midterm Flashcards
professional photography triangle
eye, heart, head
fine art photography
created in line with the vision of the artist, using photography as a medium for creative expression
goal of fine art photography
to express an idea, message, or emotion
two main elements of a photo
form: what your photo looks like
narrative: what is depicted in the photo
intellectually driven
communicates a visual idea to direct viewers to think deeply on a topic
aesthetically driven
involved with perceptual experience to direct viewers to see things in a new way and feel deeply about them
subject matter
what is in front of the lens (object, person, place, or thing)
actual subject
what the photo is actually about (story, theme), often not literally depicted
what the artist is communicating with their use of form
color
can emphasize mood and tell a story
as light changes, color will change
our perception of color changes based on its surroundings
unity
ours is a subtractive process, distracting elements and poor technique break unity, conceptual unity common
emphasis and focal point
emphasized elements help catch and hold viewer’s eye, ask viewers to take a second look and see in a new way
emphasis by contrast, isolation, placement, absence
scale and proportion
power of unusual scale
affects meaning, context, and interpretation of the image
balance
involves the correct distribution of visual weight within a composition
leveled, sharpened, radial, crystallographic
line
line as the power of physiological and emotional suggestion
actual, implied, or psychic
shape
a visually perceived area created either by an enclosing line, or by color or value changes defining edges
figure: object or foreground element
ground: empty space between objects
texture
depicted surface quality of the subject matter
dynamic way to capture visual interest of the viewer and engage their imagination
space
photos are 2D but can play with spatial illusion
can be literal or formalistic (flat space, deep space, illusion)
motion
photography can capture transient elements, recording realities our natural eye can’t perceive
can expressively add experience and emotion to the still frame
framing
creative awareness of the image frame
active vs. passive
value
light and dark (perception of figure and ground can depend on this)
contrast is determined by the relationships of values in the image
historic self-portrait photographers
Robert Cornelius, Louis Daguerre, John Moffat, Pierre-Louis Pierson
historic BW formalism photographers
Henry Fox Talbot, Henry Peach Robinson, Alfred Stieglitz, Edward Weston
historic color photographers
Nickolas Muray, Ernst Haas, William Eggleston, Pete Turner
historic lyrical doc photographers
Maxime Du Camp, Alexander Gardner, Eugene Atget, Lewis Hine
