Visual Poetry: A Creative Guide for Making Engaging Digital Photographs

Visual Poetry: A Creative Guide for Making Engaging Digital Photographs The first thing a reader of Visual Poetry will notice is that, unlike most photography books--which are about photographic how-tos--this volume is much more about photographic whys. To be sure, there all the how-tos any photographer could want, but they are primarily in support of the real theme of Visual Poetry: asking the photographer to get in touch with, not only the subjects of his or her images, but also, the reasons behind why the images are worth taking. Author, Chris Orwig, besides being an excellent photographer, is also a philosopher of photography. This duality is evident in Chris' approach to this book, dividing each chapter--whether it be about "Learning to See," "Action and the Great Outdoors" or "The Path to Becoming a Professional"--into the following sections: * Inspiration * Practical Tips * Gear at a Glance * Workshop Assignments * Guest Speakers Chris asks photographers to become involved in each image they make: to make conscious decisions about--among other things--what to include, what to leave out, whether to make an image subject obvious or abstract and which lens to use to best accomplish a picture's intent. And to help the reader along, he provides practical, guided exercises (Workshops) to get the reader up out of his or her chair and trying out new techniques. For me, an added bonus to Visual Poetry was the author's inclusion of cameo lectures by other well-known photographers, such as, Joyce Tenneson, Steve McCurry and Douglas Kirkland. They share both personal anecdotes and photographic approaches that help further encourage the reader to learn new skills. Chris' book is not a quick read, but neither is it intended to be read straight through, cover to cover. Rather, its goal is, Workshop by Workshop, to get the reader behind the camera and actually creating his or her own visual poetry.

I have been shooting film and digital for 3 decades and read many technical books on Photography. I know how to take a photograph, and I know what a good photograph is. However, I found my self with a gap between knowing and actually doing. I noticed this gap filling when I spend a week with an accomplished photographer couple years ago. It was not the rules and techniques that I witnessed, it was the wisdom and simplicity of his approach. This book is filled of wisdom and simplicity. If you LOVE photography, read it. If photography is a chore and you need a no frills manual (use this aperture, this lens, that speed, frame with rule of thirds, etc) look else where. If you are comfortable with camera setting and compositional rules but something is missing, read this book. If you are not comfortable with the technical stuff, then you may not appreciate this book. It happen to be a perfect fit in my photographic development.

Visual Poetry just came in the mail and I was eager to open it and see what the hype was on Chris Orwig. I am familiar with his ability to inspire others to be more creative and deep through his tutorials but was unsure of reading a book and being able to learn through that means. I have to say it is so exciting to have this book! I am just devouring it. I would say I am a creative person, but with so much on my plate, that part of me can be pushed aside. After reading a couple chapters this morning, I was compelled to paint. I saw and felt things around me differently. I know it is a book on photography, but it really invigorated me on so many levels. I loved the section titled "Favorite Color" where he writes about his daughter and her questioning Chris's mother about what her favorite color is. She replied, "Oh that depends," she said. "In the spring I just love green, pink, and yellow and all those Easter egg colors. Remember the color of those faint yellow marshmellow candies? I love that color. But then, in the summer how can you not love the bright yellow of the sun? And of course there is the fall... Oh, in the fall my favorite colors are those strong earth tones; the reds, pumpkin oranges, and . . . " And the conversation continues. Chris Orwig really inspired me to increase the variety on my palate. I feel like my photos lately have been bland and needing some sort of change. Oddly, that is why I felt compelled to do something I don't normally do- paint. I can't wait to give this book to friends as gifts. AND, I am excited to read and reread this book.

Summary I just finished my first of what I suspect will be many reads through this book. I'm initially struck by both the richness and approachability of the content. It's also incredibly inspiring while remaining realistic and practical. The author drew me in with his intimate style, personal accounts, authenticity, and humility while avoiding fluff, filler, and cheese. I will be recommending this to my pro photographer friends, my point-and-shoot friends, and the others in between. To my pro friends, I would expect this book to rekindle the passion that was once the reason they started shooting seriously. To the others, I believe this could be the book that will provide that extra something needed to take photos that truly capture. This book challenged me as a creative person and photographer, but also as a father, spouse, traveler, and friend. Inspiration I had been anticipating this book for a while as I'm familiar with Chris's work and [...] tutorials, but he has exceeded my expectations. I started perusing the introduction and before I knew it, I found myself in Chapter 4 only to look up and see my camera beckon me from its resting place. This book has reminded me that I'm a creative person daily tempted by uniformity and routine. I'm also reminded that creativity needs to be fought for, invested in, and daily cultivated. The author provides very practical methods and tips to foster and maintain a creative spark. I can honestly say that I'll wake up tomorrow with a polished lens through which to view the world. Technicalities It seems Orwig takes somewhat of a minimalist approach to photography. The yuppie and boomer gear fiends tattooed with Nikon logos may miss the value here. He doesn't go into great lengths as to what's in the cookie. He doesn't spend chapters discussing how one type of flour is better due to its molecular composition and the wheat harvest techniques. He instead lights a fire in you to bake with utter abandonment. The emphasis is on vision, risk, perspective, experience, and such, not on shutter speeds and megapixels. That's not to say he doesn't get technical. Every subject, whether it be family portraits or travel, has specific comments on gear. He even goes into certain brands and models. But instead of going on with a comparison of lens noise, he puts the focus on practical tips such as packing power bars for sunrise shoots or how to be incognito when shooting "underground". He regards gear as tools of the craft, not the object of the craft itself. This really resonates with me and gets my focus off what I have (distracting) or don't have (limiting). It reminds me that photos are taken by people, not cameras. Practicalities There is nothing more deflating for me than being inspired to do something, but not knowing how to get started. One of the greatest strengths of this book is that the many workshops get you out there putting your new found inspiration to work. There is also a ne