September 6, 2014
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This article from a graphic design website explains how the use of negative space within an image can make a positive expression. We cover these subject areas in our Composition Course – Seeing Pictures
“There are several things that graphic designers can learn from other professions. Photography is one such field that shares similar techniques with graphic design. Minimalism and clarity of work are both common traits of graphic designing and photography. Likewise, one of the best tricks of incorporating minimalism in an artwork is using negative space.
Negative space is the space around an object of attention. Although some might argue that negative space is wasted space, the absence of content does not mean the absence of interest. On the contrary, negative space generates attention as it puts a stronger emphasis on the subject. It also helps in arousing the emotions of the object in focus.” See more pictures and read more here
September 6, 2012
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It seems to me that if you are even only sort of interested in photography you should be making photobooks of your work. The problem is design; it is something that doesn’t come easily to everyone. I marvel at my friend Andrew Esson, who is a book designer, he instinctively knows how to a design a book that looks impeccable. Then again he has designed books for the UN, Houses of Parliament, the Royal Palaces …. Anyway this article found in the BJP looks at some recent photobooks and discusses the merits of design.
Jörg Colberg focuses on an overlooked aspect of the photobook, discussing the role of design in the making of five modern classics.
In the most basic terms, they are simply books made up of photographs, but of course there’s much more to the photobook than that. Typically they are carefully edited and sequenced, and the selection of the photographs, and their order, are crucial to whatever story is being told. But there’s another crucial element that’s too often ignored – the design.
Over the past few decades, photobook design has become an integral part of telling the story. Classics such as Walker Evans’ American Photographs used a very straightforward design: blank pages and picture pages alternating with very little text, if any. In contrast, contemporary photobooks have come to embrace the many different ways in which the design of a book – the graphic design as well as its actual physical properties – can help shape the message. The following books are some of the most striking examples I have come across. Interested? Read More Here
Broken Manual by Alec Soth.