These Are The Contents of A New Perspective

(The average chapter is only two to three pages long.)

Photography & Filmmaking Edition
3 parts, 31 chapters, 120 pages, 180 illustrations

Universal Edition
5 parts, 49 chapters, 188 pages, 350 illustrations

This chapter outline, along with the introduction and complete first three chapters listed below are also available within a downloadable document here.

Part One | Part Two | Part Three | Part Four | Part Five

BONUS – A chapter not in the book on Color and Color Depth is offered.

Numerous widespread falsities about color, including mixing and harmony, taught to us all since our earliest schooling, are exposed. Few are aware of these facts, contributing to color being such a difficult and confusing subject for many.

Also, materials correctly describing the role that color plays on depth have been very scarce. A collection of methods for enhancing depth through color has been researched and assembled here. This perspective knowledge is as applicable to painting as it is to photography and filmmaking.

i. Introduction

ii. How to Read This Book

Part One: Basic Theory

Very little of the information in this section is covered in other perspective books on drawing and painting or within photography and filmmaking texts. Yet, these are some of the most important basics upon which all of perspective is based.

1. What Perspective Really Means – Traditionally, perspective has only meant "the technique of representing a three-dimensional image on a two-dimensional surface." A much more complete understanding of perspective is provided here that is applicable to artists in any field―whether a flat surface is involved or not. Photographers and filmmakers will find this data especially pertinent.

2. Light and The Eye – Describes the nature of light and how the eye or camera uses it to capture imagery.

3. Perspective Basics – Reveals the three main ingredients that make up any form. These are also the only three things that can affect how large or small something looks. Their relationship is responsible for the appearance of every object that we see and explains ways an image becomes "out of proportion."

4. Angle of View – Defines how our angle of view (how wide of an overall area we are able to see of the scene through the eye or camera lens) can affect our perspective of a subject.

Explained too, is the true cause of a distortion that occurs while working on a flat surface and how to use our angle of view to regulate this whether in photography and filmmaking or not.

5. Depth vs. Flatness – Reveals new observations behind how the three-dimensional appearance of an object is affected by how close or far it is from us. Its effects on our depth perception are also explored.

Includes a method for adjusting the three-dimensional appearance of any subject you are photographing.

6. Overlapping – The benefits of overlapping as a powerful perspective technique are discussed, along with a relationship between overlapping and flatness.

7. Thinking In Three Dimensions – This offers basic rules to consider while attempting to visualize a scene in perspective. The process consists of several simple questions that even many photography and filmmaking professionals fail to consider when trying to set up the best shot of their subject.

The validity of the influential "left-right brain theory" and three-dimensional thinking it examined as well.

Part One | Part Two | Part Three | Part Four | Part Five

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