- Brand: Brand: Rocky Nook
- Published on: 2012-12-10
- Original language: English
- Number of items: 1
- Dimensions: 11.25" h x .73" w x 8.75" l, 2.80 pounds
- Binding: Hardcover
- 208 pages
- Used Book in Good Condition
About the Author
Born in Berlin in 1936, Harald Mante studied graphic design and painting at Werkkunstschule Wiesbaden. He taught Photographic Design at Dortmund Polytechnic and at the European Art Academy in Trier, as well as many seminars and workshops. Professor Mante has authored numerous art books and textbooks. His photographic work has been exhibited in museums and private collections world-wide, and his books and calendars have become collector's items.
Most helpful customer reviews
14 of 14 people found the following review helpful.
Excellent, but...
By Matthew
Everything said in the other reviews is spot on. Though "Photograph" is the largest word on the cover, this book is about design. I'm very glad that I purchased it. To me, the "basics" (exposure, aperture, shutter speed, ISO, depth of field, etc.) that so many books focus on can be quickly figured out by spending a few minutes with google and shooting a couple rolls of film. If you're going to spend money on a book about photography, it makes sense to get a book that's filled with not-as-easily-found information. Especially when it presents it really well.
It contains tons of pictures and diagrams, and the text uses to them to explicate concepts of design. However, the editor failed to ensure that the diagram references in the text always match up with the correct diagram. For example, on page 18 the three diagrams are labelled G, H, and J. Then, on page 21, the author refers to diagram I (which doesn't exist), and clearly means to reference diagram J. This isn't all that big of a deal, but when you couple it with the fact that you're already having to often flip between pages to find which diagram is being referenced, it's pretty annoying whenever it happens.
I'd still recommend this book whole-heartedly, but I'd also recommend having a pen nearby to make the occasional correction. And while I'm recommending things, I'd also recommend the new Vampire Weekend album and Left Hand's Polestar Pilsner as being the perfect summer combination.
11 of 11 people found the following review helpful.
Harald Mante's Classic Book in a New Edition
By T. Campbell
Update for the second edition: 17 November 2012
This review covers just the new material in this second edition, which is the English translation of the German third edition. I commend the reader of this review to my detailed review of the first English edition (2007), elsewhere on amazon.com. The content of this new edition is identical to that of the first except for some new topics, some reorganization of the sixth section, and the addition of two new sections. I did not do the translation of the new material. "Identical" is not quite correct. From his first German edition to this one, the photos he uses to introduce each section change and are almost reason enough to own each edition. They are excellent and beautiful.
In the sixth section, "Using the Tools," Mante has inserted a chapter on visual aspects of the square format. From this same section, he has broken out the chapters on photographing sequences and series into their own two chapter section. Lastly he has added a new, eighth section on analyzing images to discern their elements, universal contrasts, and color contrasts.
This last section reminds me of the presentation in his Van Nostrand Reinhold books in English from the 1970s and is an important addition to the content of the 2007 edition. This new section should be several times longer, or given more chapters. It shows in schematic manner, using both a color and B&W rendering of each image along with small thumbnails, how a shooter or viewer can start training oneself to see the components of an image's, or potential image's visual structure. The thumbnails identifying the main color contrasts do not indicate where in the image such contrasts are, but they do encourage the viewer to search for them in the main image. The text for each image is in the manner of "formal criticism." This new section makes this book unique among all "composition" books currently or recently in print, and is a near culmination of why Mante's approach is so important, useful, and lacking in availability in the market. It gives the reader a model of how to begin to visualize images' architectures. The closest other such book is long out of print and deals with paintings and drawings.
This revision leaves a reader to surmise that somehow an image's success rests on the presence of several elements and contrasts spread throughout the frame, but the parameters of using those tools are not thoroughly spelled out. He doesn't go to the next logical place, and that is to take his approach to the elements, contrasts, and formal analysis to show the reader how to evaluate the strengths and weaknesses in an image's visual structure. The next edition needs to venture into this territory to be fully satisfying. The new last section on image analysis is the logical place for a new chapter on evaluating the strengths and weaknesses in an image's architecture: how well used and placed are the elements and contrasts for an image to be architecturally successful or need something in or out. There are hints at points throughout his text, but no unified, coherent argument in one place. That is the last step, missing from all current literature.
In terms of teaching design, what is missing in all extant literature on composition in photography comes under what used to be called "principles of design." Depending on the teacher the principles might be (Maitland Graves) harmony, gradation, contrast, unity, dominance, balance, repetition, and alternation, or in the case of the Davis/Sterling series, emphasis, contrast, pattern, balance and unity, movement and rhythm. There are other categorizations for the principles.
Too, I would recommend an expanded analysis chapter incorporating several more images; the ones in the chapter, while sophisticated enough in content and structure, leave one wishing for analyses of, say, the images he uses to introduce the sections, which are really good.
He can do this. It is a logical arena for the next edition. It may take him out of his comfort zone, but one legacy he could leave to all of his fans is a finished argument - and this reviewer counts himself as a fan since the mid-1970s. He hasn't done that yet in print - but neither has anyone else.
Even so, the merits of this book hold their own against any other out there. There is no other book that does the job of this book, and it remains one of the very few indispensable volumes in the library of any photographer who wishes to understand images beyond the intuitive, elementary level: that is, to learn to incorporate what is objective about images into one's way of seeing and creating them. Get this book, even if you have the earlier edition.
3 of 3 people found the following review helpful.
Lines and Shapes
By ColBuckshot
Pretty good book, all about how our eyes see.
A very technical look at lines and shapes and how they would work in a image.
This book is all about what we see rather then how to capture the image on camera.
Good image examples given to support this books purpose.
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