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    • Abbas
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    • 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
    • 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
    • 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
    • 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
    • Colour Control
    • Dynamic Symmetry in Composition
    • Dynamic Symmetry - The Greek Vase
    • Perspective Made Easy
    • Pictorial Composition and the Critical Judgment of Pictures
    • The Art of Composition: A Simple Application of Dynamic Symmetry
    • The Art of Composition: A Simple Application of Dynamic Symmetry (1956)
    • The Classic Point of View
    • The Elements of Dynamic Symmetry
    • Treatise in Landscape Painting
  • Articles & Videos
    • 3 Bad Habits All Photographers Should Break (Video)
    • 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 Myths About Composition (Video)
    • 14 Line Armature (Video)
    • An Email Addressing the Practical Use of Dynamic Symmetry in Art
    • A New, Old Way to Teach Art
    • Armature of the Rectangle (Video)
    • Art Can't Be Taught?
    • Art Educator Mandy Hallenius: Classical Training in Art Opens Creative Choices
    • Artist Robert Florczak: Classical Ideals Give Culture Depth
    • Breaking Down a Dynamic Symmetry Rectangle (Video)
    • Classical Realism- Part 1, 2, and 3
    • Classical Drawing Atelier - Introduction
    • Classical Painting Atelier - Introduction
    • Compositional Studies
    • Creating a Portfolio: Advice from Magnum
    • Drawing Is Back in Fashion
    • Drawing Is the Heart by Juliette Aristides
    • Dynamic Symmetry and Wildlife
    • Dynamic Symmetry for Photographers
    • Dynamic Symmetry, Henri Cartier-Bresson, and Myron Barnstone​
    • Dynamic Symmetry in Fine Art Sculpture
    • Film vs. Digital
    • Gamut in Composition (Video)
    • Geometry of Design - Introduction
    • Greatest Area of Contrast (Video)
    • History Painting and the Problem with Art Education
    • How Skilled Copyists Leave the Louvre with a Masterpiece Every Year
    • How the Arts Develop the Young Brain
    • If Anything's Art, Art's Nothing
    • If Everything Is Art, Then Nothing Is Art
    • Isn't There Something Incomprehensible, Magical, or Mystical About Art?
    • Is Photography Art?
    • Juliette Aristides on Composition: From the Book "Classical Drawing Atelier
    • Juliette Aristides: On Myron Barnstone
    • Juliette Aristides On TRAC With the Atelier Movement
    • Keep Your Composure
    • Kenyon Cox on Modern Art and Composition
    • Lessons in Classical Drawing - Introduction
    • Lessons in Classical Painting - Introduction
    • Magnum Photographers from Different Generations ​Talk About the Fabled Agency’s Past, Present, and Future
    • Mastering Classical Realism​ With Juliette Aristides
    • Myron Barnstone: A Life's Work
    • Myron Barnstone: An art career in perspective
    • Nick Alm: Derived From Empathy
    • One Question with Juliette Aristides
    • Pictorial Composition: An Introduction
    • Practice Doesn't Always Guarantee Success
    • Priceless Advice: A Personal Email From Myron Barnstone
    • The Art of Seeing and Visual Literacy
    • The Art of Selection
    • The Atelier Approach to Art Education
    • The Armature of the Rectangle
    • ​The Consequences of Taking a Stand
    • The Da Vinci Initiative
    • The Difference Between a Fine Art Print and a Work of Art
    • The Failure of Art Education in America
    • The Gap Between Photography and Art
    • The Number One Reason Why a Work of Art Will Fail
    • The Painter's Secret Geometry - Introduction
    • The Pendulum Has Swung With a Vengeance
    • The Place of Photography in Fine Art
    • The Road to Visual Literacy
    • What Are the Benefits of Atelier Trainin​g?
  • Art Highlights
Photograph above by master photographer by Henri Cartier Bresson using Dynamic Symmetry

Dynamic Symmetry for Photographers
Learn How the Masters Apply Dynamic Symmetry in Photography

I received an email the other day that I felt was worth addressing in an article. The photographer who wrote asked, "How can I capture an image based on Dynamic Symmetry composition rules and how can I enhance the power to acquire the knowledge of this system?" Even though I address both of these issues thoroughly in my user's guide, The Art of Composition: A Dynamic Symmetry User's Guide for the Modern Artist, the question is an important one and deserves further clarification. 

Like the person who sent me the email above, many photographers are confused how to apply Dynamic Symmetry to their photographs because the act of photographing is, in many ways, intuitive, and they don't have the time to create elaborate compositions like the artist that draws and paints. While this time constraint might seem restricting at first, there are several ways a photographer can effectively incorporate Dynamic Symmetry principles in their body of work. Here's how.​​​

​Analyze Art
​

Learn how to analyze art. You can do this by selecting a few of your favorite artists and studying all aspects of their designs. Start with the artist's earlier works and compare their progression throughout their career. Document their improvements, shifts in subject matter, technical approach, etc. Try to recognize repeated patterns, consistency in quality and specific artistic style. Look for ways to improve their images and decode why some works are better than others. ​​​

Once you have fully grasped the elements of design (figure-ground relationship, overlapping, the greatest area of contrast, perspective, the armature of the rectangle, etc.), you can then learn how to apply these techniques while you're taking pictures. In other words, you're intuitively looking for specific qualities that make a photograph a work of art and responding to them quickly. Martine Franck talks about this in her essays on the art of photography. ​​​

By taking the time to study drawings, paintings, and photographs your learning how to improve your visual literacy skills. Every highly trained artist throughout history, from da Vinci to Degas, went through the process of analyzing art. In fact, it was standard practice for an artist to copy another master's work. And even though this approach is frowned upon by most modern art teachers (because they aren't classically trained), in the past, it was a way for the student to learn all of the techniques of value, color theory, design and so on. ​


Overlay Dynamic Symmetry Grids in Post-Processing

Every time you've completed a photography session, overlay design grids on your photographs to see how well you did. This form of analysis is extremely beneficial for improving your visual literacy skills, requires almost no effort, and drastically speeds up the learning process.

​Henri Cartier-Bresson used the same practice by drawing the 1.5 armature of the rectangle on a piece of tracing paper. He would then lay the tracing paper on top of his contact sheets and prints to determine which images worked and which ones failed. ​​Today, this process is more efficient because you can use Lightroom and Photoshop to import pre-made design grids. If you're willing to take this additional step in post-processing, your visual skills will improve each time you pick up your camera. 


Download Your Free Grid Pack Below!
​Click here to download a free 1.5 grid pack for Lightroom and Photoshop.

Work the Scene

Among photographers, there is a continuous debate on how many photographs of a scene they should take. Some claim one image is enough, while others advocate for shooting more. However, one crucial point to keep in mind is that a classically trained artist will rarely, if ever, draw only one sketch before transferring their design to the canvas. They might do 3, 5, 10, 15 drawings, etc. Photographers should approach composition in the same manner by shooting a series of images (as opposed to just one). 

​Click here for a sample image of Henri Cartier-Bresson working a scene from the book "Scrapbook."

Improve Your Knowledge of Dynamic Symmetry

To improve your knowledge of Dynamic Symmetry, my suggestion is to read the books The Art of Composition: A Simple Application of Dynamic Symmetry by Michel Jacobs and The Art of Composition: A Dynamic Symmetry User's Guide for the Modern Artist by Dynamic Symmetry Art. ​These two books will help the contemporary artist and photographer learn more about the art of composition. 

​
Click here for a complete list of recommended books on composition in art and photography. 

Learn How Master Photographers Approach Design​

Because of the many Dynamic Symmetry examples available online, far too many beginners are under the impression that master photographers previsualize the design grid before shooting. This, of course, has no basis in reality. The truth is, it's highly unlikely that any photographer can visualize the full armature of the rectangle while trying to concentrate on the scene or subject they are photographing and I would be skeptical of those that claim they can. With this in mind, the goal of the photographer shouldn't be to memorize the Dynamic Symmetry grid but instead develop the necessary skills to be able to recognize a masterful image intuitively. ​​​​​​​​​​​​​​​​​

*Design Grids for Cameras
A Beginner's Design Tool

With the recent revival of classical art training, Dynamic Symmetry is becoming more widespread. Along with this rebirth in classical design techniques comes new art and photography products as well. Over the past few years, I've had a significant number of photographers ask me if taping design grids to their camera's LCD screen is necessary for creating great compositions. My response is always the same - absolutely not.​​

Historically speaking, professional photographers don't use camera grids to compose their images nor are they photographing with these grids in mind.​​ ​More importantly, using camera grids in no way ensures that the photographer will capture an acceptable image. Creating successful compositions is dependent on many variables that include the armature of the rectangle, figure-ground relationship, proper overlapping, balance of individual elements, etc. With that said, there are several points that every photographer should consider before using this method.​​

​For example, attaching a design grid to a camera's viewfinder prevents the photographer from concentrating on the scene or subject they are photographing because they are always preoccupied with lining up visual elements. In turn, this visual distraction limits the photographer's creativity because they aren't considering any other alternatives for their composition besides the design scheme they have chosen to tape to their LCD screen.

Furthermore, photographers that rely on camera grids for composition are not acquiring the long-term benefits of learning classical skill-based art and will never develop the necessary intuitive design skills to shoot without this visual crutch. Simply stated, taping design grids to your camera's LCD screen is far too limiting to be considered a professional approach for applying Dynamic Symmetry in photography and is a technique best suited for the beginner student.​​​​​​​

*Photographers that want to try this method, click here to download a printable 1.5 grid for any LCD screen. See finished product here. Click here for a Dynamic Symmetry grid for your iPhone and iPad (no tape required). To learn more about the pros and cons of using camera grids, please see my user's guide. ​

Henri Cartier-Bresson
A Master's Ideology on Camera Grids and Composition

“Composition must be one of our constant preoccupations, but at the moment of shooting it can stem only from our intuition, for we are out to capture the fugitive moment, and all the interrelationships involved are on the move.

​
In applying the Golden Rule, the only pair of compasses at the photographer’s disposal is his own pair of eyes. Any geomet­rical analysis, any reducing of the picture to a schema, can be done only (because of its very nature) after the photograph has been taken, developed, and printed – and then it can be used only for a post-mortem examination of the picture.

I hope we will never see the day when photo shops sell little schema grills to clamp onto our viewfinders, and the Golden Rule will never be found etched on our ground glass.

If you start cutting or cropping a good photograph, it means death to the geometrically correct interplay of proportions. Besides, it very rarely happens that a photograph which was feebly composed can be saved by reconstruction of its composition under the darkroom’s enlarger; the integrity of vision is no longer there.

There is a lot of talk about camera angles; but the only valid angles in existence are the angles of the geometry of composition and not the ones fabricated by the photographer who falls flat on his stomach or performs other antics to procure his effects." - Henri Cartier-Bresson

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LEARN MORE
"The Art of Composition: A Dynamic Symmetry User's Guide for the Modern Artist is, without a doubt, one of the most comprehensive e-books ever written on the topic of design in art. Whether you're a beginner, intermediate, or advanced art/photography student, this user's guide is indispensable. I recommend it to all of my artists and photographers and have it linked to my website The Artist Angle." - Jennifer Finley
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What Our CUSTOMERS Are Saying

"Jim offers something that is almost impossible to find online: a truly one-of-a-kind resource. His information about Dynamic Symmetry is meticulously researched and comes from a place of knowledge and genuine interest, not sales, as so many educational sites do. Reading his surprisingly accessible work has helped me to grow artistically in a deliberate and satisfying way. I return to Dynamic Symmetry Art regularly and always learn something new." - Rebecca Isenhart
LEARN MORE
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RECOMMENDED BOOKS
  • Home
  • About
  • Shop
    • Dynamic Symmetry Art Membership
    • Dynamic Symmetry Grids
    • Phone Consultation (30-Minute)
    • Phone Consultation (60-Minute)
    • Photography Portfolio Review
    • Single Image Review
  • The Art of Composition
  • Design for Photographers
  • Artists
    • Abbas
    • Olga Abramovo
    • Nick Alm
    • 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
    • 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
    • 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
    • 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
    • Colour Control
    • Dynamic Symmetry in Composition
    • Dynamic Symmetry - The Greek Vase
    • Perspective Made Easy
    • Pictorial Composition and the Critical Judgment of Pictures
    • The Art of Composition: A Simple Application of Dynamic Symmetry
    • The Art of Composition: A Simple Application of Dynamic Symmetry (1956)
    • The Classic Point of View
    • The Elements of Dynamic Symmetry
    • Treatise in Landscape Painting
  • Articles & Videos
    • 3 Bad Habits All Photographers Should Break (Video)
    • 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 Myths About Composition (Video)
    • 14 Line Armature (Video)
    • An Email Addressing the Practical Use of Dynamic Symmetry in Art
    • A New, Old Way to Teach Art
    • Armature of the Rectangle (Video)
    • Art Can't Be Taught?
    • Art Educator Mandy Hallenius: Classical Training in Art Opens Creative Choices
    • Artist Robert Florczak: Classical Ideals Give Culture Depth
    • Breaking Down a Dynamic Symmetry Rectangle (Video)
    • Classical Realism- Part 1, 2, and 3
    • Classical Drawing Atelier - Introduction
    • Classical Painting Atelier - Introduction
    • Compositional Studies
    • Creating a Portfolio: Advice from Magnum
    • Drawing Is Back in Fashion
    • Drawing Is the Heart by Juliette Aristides
    • Dynamic Symmetry and Wildlife
    • Dynamic Symmetry for Photographers
    • Dynamic Symmetry, Henri Cartier-Bresson, and Myron Barnstone​
    • Dynamic Symmetry in Fine Art Sculpture
    • Film vs. Digital
    • Gamut in Composition (Video)
    • Geometry of Design - Introduction
    • Greatest Area of Contrast (Video)
    • History Painting and the Problem with Art Education
    • How Skilled Copyists Leave the Louvre with a Masterpiece Every Year
    • How the Arts Develop the Young Brain
    • If Anything's Art, Art's Nothing
    • If Everything Is Art, Then Nothing Is Art
    • Isn't There Something Incomprehensible, Magical, or Mystical About Art?
    • Is Photography Art?
    • Juliette Aristides on Composition: From the Book "Classical Drawing Atelier
    • Juliette Aristides: On Myron Barnstone
    • Juliette Aristides On TRAC With the Atelier Movement
    • Keep Your Composure
    • Kenyon Cox on Modern Art and Composition
    • Lessons in Classical Drawing - Introduction
    • Lessons in Classical Painting - Introduction
    • Magnum Photographers from Different Generations ​Talk About the Fabled Agency’s Past, Present, and Future
    • Mastering Classical Realism​ With Juliette Aristides
    • Myron Barnstone: A Life's Work
    • Myron Barnstone: An art career in perspective
    • Nick Alm: Derived From Empathy
    • One Question with Juliette Aristides
    • Pictorial Composition: An Introduction
    • Practice Doesn't Always Guarantee Success
    • Priceless Advice: A Personal Email From Myron Barnstone
    • The Art of Seeing and Visual Literacy
    • The Art of Selection
    • The Atelier Approach to Art Education
    • The Armature of the Rectangle
    • ​The Consequences of Taking a Stand
    • The Da Vinci Initiative
    • The Difference Between a Fine Art Print and a Work of Art
    • The Failure of Art Education in America
    • The Gap Between Photography and Art
    • The Number One Reason Why a Work of Art Will Fail
    • The Painter's Secret Geometry - Introduction
    • The Pendulum Has Swung With a Vengeance
    • The Place of Photography in Fine Art
    • The Road to Visual Literacy
    • What Are the Benefits of Atelier Trainin​g?
  • Art Highlights
✕