Design is the single most important factor in creating a successful photograph. The ability to see the potential for a strong picture and then organize the graphic elements into an effective, compelling composition has always been one of the key skills in making photographs. Digital photography has brought a new, exciting aspect to design - first because the instant feedback from a digital camera allows immediate appraisal and improvement; and second because image-editing tools make it possible to alter and enhance the design after the shutter has been pressed. This has had a profound effect on the way digital photographers take pictures. Now published in sixteen languages, The Photographer's Eye continues to speak to photographers everywhere. Reaching 100,000 copies in print in the US alone, and 300,000+ worldwide, it shows how anyone can develop the ability to see and shoot great digital photographs. The book explores all the traditional approaches to composition and design, but crucially, it also addresses the new digital technique of shooting in the knowledge that a picture will later be edited, manipulated, or montaged to result in a final image that may be very different from the one seen in the viewfinder.

该书是20世纪论述摄影视觉语言的经典之作,对于专业摄影人是一部必备的参考书。此书在1966年首次出版。书中不仅包括名家力作,而且还收录勒一些业余摄影爱好者的优秀作品。作者用简洁的语言对书中172幅摄影作品进行了点评。

作者本人也是一位摄影家。从1962年到1991年,他在纽约现代艺术馆担任摄影部主任,在美国摄影界拥有独一无二的“监护人”地位。在他的发掘下,许多大师,如黛安·阿巴斯、李·弗里兰德等脱颖而出。20世纪70年代,他通过举办展览和出版新书告诸世人,摄影可以象其它艺术门类一样,既富有视觉冲击力,又耐人寻味。虽然,现在看来这并非惊人之语,但在当时则非比寻常。而今,作者年近八十,但还时常携照相机外出采风,可谓宝刀不老。

在本书中,作者本着建立摄影新标准的目的,对摄影德基本原则进行了深刻的阐述,建立了有关摄影形式德新观念－摄影应该包括艺术家、业余爱好者和商业摄影家拍的各种照片。观众关注的重点是照片的形式特征,而不是作者本人及其意图。因此,他否定对艺术摄影和乡土快照作传统的区别,认为摄影是艺术或不是艺术并不重要,显然,他是摄影平民化的推行者。