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| Foreword | |
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| Preface | |
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| About Composition | |
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| Art, Facts, and Landscape Photography | |
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| The Differences Between Composing Factual and Artistic Photographs | |
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| Photography is Not Dead | |
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| The Differences Between What We See and What the Camera Sees | |
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| Learning to See Like a Camera | |
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| Of Cameras and Art | |
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| Good Cameras Equal Good Photographs | |
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| A Matter of Filters | |
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| Modifying What the Camera Captures | |
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| Differences in Print Quality | |
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| It's the Print, Silly | |
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| I Should Have Known | |
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| The Artist and His Tools | |
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| It's Only a Matter of Time | |
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| The Eye and the Camera | |
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| The Difference Between Photography and Reality | |
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| Two Categories of Differences | |
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| What the Camera Captures that the Eye Never Sees | |
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| The Soul of Photography | |
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| Conclusion | |
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| New Rules of Composition | |
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| Composing with Light | |
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| Essential Elements | |
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| Light and Composition | |
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| Finding the Best Light | |
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| Finding Sunrise and Sunset Times | |
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| Using Natural Light | |
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| Changing Light Quality | |
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| Skill Enhancement Exercises | |
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| Conclusion | |
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| Composing with Color | |
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| Color Vision | |
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| The Three Variables of Color | |
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| The Munsell Color System | |
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| Controlling Color in Photoshop | |
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| Color Balance | |
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| Color Palette | |
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| Saturation | |
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| Color Seeing Aides | |
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| Taking Notes in the Field | |
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| Composing with Color: Examples | |
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| Skills Enhancement Exercises | |
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| Conclusion | |
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| Composing in Black and White | |
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| Introduction | |
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| Black and White Is Color with One Variable | |
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| Seeing the World without Color | |
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| Black and White and Art | |
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| Black and White and Manipulation | |
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| Color vs. Black and White | |
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| Seeing in Black and White | |
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| Examples of Composing in Black and White | |
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| Skills Enhancement Exercises | |
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| Conclusion | |
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| Important Elements of a Strong Composition | |
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| Introduction | |
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| Strong Compositions Checklist | |
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| Example 1-Superimposing Objects: Monument Valley | |
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| Example 2-Creating Visual Metaphors: Manzanar Monument | |
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| Example 3-Leading Lines: Sand Dunes at Sunrise | |
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| Example 4-Near-Far Compositions: Near-Far Compositions: Brown's Hole, Dinosaur National Monument | |
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| Example 5-Near-Far Compositions: Vertical and Horizontal | |
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| Example 6-Careful Cropping Between Objects: Navajoland Cloudscape | |
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| Example 7-Cropping and Borders: Escalante Canyon | |
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| The Creative Process | |
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| Finding Inspiration | |
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| Introduction | |
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| Inspiration, Creativity, Vision, and Personal Style | |
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| Location as a Source of Inspiration | |
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| The Muses | |
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| A Lifestyle | |
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| Remoteness as Source of Inspiration | |
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| New Equipment, Supplies, and Software: New Possibilities | |
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| Mood as a Source of Inspiration | |
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| Become an Expert | |
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| External and Internal Inspiration | |
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| Inspiration Is Asking Why not How | |
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| Repeat Visits to Favorite Places for Inspiration | |
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| Memories of What I Have Seen and Experienced | |
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| Skills Enhancement Exercises: How to Invite the Muses and Bring Out Your Creativity | |
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| Conclusion | |
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| Exercising Creativity | |
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| Introduction | |
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| The Difference Between Inspiration and Creativity | |
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| Do Not Delay Creativity | |
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| We All Have the Potential to Be Creative | |
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| Liberating Our Creativity | |
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| Fear of Failure | |
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| Moving Out of Your Comfort Zone | |
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| Overcoming Creative Fear | |
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| Fear of Critique | |
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| Everything Has Already Been Done | |
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| Nobody Cares About Your Work | |
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| Skills Enhancement Exercises | |
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| Conclusion | |
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| Developing Your Vision | |
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| Introduction | |
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| What Is Vision? | |
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| Making Your Vision Reality | |
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| Critical Thinking | |
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| Going Back | |
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| Your Personality | |
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| Making Your Vision Reality | |
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| Doing the Work | |
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| Do Not Lose Your Vision Reality | |
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| Skills Enhancement Exercises | |
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| Conclusion | |
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| Achieving Your Personal Style | |
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| Introduction | |
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| What is a Personal Style? | |
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| Finding Your Own Way of Seeing | |
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| Style Develops through Work | |
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| Your Personal Style Filter | |
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| Show Your Personal Style throughout Your Work | |
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| The Coherence of a Style | |
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| Projects, Goals, and Deadlines | |
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| Expect Ebb and Flow | |
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| Unlearning the Rules | |
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| Changing the Rules | |
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| Be Bold and Audacious | |
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| Don't Sell Your Soul | |
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| Don't Worry about Creating Masterpieces | |
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| Moving Out of Your Comfort Zone | |
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| Don't Try to Please Everyone | |
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| Expect Detractors | |
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| Skills Enhancement Exercises | |
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| Conclusion | |
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| You and Your Audience | |
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| Just Say Yes | |
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| Introduction | |
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| A Little Bit of History | |
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| The Art of Saying Yes | |
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| Drama | |
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| Technique Is Meant to Be Seen | |
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| Audience | |
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| In Closing | |
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| Of Audiences and Bestsellers | |
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| Introduction | |
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| Who Is Your Audience? | |
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| The Concept of Audience | |
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| Selling Out | |
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| Artists Seek a Response from and a Dialogue with the Audience | |
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| Of Bestsellers and Art | |
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| How to Create a Bestseller | |
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| Start a Discussion with Your Audience | |
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| How to Find an Audience | |
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| Skills Enhancement Exercises | |
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| Conclusion | |
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| The Numbering Affair | |
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| Introduction | |
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| Manipulation and Art | |
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| A Short History of Numbering in Photography | |
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| Of Quality and Quantity | |
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| The Problem | |
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| The Conflict | |
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| The Art Show Conundrum | |
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| To Limit or Not to Limit? | |
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| Conclusion | |
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| The Relationship Between the Technical and Artistic Aspects of Photography | |
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| Technical and Creative Field Checklist for Fine Art Photography | |
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| Introduction | |
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| A Few Notes about this Checklist | |
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| Field Checklist | |
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| Image Maladies | |
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| Introduction | |
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| Heavily Cropping Images | |
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| Images Affected by Edge Maladies | |
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| Globally Oversaturated Images | |
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| Locally Oversaturated Images | |
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| Images with a Global Color Cast | |
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| Images with a Local Color Cast | |
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| Images without Black and White Points | |
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| Images without a Gray Point | |
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| Images with Clipped Black and White Points | |
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| Images with Too Much Global Contrast | |
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| Images without Enough Global Contrast | |
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| Images with Too Much Local Contrast | |
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| Images Converted (or Saved) to a Small Color Space | |
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| Image Density | |
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| Land and Sky | |
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| A Challenging Endeavor | |
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| Skills Enhancement Exercises | |
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| Conclusion | |
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| Memories of What I Have Seen | |
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| Introduction | |
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| Reality? | |
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| Five Senses | |
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| Conclusion | |
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| Conclusion | |
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| Art and Technique | |
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| The Creative and Critical Modes | |
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| Vision and Composition | |
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| Your Journey | |
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| Briot Workshops | |
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| A New Beginning | |
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| Prologue | |