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Design basics
Design Basics Chapter 2:
Composition=Organization
• Working with composition helps us to understand why certain photographs create the impressions they do
• Two most fundamental types of design are contrasts and balance
Contrast
• Contrast stresses the differences between graphic elements
• The basis for composing an image is contrast between tone, color, form, sensations…
• Johannes Itten created a theory of composition based on the idea of contrasts.
many one
flat
contrasty
delicate/harsh
soft/hard
More Contrast Examples
Strong/Weak
Diagonal/Circular
Large/Small
Large/Small
Still/Moving
Long/Short
Light/Dark
Sweet/Sour
Gestalt Perception
• A way of understanding perception • The mind goes from recognizing the
individual parts of a photo to understanding the whole scene
• When the viewer understands the image as a whole, it requires less effort for them to understand the picture
Gestalt and Kanisza Triangle
• Gestalt theory of closure • Parts of a composition Suggest a shape and this Perceived shape helps to Give structure to the photo
Gestalt
Gestalt Laws
1. Proximity-the mind groups things according to how close they are together
2. Similarity-items of similar form or content are grouped together
3. Closure-elements arranged together are seen to complete a shape
4. Simplicity-the mind prefers simple visual explanations
Gestalt Laws
5. Common Fate-grouped elements can be read as one
6. Good Continuation-the mind continues shape beyond their end
7. Segregation-in order for an object to be seen, it must be distinguishable from the background
Gestalt Principles
1. Emergence-negative space pops out 2. Reification-the mind fills in an area due to
inadequate information(like closure) 3. Multistability-inversion-you can’t tell what is
the subject and what is the background 4. Invariance-objects can be recognized
despite orientation
Balance
• In photography, the mind tries to balance things based on the laws of the physical world – Gravity, weight, levers…
• Balance is like a weighing scale, you try to even out the weight
Static Balance/Symmetrical
• Everything is centered • You can place your object in the very
center or place something on either side of the center
static balance
bilateral symmetry
William Eggleston
Dynamic Balance/Asymmetrical
• Opposes forces of nature and creates a more dynamic look
• A large object can be balanced by a small one if it is far enough away from the center of the frame
imbalance
dynamic balance
Dynamic Tension
• Using diagonals, rhythm…you can create dynamic tension instead of balance
• It keeps the eye moving outward from the center of the image
• Leading Lines
dynamic tension
dynamic tension
Figure and Ground
• As viewers, we assume, all subjects have a setting or background. One thing is important while the other is secondary
• You can create an ambiguity as to what is figure and what is ground. This adds tension.
• Think about your negative space
figure and ground
Rhythm
• Several similar elements or repeating elements can create rhythm
• The viewer will continue the rhythm out of the frame
• Rhythm indicates a directionality
rhythm
dynamic rhythm
Pattern, Texture, Many
• Like rhythm, pattern in built on repetition, but it is not movement based. It is area based
• Pattern on a large scale takes on the look of texture. Texture is a surface quality.
• Many has more to do with content and the surprise of seeing so many of something at one time.
many
regular pattern
irregular pattern
breaking pattern
Perspective
• The appearance of objects in space and their relationship to each other and the viewer.
• Photography usually inherently shows perspective, so it’s more a matter of the intensity of the impression of perspective
perspective
Linear Perspective
• This occurs when lines converge. • In reality we know that parallel lines
never cross, but as they get further from the camera they appear to move towards each other
linear perspective
Diminishing Perspective
• This is a form of linear perspective • Objects get successively smaller as
they move a way from the lens
diminishing perspective
Aerial Perspective
• Atmospheric haze reduces contrast as the scene get further from the camera
• By not using filters you can maximize atmosphere
• Telephoto lenses show more aerial perspective than wide angle because they show less of the nearby things that are not hazy
aerial perspective
lack of aerial perspective
Visual Weight
• Our eyes focus most on what in the frame will give us the most information – Ex: eyes, mouth, hands, writing…
• Also, things that appeal to our emotions draw us – Ex: cuteness, sexuality, horror…
• We tend to draw conclusions based on previous knowledge
visual weight
visual weight
visual weight
visual weight
visual weight
Looking and Interest
• Our eyes move from point of interest to point of interest quickly until we have the whole picture in our mind
• This can be mapped to show how we take in images
• We also look based on what we are looking for in the image
intended order
Content, Weak and Strong
• Content is the subject matter..conctrete or abstract
• Strong content calls for practical composition
• With weaker content you can play more with the composition
strong content
James Nachtwey
James Nachtwey
Mainly Form
• Photo taken with visuals as the focus