The Art of Photography Composition & Creativity ( Stuff You May Learn in Art School ) Brooke Meyer All Photographs Brooke Meyer
Agenda Why Are We Here? Cary Photographic Artists Why Are We Here? The Cary Some Ideas about Art Composition: Perception, Elements, Principles and Components Creativity: Inhibitors, Stages, Letting Go 2
Why Are We Here? Cary Photographic Artists Why Are We Here? The Cary 3
*Art A word (noun) acknowledging the idea and fact of Art An aesthetic object which exists for it's own sake Viewed by all people the same as we all have the same brain and nervous systems Viewed by all people differently as we all live in different times and cultures * Adapted from Anthony F Janson A Basic History of Art Fifth Edition* 4
*Imagination To imagine means to make an image in our minds Connects our conscious and subconscious, personality, intellect and spirituality Allows us to conceive of future possibilities and understand the past * Adapted from Anthony F Janson A Basic History of Art Fifth Edition* 5
*Why Create Art Irresistible and nearly universal urge to understand ourselves and the universe Communicate in ways other ways can't Poetry not Prose *Adapted from Anthony F Janson A Basic History of Art Fifth Edition 6
*The Nature of Art Making Art is different from making things, its risky, the outcome is unknown Artists attempt the improbable and impossible They Seek and Find Originality distinguishes Art from Craft Mastery of technique enables the journey *Adapted from Anthony F Janson A Basic History of Art Fifth Edition* 7
*Photography is a 2D visual medium, a means of artistic expression Photography, like Paint, Pastel,Ink, Charcoal or Graphite has no inherent claim to being Art. The difference between Art and Craft is Why, not How Photography involves imagination Photographs represent organization of experience and a record of a mental image It is the same seek and find journey as Painting and Sculpture *Adapted from Anthony F Janson A Basic History of Art Fifth Edition* 8
*How do we see? Differences between Brain and Camera Brain Camera Edits No Edits Corrects Distortion No Correction Corrects Color No Correction Emotional Memory No memory 3D 2D *Adapted from Eileen Rafferty, Visual Design of a Photograph B&H Event Space 9
*4 Steps in the Photographic Process Each may be paid zero attention but they're still a factor Concept Capture Edit Presentation Documentary Film / Digital / Alt Crop Web Representational Media Size Color / B&W Print Abstract Field of View Retouch Media Type Fantasy Depth of Field Overlay / Mask Size Exposure Time Composite Environment Lighting Size Frame Sharpen Frame-less *Brooke Meyer - 3 AM Realization 10
Composition Building Blocks Components Principles Elements Gestalt Principles of Perception * 11
Gestalt Perception Psychology Key Ideas Emergence Reification Gestalt Principles of Perception Law of Prägnanz (Good Figure, Law of Simplicity) Closure Figure / Ground Continuation Symmetry and Order Common Regions Proximity Similarity Focal Point Common Fate Parallelism * 12
Gestalt means shape, form or the whole The whole is other than the sum of the parts. Kurt Koffka Key Ideas Emergence (the whole is identified before the parts) When we see an object, we first seek to identify its outline. We match the outline pattern against shapes and objects we know. Only after the whole emerges, do we start to identify the parts that make up the whole. 13
Gestalt means shape, form or the whole The whole is other than the sum of the parts. Kurt Koffka Key Ideas Reification (our mind fills in the gaps) The object as perceived contains more spatial information than what is presented. When we try to match what we see to patterns in our memory, it isn t always an exact match. Instead, we find a near match and then fill in the gaps of what we think we should see. 14
Gestalt Principles Law of Prägnanz (Good Figure, Law of Simplicity) People will perceive and interpret ambiguous or complex images as the simplest form(s) possible. This is the fundamental principle of gestalt. We prefer things simple, clear and ordered. Instinctively, they're safer. Quick recognition reduces danger. When complex shapes are seen, we tend to reorganize them into simpler components or into a simpler whole. 15
Gestalt Principles Closure When seeing a complex arrangement of elements, we tend to look for a single, recognizable pattern. With closure, we combine parts to form a simpler whole. Our mind fills in the blanks to form the complete figure. Closure is the glue holding visual elements together. It s the human tendency to seek and find patterns. Closure requires enough information so the mind can fill in the rest. If too much is missing, the elements will be seen as separate parts instead of a whole. 16
Gestalt Principles Figure/Ground Objects are perceived as either Figure or Ground. It's the relationship between Positive and Negative space. We separate Figures from their Ground to understand what s being seen. It s one of the first things people will do when looking at any composition.. The Figure/Ground relationship can be stable or unstable. The more stable the relationship, the better we can lead the eye of our audience. The unstable state, Figure / Ground Ambiguity, is the basis for camouflage 17
Gestalt Principles Our instinct is to follow a path, a river or a fence line. Once we look in a particular direction, we continue to look that way until we see something significant or determine there s nothing more to see. Another interpretation of this principle is that we ll continue our perception of shapes beyond their ending points. 18
Gestalt Principles Symmetry and Order People tend to perceive objects as symmetrical shapes around their center. Symmetry gives us a feeling of solidity and order. It s our nature to impose order on chaos. We want balance but it doesn't to perfectly symmetrical. 19
Gestalt Principles Common Regions Objects are seen as part of a group if they are within the same closed area. Everything inside an enclosure is seen as related, everything outside is seen as separate. 20
Gestalt Principles Proximity Objects that are closer together are perceived as more related than objects that are further apart. 21
Gestalt Principles Similarity Objects that have similar characteristics are seen as more related than elements that don t share those characteristics. 22
Gestalt Principles Focus Points Objects with a point of interest, emphasis or difference will attract the viewer s attention. We are drawn toward contrast, toward the object unlike the others in some way. The principles of Similarity and Focus Points are related. Focal points can t be seen without the presence of similarity among other objects. 23
Gestalt Principles Common Fate (Synchrony) Objects moving in the same direction are seen as more related than elements that are stationary or that move in different directions. No matter how far apart the objects are or how different they appear, if they are seen as moving or changing together, they ll be perceived as being related. Movement isn't necessary, they just need to have common destination. If two are simply looking in the same direction, they ll be perceived as having a common fate. 24
Gestalt Principles Parallelism Objects parallel to each other are seen as more related than objects that aren't Similar to the Common Fate principle. Lines are often interpreted as pointing or moving in some direction. Parallel lines are seen as either pointing or moving in the same direction, so they are seen as related. The lines can be straight, curved or line like shapes. 25
Composition Elements Line Shape Value Form Space Texture Color * 26
Composition Elements Line Lines represent a path between two points. They can be straight, curved, vertical, horizontal, diagonal or zigzag. Lines imply motion and suggest direction. A line can also be implied by a series of objects. Horizontal lines imply serenity and rest, vertical lines imply power and strength. Diagonal lines imply movement. Curved lines imply ease and sensuality. Lines that converge imply depth, scale and distance, like a fence or rail tracks, giving the illusion of depth. 27
Composition Elements - Shape Shapes are areas of 2D space that can be defined by edges. They can be geometric ( circle, square, triangle) or organic ( leaf, rock, cloud). Geometric shapes tend to be hard, formal and structured. Organic shapes tend to be softer, informal and less predictable. 28
Composition Value Value defines the quality of Dark to Light. Low Key (predominately dark) images suggest gloom, mystery, drama or menace. High Key ( predominantly light images ) are typically gentle, happy and fun. Middle Key limits contrast, intensity and strong directional light to suggest atmosphere, distance, calm and dignity. 29
Composition Elements Form Forms are Shapes with the perceived volume of depth, in addition to width and height. In 2D representations, the illusion is achieved with object position, scale, linear convergence and graduations of value, hue and detail. 30
Composition Elements Space Space defines the area between and around objects. In 2D, object size placement and overlap along with Highlight and Shadow, Linear and Aerial Perspective provide the illusion of 3D space. The mood of a composition can be greatly influenced by the amount of space relative to an object. 31
Composition Elements - Texture Texture is an objects tactile quality, from polished to rough, hard to soft. Hard directional light reveals, soft diffuse light conceals. 32
Composition Elements Color Color is perceived when light enters the eye. It described by Hue, Saturation and Luminance or Lightness. Hue is the pure color: Red, Green, Blue. Saturation describes how pure the Hue is from 100% to 0%. Luminance describes the perceived lightness of a Hue. *In HSL color space, Hue is defined at a saturation level of 100% and a lightness level of 50%. Converted to grayscale, we can see lightness reference to white = 100%. *WorkWithColor.com Color Luminance 33
Composition Elements Color II *Luminance is dependent on hue and saturation. Reducing saturation of a pure hue to 0% results in a 50%-gray and a 50% value in luminance Hues with luminance above 50%, luminance decreases when the saturation level decreases Hues with luminance below 50%, luminance increases when the saturation level decreases Luminance values determine the amount of Contrast between colors, information that can guide the viewer. Understanding Luminance is helpful in deciding whether an image is better in B&W. *WorkWithColor.com Color Luminance 34
Composition Elements Color III Practical Facts About Color Mood is created by color temperature Mood is created by analogous or adjacent colors Harmony Mood is created by complementary colors: Contrast and Richness Warm Colors Appear to come forward, cool colors recede. Decreases in Saturation, Intensity and Hue suggest distance. 35
Composition Principles Balance Contrast Dominance / Emphasis Repetition / Pattern Rhythm / Movement Proportion / Scale Unity * 36
Composition Principles - Balance Balance provides equilibrium for the visual weight of composition elements. It can be symmetrical (static) or asymmetrical (dynamic) and established in radial, vertical or horizontal orientations. 37
Composition Principles - Contrast Contrast is the difference between elements. It can be any element: Color, Value, Direction, etc.. The highest contrast should be the focal point of the composition. Careful, too much contrast throughout is confusing and chaotic, like every singer in the choir doing a solo 38
Composition Principles - Dominance / Emphasis Dominance gives a composition interest and grabs the viewer s attention. Something needs the to be in the spotlight to avoid monotony. If all parts are of equal importance, the viewer is confused and without direction. 39
Composition Principles Repetition / Pattern Repetition can be a compositions connective tissue. Repeated elements do need some sort of variance to stay interesting and avoid monotony, just the same as a musical composition. Repetition can also establish Rhythm Movement. 40
Composition Principles Movement Movement is how the artist directs the viewer's eye through the composition, how the composition reads. Establishing Movement is key to a successful composition. Movement is like the wired armature of a sculpture. If the armature has too many wires in too many directions, Movement becomes impossible. 41
Composition Principles Proportion / Scale Proportion is what establishes relationships between objects or parts of the whole. Without a familiar measure in the composition, we cannot judge. A puddle can be a lake. The one measure we all use is ourself. We usually view small spaces as cozy and warm and large spaces as cold and formal. 42
Composition Principles - Unity Unity describes goal of coherence for the principles and elements in composition. The parts should work together like the members of the orchestra. All should support the idea of the composition. A high energy composition could be expected to contain high contrast, diagonals and hard edges. A serene composition would typically includes lesser contrast, horizontals and soft edges. 43
Composition Components - Form, Subject & Content Form describes what we see, the physical presentation of a work, without consideration of meaning. Subject & Content are difficult to separate. Traditional categories still apply but they are inadequate for understanding. They are what the work is about and what the work is about. The work is about: Portraiture Landscape Genre: Scenes of everyday life, including people but not for the purposes of portraiture Still-life The work is about: Influences: War, Technology, Politics, Religion, Geography What the artist intended to portray What the artist did portray Our reaction to the intended and actual messages. * 44
*Creativity The creative process has been compared to Birth - Joyous, painful and full of surprises Michaelangelo spoke of liberating the figure from the marble that imprisons it It's all about the search Jazz Pianist Marcus Roberts * Adapted from Anthony F Janson A Basic History of Art Fifth Edition* 45
*7 Stages of Creativity Discovery and Encounter: At The Waters Edge, Entering The Stream Passion and Commitment: Riding the Rapids, Navigating The Broad Current Crisis and Creative Frustration: Boulders In The Stream, Hitting The Wall Retreat and Withdrawal: On The Shore, Watching The River Flow Epiphany and Insight: From The Mountain Stream Discipline and Completion: Navigating The Currents Responsibility and Release: Intersecting Currents, The Artist and Community * The Widening Stream by David Ulrich 46
*Creativity Barriers I'm only an amateur... I'm not creative I need... Everyone's photographed this already It's all been done before I'll never be as good as I don't photograph Worrying about making a good photograph or what others will think I'm not in the right mood Self consciousness... *Roughly quoted from Eileen Rafferty, Visual Design of a Photograph B&H Event Space 47
*Creativity Enablers Leave your ego someplace you can't find it Lose your preconceptions to see things anew Know what your subject is *Roughly quoted from Eileen Rafferty, Visual Design of a Photograph B&H Event Space 48
*Learn To See Observe More Acutely Develop Imagination Express Ourselves See Feel Think Learning To See Mood Symbol / Metaphor Know Your Tools Style Express an Idea Arrange The Elements Story Post Processing Direct Viewers Eye Intent Presentation *Roughly quoted from Eileen Rafferty, Visual Design of a Photograph B&H Event Space 49