As we all know, there are more photography "how to" books than there pixels in the average modern image. For a number of years I have been assigning one to my students, to make up for the fact that I spend next to no time on the "basics" in my class. The problem with most of these books is that they contain far too much information, on too many topics, and also include next to no information on some others. So here's my question:

What would you like to find in a short - maybe 96-108 page - photo book, intended for people who want to photograph what I will call 'the real world' in a straight forward manner? Please don't write an essay - just list your top two, three, or a half-dozen thoughts.

Thanks in advance,

B. D.

Tell them, if they are new to this genre, to get over being concerned
about the "distractive" elements that are acceptable in "Street" but
singled out for criticism in other photographs.

Street captures things as they are, and that sometimes includes warts.

Show Michswiss's #1 in the umbrella series to someone who isn't into
this type of photography and they'll zero in on the white trash bags.
I showed my "Did you notice the dog" image to someone not in this
group and they picked out, and picked on, the man over the girl's
shoulder and the other woman's hand. Those elements weren't
commented on by anyone here.

End of essay.

Understanding Exposure, or Understanding Digital Photography, by Bryan Peterson: I have seen these recommended as an excellent starter photography books in many threads. I agree and have them on my shelf. First is mostly on ISO, aperture, and shutter speed with the back half being about light. Early chapters of the second one include ISO, aperture, and shutter speed and the interrelationship between these. Middle half on light and composition, last 1/4 on the digital darkroom. List price $24.95.


The Photographer's Eye, Composition and Design for Better Digital Photos, by Michael Freeman ($29.95)
Within the Frame, The Journey of Photographic Vision, by David duChemin ($39.95)

I consider these similar vision/composition books. The first isolates photographic elements more (such as vertical/diagonal lines, contrast, triangles, ...). It is the first of a series of books exploring composition and vision. The second takes a wider angle view with sections such as "Make me care", "Capturing Emotion", "Creating Depth with Layers", etc.

I'm about to take my first photography course in something over three decades. It's a five week program in Documentary Photography at RMIT. I'll let you know how it goes afterwards and what materials are used. As to first principles past the technical stuff: When asked by others how to improve their shots I normally suggest the "Triple F" mantra as a start. Fill the F'n Frame! Or said more politely, think about composition. Constantly. The subject should be apparent and involving. Negative space is OK as long as it's there for a reason.

I've always recommended Understanding Exposure to any new photographer I've met. I continue to pick it up to this day.

Thanks folks, but I'm not looking for book recommendations, I'm asking what you'd like to see in a book devoted to photographing real life: what technical stuff, what philosophy, what not to do, what to do, etc.

Are we 'gonna see some percentage of sales of your new-to-be-written-and-published book for the outline material we provide?

I think most of what you're looking for is probably covered in the various threads posted in this sub-forum, so the research could start there. Or, off the top of my head:

1. Camera basics
2. Lighting basics (natural, shadows, reflections)
3. Camera body/lens combinations (small pocket units vs large DSLR, pros/cons of each)
4. Composition (Angles, perspectives, leading lines, shadows)
5. Content (juxtaposition, emotion, what's the story?, action, movement, thought provoking)
6. Color vs B&W (when to use, pro/con of each)
7. A brief on the "masters" w/examples
8. Post processing - basic rules on what is/is not allowed for this type of shooting
9. Single vs multiple images
10. Titles vs no titles


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Originally Posted by M38A1 Are we 'gonna see some percentage of sales of your new-to-be-written-and-published book for the outline material we provide? I think most of what you're looking for is probably covered in the various threads posted in this sub-forum, so the research could start there. Or, off the top of my head: 1. Camera basics 2. Lighting basics (natural, shadows, reflections) 3. Camera body/lens combinations (small pocket units vs large DSLR, pros/cons of each) 4. Composition (Angles, perspectives, leading lines, shadows) 5. Content (juxtaposition, emotion, what's the story?, action, movement, thought provoking) 6. Color vs B&W (when to use, pro/con of each) 7. A brief on the "masters" w/examples 8. Post processing - basic rules on what is/is not allowed for this type of shooting 9. Single vs multiple images 10. Titles vs no titles .

I'd add sections on:
- Legals/Ethics including intended use of images and model releases
- Street shooting tactics
- On-line resources (Dgrin, other forums, blogs etc.)

Forget about technical expositions and camera equipments or online fora. They have been done and most are crap.

Instead, write essays on how you shoot. How you get the shot, the contact sheet. etc.

Good photos are obvious.

So tell us how to get those good photos.

I think there are some technical things that are unique to the Documentary style: things like zone focusing are only really applicable to the documentary.

Probably also some words on what is allowable from a PP perspective-- I know journalists work under more strict guidelines than what a landscape photographer might allow.

Might even point out that most newspapers and publications now print in color. Black and white is fun for classrooms and forum postings.

A section on Why Bruce Gilden (and similar photographic styles) sucks. (Magnum recently decended onto Rochester, NY and the photographs were universally amazing, except his! Every photo I hated, if I looked at the bottom, there was his name.) http://postcardsfromamerica.tumblr.com/

Personally, I think working in B&W for an extended period is an important teaching tool to help someone learning documentary to get past the "Oooo Pretty" phase and focus on content, exposure (I know it's technical, but B&W really forces thinking on this) and composition. For that reason by itself, having a section devoted to B&W work is valuable. But I agree with Mark that B&W is somewhat anachronistic as a form for current publications.

I also don't like bringing a comparison between documentary and photojournalism into the topic as I consider Doco and PJ having different objectives. Still a section on ethics, story telling and how to research and prepare before shooting would be good. On the technical front, I'd only require that participants are reasonably familiar and competent with whatever equipment they intend to shoot and post process with.

But I think you asked about materials to help teach taking pictures of the real world. In this context, a section on capturing beautiful honest shots of "Family and Friends" would be worthwhile.

http://www.newyorker.com/online/blog...of-photos.html

Thanks, folks - keep the suggestions coming!

If you want to discuss the New Yorker article about the Magnum project, would you please start another thread for that, rather than hijack this one? Thanks

Originally Posted by bdcolen If you want to discuss the New Yorker article about the Magnum project, would you please start another thread for that, rather than hijack this one? Thanks

I deleted my 2nd post and appended a link to my first post as clarification as to why your book needs a "Bruce Gilden sucks" section. .

(seriously: I think the man just likes to make fun of the way people look. How grade school.)

Okay, with that, MarkR, I will briefly join the hijacking of my thread - and ask that people then resume making suggestions for what they'd like to see in a photo how-to-shoot-the-real-world book.

Yes, Bruce Gilden really, really, really sucks - as a photographer, and as a human being. He is a bully with a camera, and how he ever became a Magnum member, albeit toward the end, rather than the beginning of his career, is beyond me. His photos in this New Yorker slide show tell us, show us, less than nothing about Rochester or the people who live in that city - they just show us, once again, his mean spiritedness.

For that matter, this entire slide show is less than impressive. Okay, I like the Martin Parr shot, and I like the Susan Maiselas shot of the tunnel. But this is the best Magnum has to offer? Sad.

Don't know the guy... sounds like I don't want to meet him...

Regarding your request, I would suggest considering many of the photos/comments/learning that comes up on this forum. Why b/w instead of color - show them examples of where the color (esp. red) distracts. No bums -- show many noobies shots of street people being low-hanging fruit... then post your most recent one of guy in park with mirror and ask if that breaks the rule or why it rises above as an exception. Go wider get closer -- show the difference between a shot taken from farther away and one where getting close has a positive impact. Sniping with telephoto -- show good/bad examples. Many of the contentious threads here (and there have been many...) might serve as material for what differentiates good/not so good photos.

And you might utilize photos from some of the forum members if that forwards your cause...

Get it on Amazon before they start charging state sales tax...

Originally Posted by bdcolen Thanks, folks - keep the suggestions coming!

You haven't stated what would be done with the book if written.

If the book is for your own classwork, you can call the shots on what is
acceptable, or favored, and what is not. If the book is for general
distribution, you should consider what other people feel is "the real world".

Some people feel that bums and other low-hanging fruit are part of this
real world. Evidently, the unmentionable man has a different concept,
and some people subscribe to that or he wouldn't be published.

There's nothing wrong with imposing your own restraints on your
students, but at least you should address the subject with your
reasoning. There have been many controversial personalities in
the field from Arthur Fellig to the unmentionable man. There
are people who feel that their work is a legitimate form of the genre
and their critics are engaged in the Grundyism we've seen here
on occasion.

If the book gains national distribution, I'll look forward to meeting
you at Barnes & Noble here at the book signing. I'll bring some
sniper shots of photos of biker-types who are very real.

Lots of good suggestions here. I would add a few things: A brief discussion of the ethical and legal issues in shooting strangers would be helpful. I'd also suggest that when discussing composition, you provide examples of both following the rules and successfully breaking them. Come to think of it, that approach might be useful throughout the book, and would certainly set it apart from all the other photography books I have seen.

I think it's going to be difficult to get everything into 100 pages. Good luck.

I appreciate the thought people are putting into this. Yes, if I get my butt in gear and write this, I will use it in my classes, but I also see it as being written for as wide an audience as possible. That said, it will be my book, and therefore will, of course, include the "no bums" and "why do you think they're called horizons?" rules - with discussions of both. And discussions of the ethics and law regarding shooting strangers, etc. etc. Keep the thoughts coming, please. All are helpful, whether or not I agree with them, because all provoke thought - yours as well as mine. ;-)