There are lots of books on cinematography out there that repeat the same stale, beginner information - the rule of thirds, types of shots, three point lighting, etc. Well once you learn that, now what?

Well this book is all about one thing - the visual construction. And it picks up where most other books leave off. It gets deep into ideas about composition, creating deep and flat space, use of color, use of color, and movement. The best part is, the author understands these subjects enough that he knows there is no "correct" or "incorrect" way to use any of these elements - they all produce a possible effect.

For example, he explains how to create deep space. However, this is not presented in a way that suggests that "deep space" equals "cinematic" and is preferable, rather that it can suggest a depth and complexity that contrasts to your use of "flat space." So you should use both, he says, according to your story. This is the first time I've ever truly understood this concept.

Bottom line, if you've read any other book on cinematography, then your all set on the basics. If you looking for a book that goes to the next level, then this is the book. Seriously, reading it changed the way I watch and understand films, it's had that much of an impact (and I went to film school).

I am amazed how one book can so clearly explain so much. Having read the book, it all seems so obvious and simple now, but believe me, I have read a dozen books trying to figure this stuff out, and I always ended up with more questions than answers. This book completely demystifies the whole visual thing: transforming the 3d world into 2d; how to create degrees of tension / harmony; how the eye follows objects on the screen; how editing can completely transform a scene (if you know the visual rules); how directors have used these techniques to convey a style. I free-lance making video for industrial businesses, and I am already noticing a difference in how I see the world, and my film editing has improved substantially (my customers have already noticed a difference). What I used to do intuitively, I can now describe in a more structured way. This saves me a lot of time, because now I know in advance now what works and what doesn't work, and I can plan my shots better. Highly recommended even if you only love to watch movies and don't actually plan to be involved in making one.

The Visual Story, Second Edition offers practical insights into creating compelling visual narratives.

Accessible and rich with examples, it equips readers with tools to effectively convey narrative through visuals.

Highly recommended for anyone passionate about mastering visual storytelling!

I rented this book for a graduate class. It helps explain the content that we are learning in class. Also, great visual examples are presented so you're not stuck relying on the text.

I found this book invaluable when taking his course on "Visual Expression." Though he explains concepts thoroughly (and entertainingly) in lectures, I found myself referring to this book when hammering the concepts into my brain, for clear visual examples, all laid out and explained wonderfully. I believe the lessons can benefit anyone, but if you're worried about complicating your natural knack for visual composition, the concepts could potentially confuse your instincts if followed to a tee. It's a must-have if you're serious about the visual components of film (if you aren't, what are you doing here anyway?). I wish it contained examples included in video form, or something that expressly follows the 'most intense story point = most intense visual of film' teaching. The book is worth your time, even if you're taking his class (in my case, ESPECIALLY if you're taking the class).

I first encountered Bruce Block when he was teaching at UCLA Extension. I was the student liaison for the Entertainment Studies Department. Several students talked about how informative his class was. Year later I had the opportunity to take his class while I was a fellow at The American Film Institute. It was the only class that students requested to be made available more than once throughout the year. If you can take his class do it.

Since then I've earned my MFA in film and teach at the college level. I've used this book for my Understanding Motion Picture class. It will change the way you see not just film, but any visual medium. Don't just read it. I suggest you watch some of the recommended movies. The ideas in this book are best understood in application. You have to SEE how the concepts are applied.

Then put the book down and go make your vision real. Not enough film makers apply visual theory to their productions. It makes a world of difference.

He dissects "Space" into basic sub-components. He builds upon this understanding of these components into higher organized systems of visual elements and shows how to use them to "VISUALLY" tell your story.

A must have for film makers, photographer, graphic designers.

It's elementary at first but hang in through the entire book and you will have a deeper understanding of how we as humans, react to visuals.

It is a well delivered display of the mechanics behind good film-making, and there's a lot for other visual arts as well. I do not aspire to be a cinematographer, but I learned a great deal about what choices to make when laying out a composition, and what those choices might convey to the audience, and why. It really makes watching movies a lot more informed, as you see a bit more behind the curtain on how directors manipulate the story and tell it more effectively. Concise and easy to understand, it is a great resource for anyone wanting a deeper view into the artistic choices people make in the visual arts.

This is a one of a kind book, it has no equal, and you will return to it again and again for advice and insight. Written by a master, it's your guide to finding your own mastery as well. I hesitate to share it, it's my best kept secret. If you work in the visual arts for pay or as a hobby this book will transform your insight into your own work. It's a wonderful compendium of knowledge on a subject few fully understand "this" well. It can only enhance your process once you've read it.

Also a great book for anyone genuinely interested in the how and why of lighting and camera work in a movie, this book could be purchased just to enhance film appreciation alone.

this book is WOW! I am a videographer / cinematographer / self shooting director myself, and this is one of those reads that everyone working is this field, must have it. It is so wonderfully written, that i feel like being in a lecture listening to the very professional, who is passionate for what he does. The book is very easy to read and is so clear, given with load of visual examples on how longitudinal / frontal plane works, perspective and vanishing points, tonal, colour, textural, areal diffusions, all to make a realistic three dimensional world on a 2 dimensional screen.

I absolutely adore this book and the writer. THIS IS A MUST TO READ WHO IS A CINEMATOGRAPHER / DIRECTOR AT HEART :)

The principles explained in this little book are very simple and I am sure any visual artist has heard them many times before. And yet, with the fact that everything is reduced to the most simple, key statements, it drives the message home in ways no other explanation has done before.

Don't expect surprising insight, and yet for me a very impactful book.

Excellent book. A must read for filmmakers!

Un libro che serve moltissimo, sia a chi deve imparare che a chi deve migliorarsi. L'ho letto con attenzione ed alcune cose spiegate le sto applicando nel lavoro giornaliero. Lo consigli anche ad operatori che già lavorano.

One of the best book on the subject. A must for anyone who is interested in image creation