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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 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.
- Sales Rank: #513436 in Books
- Brand: Brand: Rocky Nook
- Published on: 2008-03-15
- Original language: English
- Number of items: 1
- Dimensions: 10.00" h x .81" w x 8.00" l, 2.73 pounds
- Binding: Hardcover
- 280 pages
Features
- 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
65 of 65 people found the following review helpful.
New Edition of The Second Outstanding Book on Composition/Design is Finally in Print
By T. Campbell
Update for the second edition: 17 November 2012
The main part of the review is of the first edition below. This second edition is the English translation of the German third edition. The content of this edition is identical to that of the second 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 are less useful, as they 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.
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.
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.
Now, to carry on back to the
Review of the first English edition, 2007:
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 in the first section with the point: a 26 page chapter 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" in the second section, covering figure-ground, tonal contrast, and representation of space. In the third section he covers the seven most commonly recognized color contrasts, along the lines of J. Itten, as they pertain to photographing.
The last, long, section in a number of chapters covers 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 chapters 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.
44 of 44 people found the following review helpful.
A Different Approach for a Few Photographers
By Conrad J. Obregon
Rocky Nook is a relatively new entrant into the field of photography publications. One of the niches that it has taken aim on is the translation of books into English that appear in European languages. One might think that in a global culture, where a digital camera is the same in Germany as in the United States, and Lightroom has the same interface in both countries, there would be little room for variation in theory, but this book seems to prove that thesis incorrect.
While I have not read every book on photographic composition in the English language, the theories of composition presented by Mante differ from most that I've encountered. When discussing composition, most authors speak about the rule of thirds, or where to put the horizon in a picture, or simplification. Mante on the other hand, discusses the importance of the point, or multiple points, or lines or shapes, or ground and field, or contrast. (At least one other author, Richard Zakia, has tried to deal with these same concepts, but his book is too idiosyncratic to recommend.)
The chapters of the book are organized to present a single concept, like a line of points, with text, several illustrative photographs, and diagrams. Frequently one is required to flip back and forth between text, photograph and diagram. The photographs by Mante are quite beautiful, although they bear a close resemblance to the self-referential. By that I mean that the content explicated by the form is the form itself. For example, those familiar with Albers color squares recognize that the content is the perception created by placing certain colors in proximity to each other. Mante's photograph of a purple wall with a green beam in it is not about the wall, but rather about the relation of purple and green. Most current photography seems to be far more about the content, with technique explicating the content, then Mante's pictures and instruction. Mante doesn't disdain content. In fact he recognizes its primacy. But this is a book about form, and that's what the photographs emphasize.
The text is quite difficult reading being quite dry and technical, and I suspect that many photographers will not be interested in following this theoretical line of the development of composition. Yet for those photographers who are given to a more technical, cerebral approach to the creation of images, this material, because of its different approach, may provide new insights into composition. It will also appeal to photographers who are searching for an approach to design different from the common wisdom.
Even though I was willing to consider a new way of looking at composition, I found that Mante stopped just short of where I wanted him to go. His final thesis seems to be that the photographer should direct the viewer to content through contrast in design. But I would have liked for him to explain how particular forms of contrast can direct the viewer's inner eye to the photographer's vision, or how "technique is discovery". Still, the approach to design holds so much promise for a new way to compose photographs that I will try to apply Mante's teachings to my own work.
In summery, if you are a photographer who is willing to consider broad theory in an effort to enhance the composition of your photographs and are willing to risk an investment of your time that may or may not be productive, this is a book for you.
33 of 33 people found the following review helpful.
Return of an old classic
By Michael Freeman
This may seem to be a mutual back-scratching club, as I'm following a review by Tom Campbell, who also reviewed my own book, The Photographer's Eye. Nevertheless, I'm compelled to say that this is the welcome return of one of the classics of composition in photography. And excellently updated and revised, too. Mante methodically and sympathetically presents an exhaustive account of the formal elements, from points and lines, through colour, to purely photographic forms such as time sequences. His painter's training allows a refreshing and rare cross-discipline analysis. An essential read for anyone with an interest in design in photography (and any photographer SHOULD have just such an interest).
Michael Freeman (author of The Photographer's Eye, among many others)
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