The Photograph: Composition and Color Design

The Photograph: Composition and Color Design
by Harald Mante

The Photograph: Composition and Color Design
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Book Summary Information

Author: Harald Mante
Edition: Hardcover
Audio: English (Unknown); English (Original Language); English (Published)
Published: 2008-03-15
ISBN: 1933952261
Number of pages: 280
Publisher: Rocky Nook

Book Reviews of The Photograph: Composition and Color Design

Book Review: The Second Outstanding Book on Composition/Design is Finally in Print
Summary: 5 Stars

First, the disclaimer: I translated this book from the German 2001 and 2007 editions of "Das Foto." So errors of translation are mine. I did so for my own edification. I encouraged the publisher to find a way to get this information into English, because I thought the content of this book should be available to the English language readership. As it turned out, the publisher eventually asked to use my translation. I was paid for my work, but do not receive royalties from sales.

Now some history on Harald Mante's books. The last time his books were available in English was in the 1970s, when Van Nostrand Reinhold published his "Photo Design" and "Color Design," the first covering the design elements and contrasts in B&W and the second covering the color contrasts and their effects when incorporating the design elements. These books are classics of long standing among people interested in analytical presentations of these subjects. Over the years he has written several other instructional books, but until now, none had made it into English.

This is the second truly outstanding book on the subject to appear in less than a year, the first being Michael Freeman's "The Photographer's Eye," on which I have a review elsewhere. The bottom line is that my strongest recommendation is to own both of these books. Together they constitute the strongest, most thorough presentation of composition/design up to the intermediate level available anywhere in print in English. No other books in English deal with this material in the depth, breadth, and level of these two books, for photographers or for drawing/painting artists.

Now to review Mante's book. Mante was taught and presents his material in the tradition of the teachings of such Bauhaus masters as Vassily Kandinsky. Aspects of his presentation, adapted to photography, remind one of Kandinsky's landmark book, "Point and Line to Plane."

Whereas Freeman starts in a more traditional photographic writer's manner with a consideration of the implications of different viewing frames, Mante assumes the 36mm x 24mm frame and starts right into the grammar of visual structure with the point: 26 pages about the point. How one point works within the 35mm film frame, then two and more, and the visual implications. Then 26 pages on lines. He moves on to shapes, in fewer pages, but with equal thoroughness.

He moves then to what I have translated as "universal contrasts," covering figure-ground, tonal contrast, and representation of space. Next he covers the seven most commonly recognized color contrasts, along the lines of J. Itten, as they pertain to photographing.

The last, long, chapter covers a number of techniques and considerations the photographer can use to improve the chances of achieving one's goal in taking an image. Several of the topics relate to the ratio the photographer has to choose between objective representation and subjective interpretation, another important topic in Kandinsky's writings. The last two sections are on photographic sequences and series. Mante has used these two techniques as elements of his teaching over many years, and has published and exhibited students' work using these ideas.

The over 600 photographs illustrating the topics are signature Mante, based solidly on strong visual design. Many of the illustrations occur in his fine art portfolio publications and have been exhibited in many countries. The large number of diagrams also support his textual argument.

Short digression: One measure of the value of this book may be that "the Rule of Thirds" does not appear anywhere. He prefers the European use of 5/8ths and 3/8ths. It turns out that between the two guidelines and the third way of using the frame diagonal and dropping a perpendicular from an opposite corner, all three points are pretty close. However, the primary advantage of the 3/8ths;5/8ths division is space management. The Thirds Rule divides the frame into nine identical rectangles, overzealous use of which is a prescription for boring space management. The Europeans' preferred approach encourages a more varied result. The diagonal/perpendicular technique also produces a variety of rectangles dividing the image frame.

This book contains no camera/lens/aperture/shutter/photographer's thoughts about the illustrations. Mastery of the equipment and what it can do is assumed. This book is all about the image - building it and analyzing it. It is not elementary either in topics or presentation: basics, yes, elementary, no.

Art/photographic practitioners, historians, teachers, students, and arts administrators would find this book an excellent text. Mante's presentation equips one to understand the structure and dynamics of an image in one's viewfinder and to analyze the result after firing the shutter. No other book does that in quite so elemental and analytical a manner.

The chapters are either six or eight pages long. Each chapter has 20 or more photographic illustrations and several diagrams. Since a photograph or diagram may be referred to more than once in a chapter's text, the reader will be obliged to move about within the six or eight pages of that chapter. While this may be offputting to readers used to the text and illustrations generally coinciding on the same or a facing page in elementary presentations on this subject, it is difficult to build the argument as the author has and not have to do some page turning. Readers familiar with exhibition monographs, or books on artists/photographers or groups of artists/photographers will be used to having to turn through tens, sometimes more than a hundred pages to track among the illustrations (plates), invariably located in the back, with the essays in the front.

Summary of The Photograph: Composition and Color Design

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 of how the viewer perceives images. The creative photographer can exploit this knowledge and push image-making in new directions.

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 to support the photographer's intentions.

These in-depth lessons are beautifully illustrated with more than 600 images from Mante's own portfolio, plus 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.

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