Daniela Bowker

Professor of French Language and Literature Michael Freeman

The essential concept for which there is no Auto mode, a good-sense composition is what separates a phenomenal photograph from a snapshot. In this title, Michael Freeman and Daniela Bowker teaches how to use a photographic eye to not only seek out engaging subjects, but also approach them from the best angle, in optimal light, for the maximum effect. Going beyond the basics of how to capture images, this title explains why certain photographs succeed, uncovering the mysteries of abstract aesthetics to give practical rules and real-world advice to push images to the next level. Reviews and commentary on other students work give insight into the creative photographers mind, revealing the practical thought processes behind successful photographs. Readers will learn to avoid cliché and embrace their own unique shooting style, imparting their own interpretation and statement to each photograph they create.

Composition

Michael Freeman's Photo School

Michael Freeman

Lucas Jones

A thorough understanding of exposure is the foundation of every photographers education, and this title introduces these key concepts in a comprehensive, incisive and interactive format. Casting aside the Auto mode, readers will learn to take creative control of their photographs as they master the essential elements of aperture, shutter speed, and ISO, how these variables interact with each other, and what techniques can be used to harness their power. Whilst free to move through the course at their own pace, readers will be challenged to demonstrate their proficiency along the way, applying what theyve learned to specific shooting scenarios, and learning from the critical feedback provided to other students. By the end of the book, the nuances of exposure control will be second nature, and readers will be ready to encounter almost any conceivable shooting situation with the optimal approach for the best images.

Exposure

Steve Luck

It goes without saying that pressing the shutter release is only the beginning of the life of a digital image. Understanding how to use editing software to unlock each images full potential is the essential next step to reliably producing great photographs. Michael Freeman and postprocessing expert Steve Luck demystify the complexities of todays highpowered editing programs to provide straightforward, effective digital workflows that will increase effectiveness and make all the difference. The editing principles covered in this title are universally applicable, regardless of the editing software in use. Learn how to recapture lost skylines, touch up portraits, and even experiment with surreal special effects. The collaborative environment of the course ensures that no student gets left behind, offering a support community for students seeking feedback and new ideas on the dedicated course website.

Digital Editing

Despite the hundreds of books and scholarly articles which have been devoted to him, Francois Villon remains a mysterious figure who, in the words of the sort of paradox he applies to himself, appears both near yet far. Near because he seems to articulate feelings to which readers down the ages have been able to respond, far because the world he lived in seems to a modern reader a tantalizingly foreign one. No analysis of the poet's work is complete without some description of that world in all its physical and mental strangeness. This new book will also show how Villon consciously fashioned his own image, manipulating his original readers and offering them a version of himself and his talents designed to amuse, impress, move and perhaps deceive. For he had been a villain as well as a poet, and he uses selected episodes from his past together with a very personal treatment of the great literary and moral themes of his age not only to excuse his own conflicting emotions but also to demonstrate that he is a reformed man who needs and deserves sympathy and understanding. This consummate artist comes across in his deliberately ambiguous work as a loveable rogue, by turns jaunty and maudlin. The baffling persona he created raises many questions. The author of the present study looks in particular at the reception of Villon's work in his own day, suggesting that it was meant to be presented (and perhaps performed) as part of a process of rehabilitation and a return to the fold he had been forced to leave by his own behaviour. The poet's work might thus help him achieve social acceptance and the longed-for 'maison et couche molle'. However, events on the streets of Paris in late 1462 would silence his voice forever.

Professor of French Language and Literature Michael Freeman

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