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    • Breathing Room
    • Bringing the 1.5 Rectangle ​Into the Golden Section System of Design
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    • Classical Balance
    • Coincidences
    • Composite Photography vs. Straight Photography
    • Creating the Root Rectangles Within a Square
    • Determining Grid Structure
    • Determining Proportion
    • Dutch Angle
    • Echoing
    • Edge Distractions
    • Edge Elements That Work
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    • Enclosures
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    • Exiting out of a Composition
    • Figure-Ground Relationship
    • Framing Within a Frame
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    • Gamut in Composition (Video)
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    • Greatest Area of Contrast (Video)
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    • Henri Cartier-Bresson​ (Etching the Dynamic Symmetry Grid)
    • Henri Cartier-Bresson - Setting the Scene
    • Hierarchy
    • Horizontal vs. Vertical
    • How Many Photographs to Take of a Scene
    • How to Create a Design That Has Theme, ​Variation, and Harmony for Any Size Rectangle
    • How to Create a Root Phi Rectangle
    • Juxtaposition
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    • Michel Jacobs on Portrait Painting Using Dynamic Symmetry
    • My Process for Photographing
    • My Thoughts on Creativity and Camera Grids ​for the Professional Photographer
    • Negative Shapes
    • Notional Space
    • Overlapping
    • Photograph Kids Being Kids
    • Placing One Eye Center
    • Pointing Devices
    • Points of Interest in a Design Grid
    • Practicing Dynamic Symmetry Techniques at Museums
    • Rabatment in Composition
    • Radiating Lines
    • Separating Elements
    • Simultaneous Contrast
    • Steelyard Principle
    • Subdivision of Root Rectangles
    • The 14 Line Armature and the Rule of Thirds Grid
    • The 14 Line Armature (Video)
    • The Art of Composition (Introduction)
    • The Baroque, Sinister, and Reciprocal Diagonal Lines
    • The Charles Bouleau Armature vs. The Root Rectangle Armature
    • The Decisive Moment - by Henri Cartier-Bresson
    • The Golden Section and the Phi Ratio (1.618)
    • The Importance of a Thumbnail Image
    • The Importance of the Armature of the Rectangle
    • The Painter's Secret Geometry
    • The Phi Rectangle (1.618) vs. The 1.5 Rectangle
    • The Problem With the Rule of Odds
    • The Root 2 Dynamic Symmetry Rectangle vs. The 1.5 Rectangle
    • The Use of Straight Lines
    • The Vertical, Horizontal, and Diagonal Line
    • Two Methods of Design
    • Using Dynamic Symmetry to Crop Photographs
    • Vertical and Horizontal Balance
    • What is Artistic Style?
    • What Is Classical Skill-Based Design?
    • Why Compose?
    • Why Design Grids Are Important for Learning Composition
    • Why the Background is Just as Important as the Subject
    • 90 Degree Angles
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      • Christopher Anderson
      • Keliy Anderson-Staley
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      • Eve Arnold
      • Anna-Brith Arnsten
      • Olivia Arthur
      • Steven Assael
      • Igor V. Babailov
      • Anna Rose Bain
      • Garin Baker
      • Allan R. Banks
      • Micha Bar-Am
      • Bruno Barbey
      • Colleen Barry
      • Elizabeth Beard
      • Alan Merris Bell
      • Julie Bell
      • Jonas Bendiksen
      • Ian Berry
      • Gulay Berryman
      • ​Werner Bischof
      • Kirsten Leah Bitzer
      • Matt Black
      • Sarah Blesener
      • David Michael Bowers
      • Roger Dale Brown
      • Paul S. Brown
      • Mary Ross Buchholz
      • Kristie Bruzenak
      • Nadir Bucan
      • Dot Bunn
      • Scott Burdick
      • René Burri
      • John Buxton
      • Antoine Bruy
      • Svetlana Cameron
      • Dario Campanile
      • Enri Canaj
      • Cornell Capa
      • Robert Capa
      • Louis Carr
      • Henri Cartier-Bresson
      • Chien-Chi Chang
      • Turjoy Chowdhury
      • Jacob Collins
      • Mary Jane Q Cross
      • David Andrew Nishita Cheifetz
      • Antoine d'Agata
      • Carla D'aguanno
      • Marcos Damascena
      • Bruce Davidson
      • Carl De Keyzer
      • Jon deMartin
      • Raymond Depardon
      • Bieke Depoorter
      • Stephanie Deshpande
      • Patrick Devonas
      • Paul P D'Haese
      • Marina Dieul
      • Shaun Downey
      • Carolyn Drake
      • Thomas Dworzak
      • Nikos Economopoulos
      • Virgil Elliott
      • Megan K. Euell
      • Philippe Faraut
      • Louise Feneley​
      • Faripour Forouhar
      • Martine Franck
      • Stuart Franklin
      • Leonard Freed
      • Thomas Freteur
      • Joke Frima
      • Paul Fusco
      • Tina Garrett
      • Gilberto Geraldo
      • Daniel Gerhartz
      • Bruce Gilden
      • Max Ginsberg
      • Stephen Gjertson
      • Burt Glinn
      • Jim Goldberg
      • Arina Gordienko
      • Adrian Gottlieb
      • David Gray
      • Daniel Graves
      • Daniel E. Greene
      • Philip Jones Griffiths
      • Harry Gruyaert
      • Jean Guamy
      • James Gurney
      • Clark Gussin
      • Mandy Hallenius
      • Philippe Halsman
      • Gordon Hanley
      • David Hardy
      • Price Harrison
      • George Hartley
      • Christine Hartman
      • Erich Hartmann
      • David Alan Harvey
      • Seth Haverkamp
      • Jeff Hein
      • Tim Hetherington
      • Ron Hicks
      • Greg Hildebrandt
      • Thomas Hoepker
      • ​Sohrab Hura
      • David Hurn
      • Maureen Hyde
      • Jason Patrick Jenkins
      • Richard Kalvar
      • Svetlana Kanyo​
      • Thomas Kegler
      • Michael Vince Kim
      • Michael Klein
      • Josef Koudelka
      • Wang Kun
      • Alain Laboile
      • Sarah Lamb
      • Joshua LaRock
      • Bryan Larsen
      • Urban Larsson
      • Herman Leonard
      • Robert Liberace​
      • He Lihuai
      • Edward Little
      • Jeremy Lipking
      • Vivian Maier
      • Sally Mann
      • Constantine Manos
      • Diana Markosian
      • Steve McCurry
      • Sydney McGinley
      • Sherrie McGraw
      • Susan Meiselas
      • Terje Adler Mork
      • Karen Offutt
      • Graydon Parrish
      • Christopher Parrott
      • Leszek Piotrowski
      • Denise Pollack
      • Aleksi Poutanen
      • Christopher Pugliese
      • Julio Reyes
      • Lissa Rivera
      • Cristina García Rodero
      • Sergio Roffo
      • Cesar Santos
      • David Saxe
      • Nelson Shanks
      • Jordan Sokol
      • Viktoria Sorochinski
      • Paweł Starzec
      • Victoria Steel
      • Adrienne Stein
      • Gwendolyn Stine
      • Dennis Stock
      • Vicki Sullivan
      • Carol Lee Thompson
      • Dan Thompson
      • Larry Towell
      • Hsin-Yao Tseng
      • Boris Vallejo
      • James Van Fossan
      • Jeffrey R. Watts
      • ​Patricia Watwood
      • Alex Webb
      • Morgan Weistling
      • Shane Wolf
      • Anna Wypych
      • ​Robert Zeller
      • Kailin Zhao
      • Doug Zider
    • Books >
      • Classical Drawing Atelier - Introduction
      • Classical Painting Atelier - Introduction
      • Colour Control
      • Geometry of Design - Introduction
      • Lessons in Classical Drawing - Introduction
      • Lessons in Classical Painting - Introduction
      • Perspective Made Easy
      • Pictorial Composition: An Introduction
      • Portrait Painting Atelier: Old Master Techniques and Contemporary Applications
      • The Art of Photography
      • The Camera
      • The Classic Point of View
      • The Classic Point of View (Free Copy)
      • The Essence of Photography: Seeing and Creativity
      • The Painter's Secret Geometry - Introduction
      • The Print
      • The Negative
      • Other Recommended Books >
        • Limelight
        • The Modern Century - Henri Cartier-Bresson
        • The Rape of the Masters: How Political Correctness Sabotages Art
    • Websites >
      • Art Renewal Center
      • Da Vinci Initiative
      • LensCulture
      • Magnum Photos
      • PragerU
      • The Golden Divider for the Arts
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    • An Email Addressing the Practical Use of Dynamic Symmetry in Art
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    • Camera Gear - Why I Shoot With a Leica
    • Camera Grids - Not a Tool for the Skilled Photographer
    • Composition 101: Starting With the Basics
    • Composition Can't Be Taught?
    • Composition Should Always Come First
    • Consistency, Persistence, and Talent
    • Dynamic Symmetry and Wildlife
    • Dynamic Symmetry for Photographers
    • Dynamic Symmetry and Henri Cartier-Bresson​
    • Everyone's a Photographer
    • Feeling and Genius in Modern Art
    • Film vs. Digital
    • Great Compositions: Alfred Eisenstaedt
    • If Myron Barnstone Can't Do It, Why Do You Think You Can?
    • Intuition in Composition (Master Artists)
    • Intuitive Knowledge in Composition (Master Photographers)
    • Intuition in Composition: A Topic I Will Never Debate
    • Is Photography Art?
    • It's No Longer About Sales
    • Kenyon Cox on Modern Art and Composition
    • Learning the Rules of Composition and Then Breaking Them
    • Marketing vs. Real World Experience​
    • Michel Jacobs on Rules and Laws in Composition
    • Misunderstanding the Decisive Moment
    • My Experience With Myron Barnstone
    • Practice Doesn't Always Guarantee Success
    • The Art of Seeing and Visual Literacy
    • The Art of Selection
    • The Atelier Approach to Art Education
    • The Armature of the Rectangle
    • The Da Vinci Initiative
    • The Difference Between a Fine Art Print and a Work of Art
    • The Gap Between Photography and Art
    • The Number One Reason Why a Work of Art Will Fail
    • The Place of Photography in Fine Art
    • What Are the Benefits of Atelier Trainin​g?
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North Korea: The Grand Tour by Carl De Keyzer

1/22/2018

 
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North Korea may be the most enigmatic country in the world. With access for foreign media and tourists limited very restricted, glimpses of life in the last communist state in the world are rare and highly controlled. Nevertheless, Carl De Keyzer managed to spend 60 days during four trips in 2015 and 2017 crossing the breadth of the country, known officially as the Democratic People’s Republic of Korea.

Given almost unprecedented access, the Magnum photographer documented over 200 locations which his travel agent Koryo Tours took him to as their photographer. He captured the orderly architecture of tourist landmarks, state monuments, social spaces, and schools, the intimacies of private homes, and the stunning natural landscapes of the country, many of which had never been captured on camera before. Upon the publication of his book D.P.R. Korea Grand Tour (which contains 256 images of North Korea), we speak to De Keyzer about what it was like to make the work in one of the most mysterious countries in the world.

What is the North Korea tour like?

Grand Tour is just an idea. Like a fictitious travel guide. There was no ‘tour.’ Koryo told me there were about 250 places a foreigner was allowed to visit. Of course, nobody ever did. I asked to visit all 250 places, even the most uninteresting ones or the most remote. Finally, I visited about 220 because some visits were canceled at the last minute. On my last trip, some were added, such as the three churches in Pyongyang. 

How controlled where the situations?

I was brought from A to B by two guides, mostly young women, in a minivan with a driver. When we arrived there was usually a speech by a local guide, to be translated, and after all that, there was very little time to take pictures. A lot of places were ‘no photography’ as well, even the most propagandistic ones like the Army museum in Pyongyang.

I was not allowed to take even one step on my own. Never to leave the hotel. I tried to make as many images as I could, even the ones that were not allowed. The guides knew that at the end I had to submit all images anyway. 

To my great surprise of the 400 images submitted only three were refused. Even the ones with soldiers, buildings with scaffolding, people without permission, the countryside, which were all nos from the beginning. I tried to use every single opportunity I got without upsetting the guides too much. After all, I wanted to finish my ‘tour.’

What impression did you get of what it might be like to live in North Korea?

It looked very much like the life in the Soviet Union during the eighties when I was there for my Homo Sovieticus book. Other than that I can’t tell.

Do you think that it is even possible to build an accurate picture of ordinary life in North Korea or were your experiences too controlled to tell?

Nobody really knows, I guess. There was no contact with locals, only with the guides. You can get more information once you’re outside the country. I was happy to visit the entire country, probably for the first time. More was not possible.

Was there anything you’d like to have seen but didn’t?

There were places I couldn’t visit or photograph that looked very interesting in my opinion, such as the ‘International Friendship Museum’, where all the presents from all the heads of state are shown, or the Palace of the Sun were the mausolea or mausoleums of the former leaders are and the Army Museum. I saw a lot of very interesting situations and places but was not allowed to photograph, or we were too distant to photograph. We crossed a lot of villages where we couldn’t stop or where I was not even allowed to shoot from the window.

How did the picture you saw of North Korea compare with how you see the country portrayed in western media?

There is a lot of western propaganda as well. We like to see DPRK as the next big enemy if only to sell papers and media. I could be wrong of course, there is a decent amount of manipulation going on with visitors, but I would say that a lot of information is exaggerated.

How does the design of the book echo the content within it?


The book is designed like a communist bible. The double Leporello design is inspired by old Buddhist writings that are often presented in accordion books – Korea used to be Buddhist.

The paper I used in the book is the same type of paper used for Chinese advertising you receive in the mailbox – a reference to propaganda.

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As I began reading about the old world masters, including da Vinci, Degas, Rembrandt, and Renoir, I learned that Dynamic Symmetry structurally changed paintings from being passive to active and dynamic. Furthermore, I didn’t realize that a small, yet renowned, group of photographers were well known for using Dynamic Symmetry in their photographs of city life and people.

My journey began by reading. The Dynamic Symmetry Art website has numerous resources that gave me a crash course in art and composition. I had to learn about the visual properties of different kinds of rectangles and how each can be divided into compositional elements. Then I began using the Dynamic Symmetry grid overlays in Lightroom to analyze and crop my photos.

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  • Home
  • About/Gallery
  • What is Dynamic Symmetry?
  • Podcasts
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    • 30 Minute Phone Consultation
    • 60 Minute Phone Consultation
    • Workshop Certification
  • Tips and Techniques
    • 5 Myths About Composition (Video)
    • 5 Myths About Dynamic Symmetry
    • ​5 Simply Awesome Free Downloads
    • 7 Products for Photographers That Aren't Worth the Time or Money
    • 10 Points on Dynamic Symmetry
    • 11 Reasons Why Dynamic Symmetry Might Never Become Popular With Photographers
    • 15 Facts About Dynamic Symmetry and Composition in Art​
    • 15 Myths About Composition in Art and Photography
    • About This Website
    • A Closer Look at the Rule of Thirds
    • Adding the Human Element to Your Landscape Photographs
    • Aerial Perspective
    • A Landscape Oil Painting Designed Using Dynamic Symmetry by Dot Bunn
    • A Master's Ideology on Camera Grids and Composition
    • Arabesque
    • Are Camera Design Grids Necessary for Photography?
    • Armature of the Rectangle (Video)
    • A Simple Application of Dynamic Symmetry (Examples)
    • Aspective View
    • Balance by Isolation
    • Balance in Composition
    • Breathing Room
    • Bringing the 1.5 Rectangle ​Into the Golden Section System of Design
    • Camera Grids for the Beginner
    • Circular Composition
    • Classical Balance
    • Coincidences
    • Composite Photography vs. Straight Photography
    • Creating the Root Rectangles Within a Square
    • Determining Grid Structure
    • Determining Proportion
    • Dutch Angle
    • Echoing
    • Edge Distractions
    • Edge Elements That Work
    • Ellipses
    • Enclosures
    • Entrance Into a Composition
    • Exiting out of a Composition
    • Figure-Ground Relationship
    • Framing Within a Frame
    • Gamut
    • Gamut in Composition (Video)
    • Gazing Direction
    • Greatest Area of Contrast
    • Greatest Area of Contrast (Video)
    • Henri Cartier-Bresson and the 1.5 Rectangle
    • Henri Cartier-Bresson​ (Etching the Dynamic Symmetry Grid)
    • Henri Cartier-Bresson - Setting the Scene
    • Hierarchy
    • Horizontal vs. Vertical
    • How Many Photographs to Take of a Scene
    • How to Create a Design That Has Theme, ​Variation, and Harmony for Any Size Rectangle
    • How to Create a Root Phi Rectangle
    • Juxtaposition
    • Learning How to Analyze Drawings, Paintings, and Photographs
    • Michel Jacobs on Portrait Painting Using Dynamic Symmetry
    • My Process for Photographing
    • My Thoughts on Creativity and Camera Grids ​for the Professional Photographer
    • Negative Shapes
    • Notional Space
    • Overlapping
    • Photograph Kids Being Kids
    • Placing One Eye Center
    • Pointing Devices
    • Points of Interest in a Design Grid
    • Practicing Dynamic Symmetry Techniques at Museums
    • Rabatment in Composition
    • Radiating Lines
    • Separating Elements
    • Simultaneous Contrast
    • Steelyard Principle
    • Subdivision of Root Rectangles
    • The 14 Line Armature and the Rule of Thirds Grid
    • The 14 Line Armature (Video)
    • The Art of Composition (Introduction)
    • The Baroque, Sinister, and Reciprocal Diagonal Lines
    • The Charles Bouleau Armature vs. The Root Rectangle Armature
    • The Decisive Moment - by Henri Cartier-Bresson
    • The Golden Section and the Phi Ratio (1.618)
    • The Importance of a Thumbnail Image
    • The Importance of the Armature of the Rectangle
    • The Painter's Secret Geometry
    • The Phi Rectangle (1.618) vs. The 1.5 Rectangle
    • The Problem With the Rule of Odds
    • The Root 2 Dynamic Symmetry Rectangle vs. The 1.5 Rectangle
    • The Use of Straight Lines
    • The Vertical, Horizontal, and Diagonal Line
    • Two Methods of Design
    • Using Dynamic Symmetry to Crop Photographs
    • Vertical and Horizontal Balance
    • What is Artistic Style?
    • What Is Classical Skill-Based Design?
    • Why Compose?
    • Why Design Grids Are Important for Learning Composition
    • Why the Background is Just as Important as the Subject
    • 90 Degree Angles
  • Design for Photographers
  • FAQs
  • Dynamic Symmetry Grids
  • Recommendations
    • Artists >
      • Christopher Anderson
      • Keliy Anderson-Staley
      • Michael John Angel
      • George Angelini
      • Denise Antaya
      • Juliette Aristides
      • Eric Armusik
      • Eve Arnold
      • Anna-Brith Arnsten
      • Olivia Arthur
      • Steven Assael
      • Igor V. Babailov
      • Anna Rose Bain
      • Garin Baker
      • Allan R. Banks
      • Micha Bar-Am
      • Bruno Barbey
      • Colleen Barry
      • Elizabeth Beard
      • Alan Merris Bell
      • Julie Bell
      • Jonas Bendiksen
      • Ian Berry
      • Gulay Berryman
      • ​Werner Bischof
      • Kirsten Leah Bitzer
      • Matt Black
      • Sarah Blesener
      • David Michael Bowers
      • Roger Dale Brown
      • Paul S. Brown
      • Mary Ross Buchholz
      • Kristie Bruzenak
      • Nadir Bucan
      • Dot Bunn
      • Scott Burdick
      • René Burri
      • John Buxton
      • Antoine Bruy
      • Svetlana Cameron
      • Dario Campanile
      • Enri Canaj
      • Cornell Capa
      • Robert Capa
      • Louis Carr
      • Henri Cartier-Bresson
      • Chien-Chi Chang
      • Turjoy Chowdhury
      • Jacob Collins
      • Mary Jane Q Cross
      • David Andrew Nishita Cheifetz
      • Antoine d'Agata
      • Carla D'aguanno
      • Marcos Damascena
      • Bruce Davidson
      • Carl De Keyzer
      • Jon deMartin
      • Raymond Depardon
      • Bieke Depoorter
      • Stephanie Deshpande
      • Patrick Devonas
      • Paul P D'Haese
      • Marina Dieul
      • Shaun Downey
      • Carolyn Drake
      • Thomas Dworzak
      • Nikos Economopoulos
      • Virgil Elliott
      • Megan K. Euell
      • Philippe Faraut
      • Louise Feneley​
      • Faripour Forouhar
      • Martine Franck
      • Stuart Franklin
      • Leonard Freed
      • Thomas Freteur
      • Joke Frima
      • Paul Fusco
      • Tina Garrett
      • Gilberto Geraldo
      • Daniel Gerhartz
      • Bruce Gilden
      • Max Ginsberg
      • Stephen Gjertson
      • Burt Glinn
      • Jim Goldberg
      • Arina Gordienko
      • Adrian Gottlieb
      • David Gray
      • Daniel Graves
      • Daniel E. Greene
      • Philip Jones Griffiths
      • Harry Gruyaert
      • Jean Guamy
      • James Gurney
      • Clark Gussin
      • Mandy Hallenius
      • Philippe Halsman
      • Gordon Hanley
      • David Hardy
      • Price Harrison
      • George Hartley
      • Christine Hartman
      • Erich Hartmann
      • David Alan Harvey
      • Seth Haverkamp
      • Jeff Hein
      • Tim Hetherington
      • Ron Hicks
      • Greg Hildebrandt
      • Thomas Hoepker
      • ​Sohrab Hura
      • David Hurn
      • Maureen Hyde
      • Jason Patrick Jenkins
      • Richard Kalvar
      • Svetlana Kanyo​
      • Thomas Kegler
      • Michael Vince Kim
      • Michael Klein
      • Josef Koudelka
      • Wang Kun
      • Alain Laboile
      • Sarah Lamb
      • Joshua LaRock
      • Bryan Larsen
      • Urban Larsson
      • Herman Leonard
      • Robert Liberace​
      • He Lihuai
      • Edward Little
      • Jeremy Lipking
      • Vivian Maier
      • Sally Mann
      • Constantine Manos
      • Diana Markosian
      • Steve McCurry
      • Sydney McGinley
      • Sherrie McGraw
      • Susan Meiselas
      • Terje Adler Mork
      • Karen Offutt
      • Graydon Parrish
      • Christopher Parrott
      • Leszek Piotrowski
      • Denise Pollack
      • Aleksi Poutanen
      • Christopher Pugliese
      • Julio Reyes
      • Lissa Rivera
      • Cristina García Rodero
      • Sergio Roffo
      • Cesar Santos
      • David Saxe
      • Nelson Shanks
      • Jordan Sokol
      • Viktoria Sorochinski
      • Paweł Starzec
      • Victoria Steel
      • Adrienne Stein
      • Gwendolyn Stine
      • Dennis Stock
      • Vicki Sullivan
      • Carol Lee Thompson
      • Dan Thompson
      • Larry Towell
      • Hsin-Yao Tseng
      • Boris Vallejo
      • James Van Fossan
      • Jeffrey R. Watts
      • ​Patricia Watwood
      • Alex Webb
      • Morgan Weistling
      • Shane Wolf
      • Anna Wypych
      • ​Robert Zeller
      • Kailin Zhao
      • Doug Zider
    • Books >
      • Classical Drawing Atelier - Introduction
      • Classical Painting Atelier - Introduction
      • Colour Control
      • Geometry of Design - Introduction
      • Lessons in Classical Drawing - Introduction
      • Lessons in Classical Painting - Introduction
      • Perspective Made Easy
      • Pictorial Composition: An Introduction
      • Portrait Painting Atelier: Old Master Techniques and Contemporary Applications
      • The Art of Photography
      • The Camera
      • The Classic Point of View
      • The Classic Point of View (Free Copy)
      • The Essence of Photography: Seeing and Creativity
      • The Painter's Secret Geometry - Introduction
      • The Print
      • The Negative
      • Other Recommended Books >
        • Limelight
        • The Modern Century - Henri Cartier-Bresson
        • The Rape of the Masters: How Political Correctness Sabotages Art
    • Websites >
      • Art Renewal Center
      • Da Vinci Initiative
      • LensCulture
      • Magnum Photos
      • PragerU
      • The Golden Divider for the Arts
    • Videos
  • Articles and Videos
    • 3 Reasons Why Most Photography Workshops Aren't Worth the Money
    • 5 Approaches to Composition in Photography (And Why They Won't Teach You Anything About Design)
    • 5 Books Every Photographer Should Have (Video)
    • 5 Tips For Surviving a Photography Portfolio Review
    • An Email Addressing the Practical Use of Dynamic Symmetry in Art
    • Art Can't Be Taught?
    • Art Speak
    • Artist Robert Florczak: Classical Ideals Give Culture Depth
    • Camera Gear - Why I Shoot With a Leica
    • Camera Grids - Not a Tool for the Skilled Photographer
    • Composition 101: Starting With the Basics
    • Composition Can't Be Taught?
    • Composition Should Always Come First
    • Consistency, Persistence, and Talent
    • Dynamic Symmetry and Wildlife
    • Dynamic Symmetry for Photographers
    • Dynamic Symmetry and Henri Cartier-Bresson​
    • Everyone's a Photographer
    • Feeling and Genius in Modern Art
    • Film vs. Digital
    • Great Compositions: Alfred Eisenstaedt
    • If Myron Barnstone Can't Do It, Why Do You Think You Can?
    • Intuition in Composition (Master Artists)
    • Intuitive Knowledge in Composition (Master Photographers)
    • Intuition in Composition: A Topic I Will Never Debate
    • Is Photography Art?
    • It's No Longer About Sales
    • Kenyon Cox on Modern Art and Composition
    • Learning the Rules of Composition and Then Breaking Them
    • Marketing vs. Real World Experience​
    • Michel Jacobs on Rules and Laws in Composition
    • Misunderstanding the Decisive Moment
    • My Experience With Myron Barnstone
    • Practice Doesn't Always Guarantee Success
    • The Art of Seeing and Visual Literacy
    • The Art of Selection
    • The Atelier Approach to Art Education
    • The Armature of the Rectangle
    • The Da Vinci Initiative
    • The Difference Between a Fine Art Print and a Work of Art
    • The Gap Between Photography and Art
    • The Number One Reason Why a Work of Art Will Fail
    • The Place of Photography in Fine Art
    • What Are the Benefits of Atelier Trainin​g?
    • Why I Let Others Advertise for Me
    • Why Is Modern Art So Bad? (Video)
    • Why I Wrote a User's Guide for Artists and Photographers
    • Why Your Feelings Don't Matter
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