Chapter 13: Line Harrold, South Dakota Lines serve to define length, distance and shape, indicating boundaries and separate forms, textures and colors that move the eye and create the illusion of depth—like railroad tracks to the horizon. Physically, they can be many or few, take many shapes, have thickness and depth, length and texture with […]
Chapter 8: Form The shape of an object within a pictorial frame is two-dimensional. To emphasize its three-dimensions, artists use a variety of techniques to emphasize “form.” This can be “soft,” increasing a sense of presence, as if the viewer could feel the subject’s surface. Or “rigid,” angular or brittle, not inviting the sense of […]
Chapter 7: Depth of Field “Depth of field” (DOF) is the optical property of a photographic lens that determines the degree of sharpness between objects close to the camera and those farther away. When both distances, near and far, are sharp the DOF is said to be “long” or “deep.” When only the point of […]
Chapter 6: Contrast In photography, “contrast” is the ratio between the darkest dark and the lightest light within a frame. It’s said to be “soft” when there’s very little difference between the lights and darks, “medium” in what we regard as normal, and “high” when an image has both maximum blacks and brightest whites.” Contrast […]
Chapter 5: Elements of Composition In pictorial art, composition relates to how visual elements are organized within a frame. Through the centuries, both Eastern and Western artists developed guidelines to help them maintain a viewer’s attention. Aspiring artists and many in the public appreciate that the organization of elements within a frame influences the viewer’s […]
Chapter 3: Color as Subject Objectively speaking, the world is colorless. So is the sun. Our brains construct the sensation of color from various radiating wavelengths of photons, depending on how they’re absorbed in and reflected from various surfaces. Visible light occupies just a tiny sliver of the electromagnetic spectrum, constituted of wavelengths that stimulate […]
Chapter 5: Particularity My wife and I occasionally visit antique stores and fairs. I walk up and down the many rows of vendors, looking for objects that might attract me, especially a quality of light and one or more of my aesthetic preferences. In the above image I found three of them—exquisite light, simplicity and […]
Chapter 3: Fine Art, Expression, Contemplation In the early 1950s, when I was introduced to photography, the debate was raging as to whether or not photography could be considered an art form. In January 1955 Edward Steichen launched an exhibition at The Museum of Modern Art in New York City entitled, The Family of Man. […]
Principles underlying information in human communication I was thinking about the complexity represented in this image when I noticed that it’s also rich in context, providing both time and space perspectives. The nighttime and elevated point of view displays pattern, while the time-exposure reveals motion. Combined, the image speaks to me of complexity, interaction, order, […]
As an aesthetic dimension, proportion expresses the relationship of elements within a frame—to each other and to the whole image. Traditionally, paintings and photographs displayed logical proportion where everything within the frame conformed to observation. The part-whole relations made sense, so little to no interpretation was necessary. Then in the early ‘20s, Picasso and Salvador […]
Contemplative Photography 