Design Principles

Title: BCP Design Principles
Client: AVA 491mm X 230mm

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AVA Academias Basics Creative
Photography titles are designed to
provide visual arts students with a
theoretical and practical exploration
of each of the fundamental topics
within the discipline of creative
photography. Packed with examples
from students and professionals
and fully illustrated with clear
diagrams and inspiring imagery,
they offer an essential exploration of
the subject.
Design Principles introduces
students to the use of design
methodology in the creation of
photographic images.
In an age oversaturated with
photographic imagery, this book
demonstrates how design
awareness can add a new level of
depth to your images. It guides
students through a comprehensive
range of principles traditionally
associated with design, including
the use of line, shape, colour, space,
texture and light, and demonstrates
how these can be applied to
photography.
Basics Creative Photography:
students to a more considered
approach that can add dynamism
and impact to photography,
whatever the style or genre.
Ethical practice is well known, taught
and discussed in the domains of
medicine, law, science and sociology
but was, until recently, rarely
discussed in terms of the Applied
Visual Arts. Yet design is becoming
an increasingly integral part of
our everyday lives and its influence
on our society ever-more prevalent.
AVA Publishing believes that our
world needs integrity; that the
ramifications of our actions upon
others should be for the greatest
happiness and benefit of the greatest
number. We do not set ourselves
out as arbiters of what is good or
bad, but aim to promote discussion
in an organised fashion for an
individuals understanding of their
own ethical inclination.
By incorporating a working with
ethics section and cover stamp
on all our titles, AVA Publishing aims
to help a new generation of students,
educators and practitioners find
a methodology for structuring their
thoughts and reflections in this
vital area.
Jeremy Webb is a Norwich-based
photographer and tutor with over
25 years experience. He has
travelled extensively throughout
Europe, shooting stock for agencies;
joined a team of cruise ship
photographers based in Florida,
USA; and was an expedition
photographer with an environmental
charity based in Tanzania.
More recently, his work with light
painting has received much attention
and been featured in the British
Journal of Photography, as well as
numerous published portfolios and
websites. He has extensive experience
as a teacher and workshop leader
in higher and further education and
is also a distance-learning tutor for
several organisations. He embraces
both film and digital media, and
has won several awards for his
creative work with Photoshop.
Jeremy is the author of Creative Vision
(AVA Publishing, 2005). His website is:
www.jeremywebbphotography.com.
Featured topics
basic design theory
the use of space
positional decisions
the elements of design
line
shape or form
space
texture
light
colour
pattern
rhythm
contrast
scale and proportion
abstraction
movement and flow
containment
emphasis and emotion
juxtaposition
incongruity
mood and emotion
Featured contributors
Aleksandr Rodchenko
Angus Fraser
Angus McBean
Ansen Seale
Constantine Manos
Ernst Haas
Henri Cartier-Bresson
Libby Double-King
Martine Franck
Naoya Hatakeyama
Olivia Parker
Pascal Renoux
Steve Hart
ava publishing sa
www.avabooks.com
http://blog.avabooks.com
[email protected]
[email protected]
BASICS
01
creative photography
DESIGN
PRINCIPLES
BASICS
01
n
a fundamental basis of a
system of thought or belief
Author 3
Author 2
Jeremy Webb
n
purpose or planning that
exists behind an object

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Publishers note
U
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DESIGN
PRINCIPLES
BASICS
01
Author 3
Author 2
Jeremy Webb
creative Photography
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Design Principles
An AVA Book
Published by AVA Publishing SA
Rue des Fontenailles 16
Case Postale
1000 Lausanne 6
Switzerland
Tel: +41 786 005 109
Email: [email protected]
Distributed by Thames & Hudson (ex-North America)
181a High Holborn
London WC1V 7QX
United Kingdom
Tel: +44 20 7845 5000
Fax: +44 20 7845 5055
www.thamesandhudson.com
Distributed in the USA & Canada by:
Ingram Publisher Services Inc.
1 Ingram Blvd.
La Vergne TN 37086
USA
Tel: +1 866 400 5351
Fax: +1 800 838 1149
English Language Support Office
AVA Publishing (UK) Ltd.
Tel: +44 1903 204 455
AVA Publishing SA 2010
All rights reserved. No part of this publication may be reproduced,
stored in a retrieval system or transmitted in any form or by any
means, electronic, mechanical, photocopying, recording or
otherwise, without permission of the copyright holder.
ISBN 978-2-940411-36-8
Library of Congress Cataloging-in-Publication Data
Webb, Jeremy.
Basics Creative Photography 01: Design Principles / Jeremy Webb p. cm.
Includes bibliographical references and index.
ISBN: 9782940411368 (pbk.:alk.paper)
eISBN: 9782940439713
1. Photography x Design. 2. Photography, Artistic. 3. Photography-
-Study and teaching (Higher).
TR161 .W433 2010
10 9 8 7 6 5 4 3 2 1
Design: an Atelier project, www.atelier.ie
Cover image: Jeremy Webb
www.jeremywebbphotography.com
Production by AVA Book Production Pte. Ltd., Singapore
Tel: +65 6334 8173
Fax: +65 6259 9830
Title: Dusk
Source/Photographer:
Jeremy Webb
An effective design often results
from an approach that trusts in
limitation as a creative driving
force behind the process of image
creation doing more with less.
Once one or two separate elements
are isolated and emphasized, the
transforming nature of light can
effectively and dramatically blend
these elements together.
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Design Principles
Basic design theory 10
The role of the viewfinder
in photography 12
The use of space 16
Positional decisions 18
Case study 1 Points of view
22
The rules and when
to break them 24
Exercise 1 Cropping 26
Introduction 6
1
The elements of design 28
Line 30
Shape or form 36
Space 40
Texture 46
Case study 2 Light
and time 50
Light 52
Colour 60
Exercise 2 Design
limitations 68
First design principles 70
Pattern 72
Repetition 76
Interruption 82
Variety and unity 84
Case study 3 Depth
and light 86
Rhythm 88
Contrast 92
Exercise 3 Form
and structure 96
2
3
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Conclusion 174
Glossary 176
Bibliography and webography 178
Index 180
Acknowledgements and picture credits 182
Working with ethics 185
Depth and scale 98
Overcoming limitations 100
Actual and illusory depth 104
Scale and proportion 110
Case study 4 Style and
setting 114
The absence of scale 116
Abstraction 118
Exercise 4 Abstract images
122
Putting it all together 160
Expressing views and visions
162
Symbolism as visual
shorthand 164
Case study 7
The vernacular 166
Creative strategies 168
Exercise 7 Concepts
and ideas 172
4
7
Movement and ow 124
Directional forces 126
Case study 5 Lines
and shapes 128
Containment 130
Flow direction 134
Exercise 5 Observation 138
Emphasis and
emotion 140
Point of interest 142
Focus areas vs areas
of de-focus 146
Juxtaposition 148
Case study 6 Juxtaposition
150
Incongruity 152
Mood and emotion 154
Exercise 6 Themes 158
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Introduction
The idea of studying design principles in
photography can sound a little off-putting
much like the tedium of learning scales
when starting to play a musical instrument.
This book will hopefully remove that kind
of negative association and show how
photography underpinned by the power of
design principles is photography that has the
power to last and affect us deeply. Design
plays a vital role in turning images into long-
distance runners, not simply sprinters.
Our resistance to design principles partly
lies in our attitude and approach to design
in the widest sense. Weve simply become
immune to designs overwhelming effect on
our daily lives. From the moment we wake
up and hurl our alarm clocks to the oor,
to the moment we close our eyes and turn
off our digital radios, our days have been
lled with well-designed furniture, cars,
magazines, packaging, town planning and
so on. Most of it works, although much
of it doesnt. But design always promises
something mostly, the idea that it is
intended to make our lives a little better.
It could be argued that design principles
make our photography a little better.
However, this is a feeble underestimation
of their usefulness to photographers or
lovers of photography. Rather than existing
as a strict set of unchallengeable rules or
guidelines, design principles applied to
photography can act as a kind of uid, exible
and unseen nervous system that brings
images to life. Some great photographers
naturally have the wisdom and insight to
work with design principles. However, not all
photographers share this talent. Luckily, it is
a skill that can be learned and developed
to create memorable and lasting images.
The continuing rise of digital culture
has reignited interest in the world of
photography as a mass art form, and new
channels of distribution have opened up
to send billions of photographs spinning
across the globe at a bewildering rate.
Its not simply the technological new age
that facilitates this volume and speed of
image distribution our collective mindset
and greed for speed also grease the
engine. The world is simply crammed
full of photographs like never before.
This appetite for photography, however
insatiable, is still hungry for photographs
of substance, craft, meaning and powerful
intent, despite an overwhelming landslip of
the mediocre and mundane. What makes
photographs endure? A photographer who
calls upon his or her sense of design, and
delivers with style and vision, sends images
out there that are worlds apart from those
generated with mere speed and convenience
in mind.
An understanding of design doesnt slow
you down, trip you up, or stand in your way.
It is a skill available to everyone at all times
and unless we reach out and grasp the full
potential of the medium, photography just sits
and runs in sleep mode when it should be
life-afrming, vivid and impossible to ignore.
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Contents | Introduction
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Title: Red sofa and banana
Jeremy Webb
Design awareness enables
photographers to see potential in
situations that are not apparent to
others. It improves your photography
and increases your ability to see the
world differently by understanding
how even the simplest scene can
provide opportunities to be playful
with the principles of design.
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Basic design theory
The opening chapter takes a close look at
a few of the most important steps in the
process of photography how you frame
your subject and where you take your
photograph from. Decisions over distance,
angle and viewpoint can profoundly affect the
overall appearance of the nal image, and the
use of space within photography can give life
and substance to your subject, inuencing
how we read photographic images.
The elements of design
These elements are widely considered
to consist of six design features or
characteristics that photographers can
utilise within their picture-taking to create
images powered by vision and creativity.
Like raw ingredients ready to be powerfully
combined by the design process in the
following chapter, well take a look at each
one in turn and evaluate how they can
be used as aspects of composition.
First design principles
Having looked at the raw ingredients
or elements of design in the previous
chapter, this critical section of the book
shows how the elements of design can
be processed, combined and manipulated
to create powerful images that have
design at the heart of their appeal.
Depth and scale
All photographs are two dimensional, but
this doesnt have to limit our thinking or our
intuition. The use of design principles can
create the illusion of depth and this can
inuence our involvement within the image.
Well look at how proportion and scale can
confuse and delight the eye, and how the art
of the abstract is derived from an awareness
of simple but essential design principles.
Movement and ow
When photography appears too static or
limp, its often because the image contains
no real sense of motion. Motion means life.
A sense of movement can bring an image
to life with powerful directional forces that
demand an active engagement with the
image rather than a passive acceptance.
This aspect of photography can be easily
accessed through the use of dynamic design.
Emphasis and emotion
To a large extent, successful photography
relies on the ability of the photographer
to construct his or her image so that its
audience will respond to the same point of
interest (POI) or feel the emotional response
the photographer intended. This chapter
looks at how the use of colour, focusing and
a range of compositional techniques subtly
or profoundly inuence our emotions.
Putting it all together
What good is all this knowledge if it simply
remains theoretical? Applying design
principles to your work puts you in charge
of the whole picture. We wrap things up
in this chapter by looking at symbolism,
presentation and a range of ideas to help
keep design at the heart of your work.
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Contents | Introduction
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Title: Trolleys
Jeremy Webb
The mundane sight of supermarket
trolleys is given a different twist
by shooting through a rain-
soaked car window. The vivid
blues and reds of the webbing
straps have softened and bled
almost like watercolour paints on
paper, providing a softer and less
distinct image of the everyday.
Applying design principles
to your work puts you in
charge of the whole picture.
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Basic design
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At its most basic level, design applied
to photography is simply the skilful
arrangement of picture information
within a frame. Photographers can
include or exclude information,
emphasize or diminish areas of
content, and adjust their position by
a fraction of a degree if necessary in
order to capture the image required.
Design and composition are like two
sides of the same coin design being
the process and composition being
the outcome. Acknowledging and
responding to the role design plays
within your photography enables you
to create images that can be read and
understood by the viewer. However, it is
crucial that the gaining of this knowledge
does not in any way destroy the magic of
photography or detract from its power.
Many photographers agree that, there
is no winning formula or easy route to
consistently producing good photographs,
if a good photograph is held to be one
that is clear in its intent and strong in
its composition. Its really a question of
juggling with a set of design variables
and being able to see what is really there,
not what we might expect or assume
to be there. Once we can approach a
subject with an uncluttered vision and a
childlike curiosity, we have the opportunity
and the motivation to capture an image
with the uniqueness of our own vision
and the greatest efciency required.

Title: Gallery
Hannah Starkey
Within this beautifully constructed
image, so reliant on straight lines and
blocks of different tones, only the
plastic cup and the plastic chair stand
out as isolated elements within the
angular and very graphic study of
the space.
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The viewfinder creates a precise boundary
between whats captured and whats not.
Unlike painting, where an image begins
with a blank surface, photography can be
called a reductive pursuit. It starts out faced
with everything and it extracts a minute
aspect of that by using the viewfinder edges
to consciously or unconsciously create a
something by excluding specific elements.
Here, the term reductive is not used in a
negative sense, but rather it highlights the
essence of photographic image capture
in the way it is normally practised.
The viewfinder is the greatest compositional
tool known to photographers. However, its
power to influence our engagement with
images is often poorly considered because
we are too concerned with subject and
centrality rather than imaginatively framing
a scene in innovative or extraordinary ways.
After our imagination and our creative
expectations, the viewfinder is where we
first encounter the design process at its
most raw. How the viewfinder frames our
intended subject is based on a range of
decisions taken by the photographer, the
most critical factors behind these decisions
being height, angle and distance to subject.
The edge
Using the viewfinders full capability allows
the photographer to consider 100 per
cent of the image space available, right
up to the edges. As an intentional choice,
using the viewfinder edge to visually
dismember a subject or cut off something
into nothing has both positive and negative
consequences. There is no escaping
the fact that an image has to have some
kind of boundary, but that does not mean
we have to take a passive approach to
its inevitable restrictions. We must look
for opportunities to use it creatively.
Some photographers are acutely
aware of the power of the defining
edges of the viewfinder; their images
creatively play with what is included
or excluded from the photograph.
By using the viewfinder consciously and
effectively, photographers can create bold
and compelling images that frame the
world in unusual ways. In addition, they
enable the viewer to address a familiar
subject matter through a new perspective,
while emphasizing and reconfiguring
the various design elements into fresh
arrangements of greater visual appeal.
By using the viewnder consciously
and effectively, photographers can
create bold and compelling images
that frame the world in unusual ways.
The role of the viewnder in photography
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Title: Frosty bird hide
Jeremy Webb
In this image, the viewfinder was used
to frame a portion of the wider scene
into a harmonious and balanced
composition by blending shape,
texture and tone contained within the
boundary of the viewfinder.

Title: Snow wave
Jeremy Webb
Sometimes nature lays the
simplest forms right in front of
us. By using your judgement of
distance, proximity and viewpoint,
you can let the frame take over
and bypass all that is unnecessary
for an exercise in simplicity.
The role of the viewfinder in photography | The use of space
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The role of the viewnder in photography
The frame: whole truths and half truths
Photography can never present the whole
truth, but it can shape history because of the
notion that photography is bound up with
truth. For example, world events have been
initiated, recorded and sometimes turned
around by the inuence of photography in
news journalism.
A famous TV advertisement created in the
1980s depicted the scene of a skinhead
walking down a street, before breaking out into
a run and heading straight for a little old lady.
The message was clear: here was a menacing
and dangerous individual out to rob or beat up
a defenceless victim in broad daylight.
As it turns out, the lm reveals the man is
running towards the lady in order to knock her
out of the way of some scaffolding about to
fall on her. The carefully controlled lming and
framing of the scenes plays to our prejudices
and only tell part of the story at rst. After a
dramatic pause, the full facts of the scenario
are revealed and the whole truth is presented.
The advertisement shows that the frame
can capture part of the scene to create one
carefully contrived meaning, while taking an
alternative view presents another.
Although a situation can contain
multiple meanings and points of view,
its the photographer who selects which
interpretation of a scene he or she will retain
for further editing or presentation. With this
power comes a responsibility to deal ethically
with potentially controversial subjects and
situations, and on a more artistic level,
to use the viewnder (and subsequent
compositions) to squeeze the most creative
value out of the subject in front of us.
Inclusion vs exclusion
Deciding what you should and shouldnt
include within your frame presents not only
moral dilemmas, but also design issues
about whether what you include benets your
image or detracts from its overall power.
Ideally, what you frame within your viewnder
should only contain the detail and substance
necessary to communicate your vision
as powerfully as possible. The greatest
photographers get to the heart of something
or someone in a way that leaves amateurs
envious because they have developed an
intuitive ability to get close to their subjects
or to use their sense of design (in terms of
arranging the elements within the viewnder)
to carefully exclude unwanted detail or
to emphasize certain components at the
expense of others.
The inclusion of unnecessary or distracting
details will allow your audience to miss
the point or become troubled by the sheer
number of possible interpretations and
responses that could arise from a cluttered
or busy image.

Title: Miss Appletons shoes II,
1976
Olivia Parker
Olivia Parker creates beautiful
compositions with her still life images.
In this image, the scene is contained
by a black border, which is created by
the edge of a processed sheet film
that also references the photographic
nature of her images.
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The role of the viewfinder in photography | The use of space
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Ike Turner once said:
Its the spaces in between the notes
that are important.
Space is every bit as important as
substance it is substance as far as design
is concerned. Within design, space can be
used to isolate something; to throw emphasis
on something; to provide contrast against
something; and to show the scale and scope
of a subject, among a thousand other uses.
Its presence is just as visible within an image
as any tangible subject that may emerge
from it.
Awareness of space
Awareness of space as a design principle
allows you to confer emphasis on a
subject, or create stronger separation
between a subject and its environment or
background.
The use of space
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The role of the viewfinder in photography | The use of space | Positional decisions

Title: Mask
Oleg Dersky
The creative use of negative
and positive space enables
photographers to play with our
perceptions of what appears to be
coming forward and what appears
to be retreating. The full craft and
construction behind Oleg Derskys
image only reveals itself when we
peer beyond the surface presentation
of the image.
Positive and negative
Many simple optical illusions rely on the eyes
perception of space for their effect. Space
can dene where an object lies in relation to
others, and thus allow us to make sense of a
scene or situation. Many illusions exploit our
habit of assuming that dark or black areas of
tone represent subject, while light or white
areas equate to the absence of subject
emptiness or space.
Photography, too, can play with these
assumptions. After all, the eye makes sense
of a at two-dimensional image and accepts
it as a facsimile of the three-dimensional
world almost without question.
Using space as a design tool enables us
to manufacture depth, and depth takes us
just that little bit nearer to closing the gap
between the frustrations of two-dimensional
representation and the three-dimensional
experience of life being lived. The gap is still
vast, but at least its going in the right direction.
Depth, in terms of photography, allows us
to peek beyond the conventional limitations
of two-dimensional imagery and creates a
vicarious version of experiential reality.

Title: Burger caf
Jeremy Webb
By positioning the burger caf within
the lower half of the viewfinder,
the vertical forms of the scene are
given more space to penetrate.
In giving greater emphasis to the
featureless background and the
bland surrounding sky, the white
overcast backdrop also appears quite
oppressive in this misty winter image
from an out-of-season promenade.
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Positional decisions
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The distance between you and your subject
is fundamental to the design of an image.
Weve already seen how the edge of the
frame can be used creatively to tease the
viewer and give an audacious and innovative
treatment to even the most mundane subject.
The communicative power of an image
can change dramatically with the slightest
adjustment to position, distance or angle.
Positional decisions have the power
to manipulate our feelings at a deeply
unconscious level. For example, a politician
photographed from above may appear
diminished or belittled, their stature
literally and metaphorically reduced in
size, making them appear vulnerable or
childlike. The same politician photographed
from a position below eye level may
appear statuesque and important, as
though we are looking up to them.
Your viewpoint must be adapted in order
to contain all the signifcant information
you need for the image. This may require
you to go in close in order to give your
subject a bold treatment full of impact
and authority, or it may require you to
pull away, thereby allowing other detail
and information to be included within
the frame to intrigue the viewer.
Many of the greatest photographers arrive
at a scene and without thinking, quickly
and quietly size up the situation from many
viewpoints intuitively. This approach is the
result of a honed and internalised way of
working gained through personal vision and
experience. Where you choose to capture
your image from must be driven by the
willingness to create a forceful and absorbing
composition, rather than any attempt to
simply apply an artful style over a subject that
needs a bit of spicing up.
The communicative power
of an image can change
dramatically with the slightest
adjustment to position,
distance or angle.
Title: Old tulip

Jeremy Webb
Adopting a suitable distance and
placing your subject against a plain
background allows your images to be
free of distracting backgrounds and
unintended clutter.
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Positional decisions
Distance to subject
The perceived distance between you and
your subject is usually determined by two
key factors: the physical distance between
the photographer and the subject, and the
lens on the camera.
Telephoto lenses can take you closer to a
subject without the need to physically walk
up to it. However, they can also distort the
spatial relationships between objects for
instance, they make gures in a landscape
appear closer together than they really are.
The viewers emotional engagement with an
image can be increased by simply getting
closer to the subject, and then framing the
subject in such a way that it is emphasised
and strengthened by its isolation against a
plain background, or given a sympathetic
position within the frame. Crucially, the
distance you adopt must contain enough
signicant information within the frame to
accurately communicate your intent and
exclude anything superuous or detracting
from the principal purpose behind the
construction of the image.

Title: The pioneer trumpeter, 1930
Aleksandr Mikhajlovich
Rodchenko
This is an iconic image which for
many Americans heralded the
beginning of a new era in pictorial
modernism. It is one of the earliest
examples of a more radical approach
to photography exemplified by a
brave and unconventional image.
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The use of space | Positional decisions | Case study 1
Angle of view
Faced with a subject youd like to frame
in an interesting way, do you simply
photograph your subject front-on? Or do you
move to the side or underneath to produce
a more dynamic view? Many portraits
appear quite static if the photographer
and subject simply face each other in
the style of a typical passport image.
By adopting an angle of view that sidesteps
the obvious, you can apply a fresh approach
to your subject, be it architecture, landscape,
portrait, fashion or the everyday. Your decision
to use a bold or unconventional angle of
view should be based purely on whether
your approach reveals your subject in a fresh
or revealing light rather than attempting to
mask a poor shot by using an unusual view.
Vantage point and viewpoint
By examining your subject from many
angles and distances, you can decide
the best position to shoot from. In many
cases, the simple act of slowing down
your observation (if time allows) will enable
you to nd a position that will show your
subject in an unfamiliar or unorthodox
way. This may require a view taken from
an unusual height, or from below where
the ground or the sky may offer a plain
background against your subject.

Title: Zurigo, 1981
Franco Fontana
Adopting unusual shooting positions
can bring astounding results. In
this superb street image by Franco
Fontana, the low sun has created
long shadows that provide clues to a
simple situation. The composition is
further enhanced by the skilful use of
diagonals, creating triangular shapes
within the predominantly vertical
structure of the image.
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The images here are from a series of shots taken to document public
statues and monuments in urban areas. The sculpture, Monument to
Daedalus by Jonathan Clarke, was a fascinating subject in many ways
as it contains a variety of references to both science ction and
classical mythology.
When one moved around the sculpture, its forms made sense in a rounded
three-dimensional way, but if you stopped at any particular point its power
and impact were somehow reduced. The camera also appeared to atten the
whole subject the sculpture was situated against a series of winter trees that
provided a background of bare branches to create a completely unsuitable
background. The light and surroundings also made it difcult to select a lens
aperture or telephoto lens to provide a narrow depth of eld that allowed the
trees to become defocused to the degree required.
The top image shows one of a series taken of the sculpture against a brightly
lit winter backdrop. At this distance and position, the essential form of the
piece is not shown at its best angle, nor is it easy to separate from the
background.
The bottom image, however, shows a shot taken from a slightly lower angle
from the other side. This view places the sculpture against a plain sky, which
acts as a much cleaner backdrop to the piece. The image was treated to a
subtle Photoshop duotone tint to emphasize the form and texture of the piece
without the requirement for colour.
Case study 1
Points of view
Case study 1 Points of view
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Positional decisions | Case study 1 | The rules and when to break them

Title: Monument to Daedalus,
by Jonathan Clarke
Jeremy Webb
Height, distance and position could
all conspire to offer an unsuitable
image background. However, these
elements could also be used to give
greater emphasis to your subject.
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The rules and when to break them
Its often considered that rules, such as
they are, should only be broken once
theyve been learned. Photography is an
art form full of rules, most of which we tend
to pick up when we are young in order to
prevent us from going wrong. As we get
older, compositional rules are received and
absorbed almost without question. But these
rules often inhibit our creativity rather than
allow us to strike out with condence and a
fresh perspective. So many rules end up in
tedium and predictability.
Why not abandon all rules? Most likely
because well end up with a kind of
shapeless, routeless art that rules were
meant to counteract in the rst place. Anyone
hoping to read anything on design principles
in order to become a master photographer
will be disappointed you cant just endlessly
replicate what so-called best practice is and
end up The Master by slavishly following
every bit of advice and regurgitating it. The
advice provided in this book is simply a
summary of known and trusted wisdom, and
hopefully a useful guide too, but it takes
judgement and insight to understand when
and where these various design techniques
are best applied.
Composition and design skills
learned or intuitive?
Its that old nature vs nurture debate: how
much of your visual design style is integral
to your personality and how much can you
acquire above and beyond what you were
born with?
Most can be acquired, although it takes
time to develop style, which often stems
from photography with a clear sense of
design at its heart. Many photographers take
decades to get into their stride and the work
they are often best known for can be vastly
different from that which they set out with.
This doesnt mean that what they learned in
their formative years was wasted far from
it. Moving through different styles and artistic
approaches within your photography is not
a sign of weakness but of strength the
courage to explore and to keep your vision
fresh and curious.
Learning how to apply design skills, or at
least working with a greater mindfulness
towards design, takes dedication and a
willingness to explore creatively. Although
no precise formula for good composition
can ever be given, at least we can look at all
the key components and see how they might
work for us when we next put the camera
up to our eye.
Moving through different styles and artistic
approaches within your photography is
not a sign of weakness but of strength.
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Case study 1 | The rules and when to break them | Exercise 1

Title: Untitled
Marie Pejouan
This image is a celebration of
colour that skilfully combines strong
reds and blues which contrast
sympathetically with each other within
the overall design.
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Most photographers (including photographic masters) have always
viewed cropping as a continuation of the process of photography
a chance to ne-tune images at a later stage. The act of cropping
exercises the design muscles further and allows the photographer to
continue working on an image in order to present their vision in the best
possible light. While many purists believe that any tampering with an
image should be minimal or non-existent, most pragmatic photographers
regard cropping decisions as just another tool in the box.
Adopting a no cropping approach to your photography can be very rewarding
indeed. This approach means that prints can only be made from the image
at full frame. Working in this way can help to develop vision and strengthen
photographic awareness. However, it can also become self-defeating and
counterproductive to stick so rigidly to such a purist methodology.
No photographer should be without a pair of L-shaped croppers. Using a
scalpel or craft knife and a piece of stiff white A3 card (11.69 x 16.54 inches),
make a pair of L shapes like the ones shown. Make sure you have good, clean
edges and that your internal corners all have right angles of 90 degrees.
Using your croppers, try to nd alternative compositions to some of your
best prints. By experimenting with a series of extreme or minimal formats
and going in closer, can you create alternative meanings or more absorbing
compositions? Can you add more impact by simply adjusting this new
viewnder frame and improve on the originals? Can your cropping bring
design lines or shapes into play that strengthen or diminish elements within
your image? If necessary, make notes on your ndings or sketches of these
new compositions for future reference.
Exercise 1 Cropping
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The rules and when to break them | Exercise 1
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Title: Croppers
Jeremy Webb
Adjusting the frame proportions and
size can dramatically alter the
compositional appeal of an image.
If youve never had the opportunity
to experiment with different camera
formats, heres your chance to
discover how altering the very edges
of the frame can reposition the image
elements and powerfully affect the
image as a whole.
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The elements
of design
2
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From the earliest scratchings on cave
walls to our current image-saturated world,
a multitude of artists, theorists and art
historians have all immersed themselves
enthusiastically within an analysis of the
visual arts (painting and photography
in particular) in an attempt to establish
a general set of principles the so-called
elements of design. These elements
or raw ingredients determine the
compositional appeal of an image
how easily it can be read by an audience,
how positively the audience responds,
and how much value an audience places
upon the image viewed.
Composition is rst and foremost the
result of a dynamic design process that
the photographer undergoes during the
act of image capture. This process
naturally extends to include the act of
cropping, contrast changes, saturation
adjustments, or any number of post-
capture techniques that arise from the
photographers quest to create the best
possible composition for an image.
Design elements can be skilfully
incorporated to an image as a kind of
invisible blueprint in order to create a
structure that supports compositional
appeal or power. Design principles exist at
every stage of the image creation process
from the moment a photographer adopts
a position to shoot from, to the placement
of the subject on the printed page, up to
the positioning of an image at an
exhibition.
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Title: Gemstone in clamp
Jeremy Webb
Torch-lit still life presents many
challenges, especially where subjects
of varying light reflectance exist
within the same image. This still
life combines various shapes and
textures positioned harmoniously
within the frame while the light was
painted around the scene during an
exposure of 40 seconds.
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In the visual arts, the use of line is perhaps
the single most important element of design.
It denotes boundaries and can be actual
or virtual. It can be real and apparent, or
an invisible structure that guides our gaze
between points on canvas or print.
The use of line can signicantly affect the
compositional success of photographers
images. Lines are powerful design elements
that re-enforce the three-dimensionality of
the world. Its a deeply primeval impulse
as children, our rst scribblings on paper
are lines; so were the rst cave markings
recorded by humankind. Lines are always
used in artistic terms as the primary tool to
represent our understanding of the world.
Horizontal lines
Horizontal lines often reect concepts such
as stability, continuity and restfulness. Think
of table tops or the horizon line over the sea.
Within the rectangular format of a traditional
photograph, horizontal lines lie parallel
with the top and bottom edges where they
promote a feeling of harmony and unity within
the image.
Vertical lines
Vertical lines can provide notions of strength
and certainty within an image. Towers,
trees, even our age-old ideas of spirituality
and religion, can all be reected by vertical
lines actual or virtual. Vertical lines that
shoot upwards have always held a symbolic
relationship between heaven and earth
between the Gods and mere mortals.

Line

Title: Dog walking,
Gorleston-on-Sea
Jeremy Webb
Against the single line of the horizon,
figures are picked out against the
foamy shoreline in an image that
emphasizes the empty space of the
Norfolk coastline.

Title: Posts, Burnham Overy
Jeremy Webb
Vertical lines set within a horizontal
frame can add interest by imparting
an upward movement that is at odds
with the sideways structure of the
landscape format.
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Line | Shape or form
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Diagonal lines
Diagonal lines disrupt the certainty and
simplicity of horizontal and vertical lines.
They almost always impart a more energetic
and active feeling when set against the
passive northsouth journey of the vertical
or the westeast route of the horizontal.
In the three-dimensional world, diagonal
lines represent motion and action. A leg
that is vertical is stationary, but a leg that
is diagonal is a leg in motion one that is
walking or running.
Line

Title: The ENRON building,
Houston, Texas
Damien Gillie
The architectural density of many
of our large city centres provide
opportunities to create dynamic
images infused with design. Damien
Gillies image shows an interesting
convergence of diagonal lines and
forms full of contrast and colour, cut
off by a dense triangular form entering
the scene from the opposite side of
the frame.
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Curves and arcs
A curved line often adds a softer dynamic to
an image. Compared to the rigid straight lines
of the viewnder or print edges, a curved line
can indicate something soft or subtle. Many
curves or arcs are found in nature and the
folds and multiple forms in the human body.
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Title: Curves
Alberto Oviedo
The use of architecture as a backdrop
to fashion is a powerful combination
that relies on the use of bold shape
and form to accentuate or emphasize
the models pose. The curved sweep
of the buildings roof in this image
counteracts the otherwise right-
angled nature of the background and
provides a strong shape that draws in
the eye towards the standing figure.
A curved line can indicate
something soft or subtle.
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Line
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Intersecting lines
When one line crosses another, the lines
are said to intersect each other they pass
through or cross over each others path.
Photographers can place subjects at the
points of intersection to maximize subject
impact and emphasis.
Converging lines
Lines that meet at a point in the far distance
are said to converge. Stand on a railway
line and look into the distance you will
see both sides of the track appearing
to merge into one. In photography,
converging lines can represent distance,
scale, height and power. If a subject is
placed at the point where lines converge,
powerful compositions can be made.
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Title: Dune protection,
Winterton-on-Sea
Jeremy Webb
Converging lines often meet at a point
outside the frame. By deliberately
framing your image in such a way,
converging lines often emphasize
depth and distance as they travel
through the image.
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Shape or form is often the end result of
boundaries created by lines. In photography,
three-dimensionality is reduced to two-
dimensionality and so the use of design
awareness to maximize interest in the shape
or form represented is critical.
For this reason, photographers will often talk
of images being at where a subject may
be rendered without much emphasis on its
form or the space it occupies. This may be
the result of poor lighting or poor positioning,
or it may simply be that the scene itself is
too cluttered to allow a single subject to be
isolated and focused on.
Shape or form

Title: Lily
Jeremy Webb
Simple shapes and forms often
require controlled lighting to bring
out the most interesting aspect. This
single lily was bathed in soft daylight
from above and slightly behind to
make the most of its soft appearance.
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Created or revealed by space
The use of shape is often applied with the
greatest effect when a distinctive form or
outline is set against a plain background,
thereby minimizing any distractions and
allowing the viewer to focus squarely on
the shape presented. In design terms, this
is often referred to as good foreground/
background separation. This is why
silhouettes are so universally understood
they present a strong and recognizable
shape that is contrasted easily against a
light background.
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Line | Shape or form | Space

Title: Red tulips, Japan, 1980
Ernst Haas
Unusually, for many photographers of
Haass era, the black background to
this image was used quite deliberately
to give strength and richness to the
red colour of the tulips. The effective
use of lighting reveals the droplets,
and the positioning of the flower
heads also gives this image an
unusual, but very forceful composition.
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Lighting
Photographers who are successful in
allowing their subjects to appear solid are
photographers who have a keen eye for the
properties of light. In the hands of a skilled
photographer, the lighting allows subjects to
be rendered in high or low contrast; shadows
can help to dene the subject, or reveal the
subjects positioning within the wider scene.
Shape or form

Title: Yurt kitchen
Libby Double-King
Photographs allow us to embrace
and interpret the effect of light on
our subjects. This simple found still
life shows the effect of a small and
diffused overhead light that seems to
bathe the curve of the wooden shelf
in a soft light; it allows our curiosity
to explore darker areas as the light
recedes into the background.
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Line | Shape or form | Space

Title: Audrey Hepburn, 1950
Angus McBean
The above image is one of many
famous portraits by Angus McBean.
The surreal nature of this image is
further heightened by the appearance
of a strong shadow from the column
in the background. It appears to
signify strong light from a completely
different point to that which lights the
actress herself.
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Space

Title: Pods of chance
Olivia Parker
Natural subjects offer a huge variety
of strong shape and form to play with.
Olivia Parker uses soft lighting and
an eye for simplicity to create this
wonderful image.

Title: Early morning boudoir table
Smart Photography Ltd
Bright sun or studio lighting picks up
the highlights and reflections in this
colourful advertising image rich in
warm reds and oranges. The direction
of the light allows the glass to reveal
its contours and shape in a way
that flat soft lighting would be hard-
pushed to achieve.
Objects
The photographer who carefully considers
the shape or form of the subject will seek to
give great emphasis to it. There are many
design elements to consider and experiment
with lighting, positioning, vantage point,
and distance, for example. However, the
complexity and character of the object itself
is critical to how you generate interest and
engage with your viewer.
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Shape or form | Space | Texture
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Space is often the last aspect considered
when composing an image, but it deserves
the attention of a creative photographer.
We grow up conditioned to ll space
when what we often need to do is take
something away in order for the entire
image to have more power and impact.
In photographic terms, space can
either be the two-dimensional space
on a print or at image, or it can mean
three-dimensional space the real or
actual space present at the scene.
Space can reveal a subject forcefully; it
can create the impression of depth within
an image. Manipulating space allows the
photographer to overcome the challenge of
placing a fragment of the three-dimensional
world on a two-dimensional piece of paper.
Negative and positive
Negative space is the absence of volume
or mass. Its what lies behind the subject
and often takes on a passive role in the
image. Positive space plays a more active
role within the image theres a sense that
the photographer consciously manipulated
the space to emphasize the subject or
that the use of space compositionally has
had a positive effect on the subject.
Space
Foreground/background relationship
When the subject and background are
too similar, the viewers ability to read the
image is hindered. This often happens
when the photographer tries to show too
much, or frames the scene poorly.
As a result, the viewers attention will
wander and, without a clear point of
interest, any further involvement with
the image will be lost. The foreground/
background relationship can be
strengthened by increasing the contrast or
difference between the two elements.
Space can reveal a subject forcefully;
it can create the impression
of depth within an image.
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Title: Motel telephone
Bryan Schutmaat
The symmetry of this image is
disturbed by a single element the
wire that climbs up the wall from the
bed on the left.

Title: Fist impression
Jeremy Webb
Confusion between negative and
positive space can easily deceive
our eyes. Is the fist impression on the
florists block extending towards us?
Or is it receding away from us?
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Space
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Spatial relationships
Spatial relationships denote the distance and
positional relationship between one subject
and another within an image. If the distance
between subjects is confusing or unclear,
this can be said to be an ambiguous spatial
relationship. For example, the subjects may
be closer to (or farther apart from) each other
than we think. Photographers who can shoot
their images from unorthodox positions where
ambiguous spatial relationships occur can
create some very absorbing images that
force the viewer to work a little bit harder to
determine a sense of the spatial relationships
on offer in an image.
Creating depth or confusing the eye
Creative photographers are often nely tuned
to the power of space and can play with
the concept of space to achieve illusions of
depth and distance within their photography.
This can be achieved with careful positioning
(for example, allowing similar subjects to
blend into each other thereby obliterating
their outlines or edges) and effective use of
equipment. Lenses show wide variations of
depth depending on their focal length.
Wide-angle lenses, for example, take in a
wide area and can adequately show both
near and distant subjects clearly in focus.
As such, they can exaggerate the distance
between near and far, often giving the
impression of greater depth. Telephoto
lenses, on the other hand, tend to compress a
scene and subjects that are far apart appear
to be closer together than they really are.
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Title: Adday floating

Jeremy Webb
Deliberately shooting out of focus only
really achieves its effect when applied
to a simple subject such as this. Too
much detail or too little foreground/
background separation will overpower
the simple forms necessary for this
type of approach.

Title: Soccer pitch,
Mousehold Heath
Jeremy Webb
The flatness of any image has to be
seen through in order that the spatial
relationships between different areas
can be untangled and made sense
of. The distances between different
areas of an image are often confused
by the focal lengths of lenses, where
telephoto lenses, for example, make
subjects appear closer than they
really are.
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Photography manages to combine the
dual power of texture with light in many
extraordinary ways. Without light, texture
could not be seen, only felt. The synergistic
effect of light on texture has the strength to
affect us deeply through the photographic
medium.
Many of us marvel at photographys ability to
show detail some images present surfaces
and textures that make us want to reach out
and touch them. Such is the astonishing
power of texture.
Rough
Rough surfaces such as gnarled wood or
coarse bre material can often be best
revealed by strong directional lighting rather
than at, soft lighting such as that produced
by an overcast sky.
Strong sidelight, for example, easily picks
out the detail and contours of a craggy face
or a dune-lled landscape that contains a
multitude of dips and peaks. These variations
in surface texture, when illuminated by a
low raking light, for example, will trap light or
let light escape thereby producing stronger
contrasts of highlight and shade. This in turn
results in an image with a strong pattern.
Texture

Title: Frosty leaves
Jeremy Webb
Low winter sun helped to pick out
the frosty texture of this scene. The
blue colour is typical of the shadows
cast at this time of year and helps to
accentuate the chilly winter feel.
Some images present surfaces
and textures that make us want
to reach out and touch them.
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Space | Texture | Case study 2

Title: Skin
Jeremy Webb
Rough textures often require low
lighting in order to accentuate the
folds, creases and dips of a surface.
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Smooth
Many smooth textures, such as polished
glass or metal, may be said to have no
texture at all and yet we know from the
photographic evidence in front of us what
they would feel like due to the combination
of light falling upon the subject and other
elements within in image. Smooth surfaces
often impart a sense of calm or relaxation.
Random
Different textures appearing in one subject
or image can present problems to the
photographer. While one type of surface
may suit one type of lighting, other textures
may require something else altogether.
Texture

Title: Wet rocks, Auchencairn
Jeremy Webb
The slippery smooth surface of
wet rocks is only visible if the light,
viewpoint and framing are used
together effectively to emphasize its
surface appearance.
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Space | Texture | Case study 2
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Light transforms everything it touches. The images here were both taken
at the same location, from virtually the same vantage point, but at very
different times of day.
The bottom image shows the smash of a wave against the side of a jetty.
A fast shutter speed has frozen most of the movement, but allowed some
motion to show in the water in order to increase the drama of the scene.
Its a reasonably successful image in that it conveys a clear intention and
communicates a sense of the power of the sea.
The top image was taken at the same location approximately six hours later.
Here, the sea is less dramatic, but the low winter sun about to disappear
below the horizon has picked out the wave and cast it in a golden light
at its moment of impact against the jetty wall, creating a more exciting and
appealing image.
For most photographers, light and time are not simply x and y in some
precise equation expressing how long the shutter remains open, or how long
a print should be exposed for in the darkroom. Time is inextricably linked with
light in a much more fundamental way. It allows us to observe the changing
nature of light over the course of many hours and enables us to control the
moment of capture.
Case study 2 Light and time

Title: Gorleston-on-Sea
Jeremy Webb
Landscape photographers will wait
for hours for the light to be right. If you
can afford the time to set-up your shot
in the right light, the rewards are well
worth it.
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Light is the fundamental currency of
photography light is what makes it all
happen. Without it there is no image.
Light transforms everything it touches and
photographers have their own vast language
to describe its many forms.
Look at the worlds greatest photographs,
from Edward Westons Peppers to a Rankin
portrait, and the photographers respect,
understanding, and control of light is
probably of equal value (if not more) to
the subject itself. How we see light, how
we understand its properties, and how we
control and manipulate it, is what sets great
photographers apart from the journeymen.
To many photographers, there is simply no
such thing as bad light, just challenging
lighting conditions. Some photographers
thrive in low-light situations where tripods
and slow shutter speeds allow the process
of photography to pause the world for a
brief moment enabling us to capture the
motion of water or to freeze the speed of a
hummingbirds wings.
Quality
The quality of light usually relates to the
source, direction and amount of light in a
photographic image. Mood and emotion
are heavily inuenced by the quality of
light applied.
Large, broad sources of light will deliver soft
lighting to a scene or subject, much like the
overcast sky on a landscape. Small, narrowly
focused light, such as that produced by a
ashgun or the bright sun, tends to produce
harsh light that gives hard shadows, which
provide greater contrast.
Light

Title: Sky reflection
Jeremy Webb
The light from a winter sky shows the
smooth surface of the shallow water
and the texture of the sand.

Title: Windowlit figure
Jeremy Webb
Soft daylight is perfect light for
figurative work in photography.
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Case study 2 | Light | Colour
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Direction
Photographs often provide useful
clues that lead us to understand some
component of their construction. This in
turn often leads to an understanding of
a photographers intent or motivation.
Shadows are an obvious example of this
since they imply both the quality and the
direction of the light the subject is cast in.
Light can come from above the subject,
from the side, or from below the subject.
Again, the direction of light can have dramatic
effects on the emotional reading of an image.
Heroic gures in action-movie posters, for
example, are often shot in bright overhead
lighting that emphasizes the masculine
features of a face or a sculpted torso. A
horror villain or vampire, on the other hand,
will often be lit from underneath in order
to maximize the sense of threat or evil.
And for anyone who doesnt believe that
these lighting effects are more fantasy
than reality, look up the portrait of Alfred
Krupp by Arnold Newman and nd out
how this image led to real ramications
for both photographer and subject.
Light

Title: Sweets on swatches
Jeremy Webb
The lighting for this image was
provided by a single small torch. By
using a long time exposure, the image
records the shadows created by a
multitude of different angles as the
light was painted around the scene.

Title: Asian girl
Barry McCall
The drama of this image is
heightened by a lack of light from
the front (photographer side) of the
model, and increased further by the
use of backlighting and sidelighting,
which emphasizes the sculptural
nature of the pose.
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Strength
The strength of light is often called intensity.
Bright light has many benets for the
photographer. It may create shadows that
can be useful for composition and it can also
give a sense of depth to the image. Strong
light may require fast shutter speeds that
can allow action to be temporarily frozen
and studied. It may also require the use of
a small lens aperture, which would provide
good depth of eld, thereby allowing the
photographer to achieve good focus and
sharpness throughout the image.
However, strong bright light can have
negative effects as well. All of the benets
above can also be drawbacks or limitations if
different creative approaches are required. It
may be that the shadows generated destroy
the detail of something present within the
scene, or that a wide aperture is required as
the photographer intends to apply a small
depth of eld in order to emphasize only a
certain aspect of the scene.
There are, of course, many technical solutions
to these problems, but photographers must
not assume that bright light equals good and
low light equals bad. There simply exists a
range of different lighting intensities, all of
which provide opportunities and challenges
to the creative photographer.
How light reveals hidden pattern
Different subjects demand different
treatments from photographers. Beauty
portraits, for example, require broad, bright
and soft sources of light that soften and
conceal wrinkles and the natural texture of
human skin.
On the other hand, the craggy features
of an old persons face, for example, may
require the photographer to reveal the
rich pattern of random creases in stark
contrast, exposing the crevices of the
skins surface by using directional side
lighting to emphasize the texture.
Light
Photographers must not
assume that bright light =
good and low light = bad.
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Title: Under the pier,
Great Yarmouth
Jeremy Webb
Winter sunlight rakes across the
surface of the sand under a seaside
pier, revealing a textural pattern
created by the wind-blown sand.
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Texture
As weve already seen, texture is simply
touch sensation without the illuminating
properties of light. Texture can be felt,
described in words or understood spatially.
Without light, however, it remains in darkness
like the rest of the material world.
Photographers who understand light, and
who know how to control and manipulate
light, will expose texture in a multitude of
innovative ways to make it as powerful as
possible within the limitations of the two-
dimensional image. There isnt another
medium that can act so powerfully on our
perception of touch. Photographers who
are uent with their technique and who
are sensitive to their subjects learn how to
capitalize on textures through careful use of
lighting, positioning and viewpoint.

Light

Title: Hemsby sand, Norfolk
Jeremy Webb
The texture of sand is revealed by
hazy overhead light as it picks out the
ridges and contours of the dune.
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Light creating long shadows
Shadows are as important as light. You
simply cannot have one without the other.
They are fundamental to our emotional
connection to an image and affect our
subconscious at a deep level. As children,
we may invent danger lurking in the unseen,
or enjoy the ability to hide ourselves from
view within a shadow. Under controlled
situations you can, of course, choose a
lighting style that minimizes shadows, or
makes the most of their dramatic presence.
Hard, solid shadows are the result of a single,
strong, directional source of light such as the
sun or a ashgun. Soft shadows arise from
softer, broader sources of light such as light
reected from a ceiling or an overcast sky.
Long shadows are created by low-angle
lighting, and their visual strength can be
emphasized by simply making these dark
shapes integral to the overall composition
of the image.
However, we dont simply have to accept
what nature (or expensive studio lights) throw
at our subjects. We can control the strength
of shadows by reecting light back into
shadow areas, thereby softening the contrast
between highlight and deep shadow, if that is
the effect we require.
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Title: Provence, 1976
Martine Franck
The shadow created by the boy
in the hammock is essential to
the compositional strength of this
bold image. In your minds eye, try
removing the shadow and see
if the image remains as strong
without it.
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Understood and celebrated by every culture
and every stage of human development,
our sense of colour is a primary visual force
in our lives; it is of critical importance to
photographers. Colour affects our moods and
perceptions it has a direct and measurable
impact on our heartbeats, body temperatures
and metabolisms. For the photographer,
colour provides a massive avenue for
experimentation; immersing ones self in its
potential for photography is wildly fun and
thrilling, yet also complex and unnerving
when one realizes its power to affect our
perceptions of the world.
Colour psychology
There are many well-known and scientically
proven connections between our experience
of colour and the resulting states of mind
that they induce. Photographers with a keen
sense of this power can access the palette of
the rainbow to powerful effect. In the simplest
terms, blues and cyans can induce a sense
of cool, while warm reds and oranges impart
a feeling of warmth. But the power of colour
goes far deeper than this.
Colour can be used to create contrast in
a number of ways. The so-called warm
colours appear to move forward and out
of the page or print, as if advancing ahead
of other colours. On the other hand, cooler
blues and greens often give the illusion
of holding back they provide a hint of
reluctance to come forward and do not
present themselves with condence in the
same way as warm colours do.
Contrast can also be created through the
positioning of strong colours against pastels,
or the more obvious dark against light. Impact
and immediacy are the result of strong, active
colours positioned together, while a sense
of calm relaxation often results from dark
or neutral backgrounds used to promote a
single colour subject.
Colour

Title: Merry-go-round
Ricki Knights
The deliberate placement of colour
opposites evoke an emotional
response. In this image the cool blues
of the dark sky and the warmer, more
inviting reds create an image rich in
colour psychology.
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Title: Red velvet cake
Mary Amor
This image uses unconventional
framing for impact, which makes the
most of a single colour at the heart of
its construction.
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Complementary colours
The most commonly known and recognised
complementary colours are red paired with
green and blue paired with yellow or orange.
However, with photographers now being
more adept at manipulating both primary
and secondary colours, green and magenta
or red and cyan are now used as powerful
combinations that provide strong contrast.
These dynamic duos come from opposite
areas of the colour wheel and produce
powerful effects on the retina. However, their
effects can be dulled or lost by introducing
further colours or shapes to the composition.
Single colour strength
Sometimes an image comes alive when one
colour dominates the scene. For example,
a single splash of red amidst an image of
greys and muddy browns will immediately
grab the attention of the viewer.
More often than not, a primary colour will
achieve this result faster than a predominant
pastel hue of subtle shade. Its interesting to
note that a simple red square will appear to
be of a darker hue when placed on a black
background, and yet the same identical
square will appear to be of a lighter hue when
placed against white. This is an extremely
simplistic example of the phenomenon by
which colours can be manipulated in terms of
their perceived hue, depending on the
context or background within which they
are placed.
Colour

Title: Colour wheel
Gavin Ambrose
The colour wheel for photographers
is different from the colour wheel
for paint and pigment. It shows
the primary colours of red, green
and blue equally spaced within
the wheel. An understanding of
the colour wheel is important if
photographers are able to correct
colour casts, for example, in their
digital image editing. Opposite
colours are introduced to cancel out
a colour cast on the opposite side
of the wheel (for example, cyan can
be increased in order to reduce a
red cast).
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Title: In medio umbrae, thurmoil,
broken dreams
Rommert Boonstra
These three images emphasize vivid
reds at the core of their construction,
but their vibrancy is strengthened
further by lighting, texture, strong
composition and a powerful
appreciation of the visceral.
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Bold colour vs subtle colour
The strength of colour can be utilized to affect
our mood and level of engagement with an
image. Bold and assertive primary colours
often announce the intention of an image
to shock or surprise, whereas a palette of
soft and subtle colour invites us to form a
quieter, more contemplative relationship with
an image.
Colour
Title: Mushroom on a
winter beach
Vadim Tolstov
The cold blue shadow created by
this structure mimics precisely
the same shade of blue found
on the structure itself.
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Title: Spanish farm

Libby Double-King
Photographers should work with
colour in all its forms, from brash and
bold to soft and subtle. This beautifully
simple image shows how pastel
colours can blend harmoniously when
used with a strong compositional eye.
Bold and assertive primary
colours often announce
the intention of an image.
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Mono in colour
Occasionally, photography offers us a
situation where the subject itself provides
little, if any, colour, and appears to be
completely monotone. Some examples are
silhouettes against a cloudy sky, or patterns
revealed by the play of light on water.
Presented within a colour series, such
images immediately stand out, appearing
as if they dont belong, but also
remaining tied by theme or subject
to the set. Many photographers enjoy
monochrome precisely because it focuses
their ability to experiment with design
principles in a slightly different way.
Colour
Photoshop monochrome conversions
Many photographers who begin to explore
Photoshop assume that monochrome
conversions can simply and easily be made
by desaturating the image of colour.
This will result in a bland and tonally incorrect
conversion. Use the Channel Mixer instead,
with Monochrome checked, then edit each
colour channel in turn until the desired effect
is achieved.
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Title: Beach running
Ernst Haas
Ernst Haas was well known for his
use of slow shutter speeds. Shooting
into the light, the photographer has
created an image full of movement
that requires no colour to succeed.
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One of the greatest challenges facing the photographer is the
requirement to remain photographically t in order to develop an
awareness of design and its impact on creativity. No concert pianist
or ballerina walks onstage without going through endless hours of
practice, warm-ups and exercises beforehand in order to reach a
pinnacle of readiness and technique. So why do photographers expect
to take great pictures all the time without undergoing similarly rigorous
workouts?
As photographers, we often experience the blank page of a world full of
possibilities, but also the crushing weight of responsibility to make something
of it. This exercise addresses that problem by allowing you to take time out to
experiment with your design skills and place restrictions on your raw materials.
In this task, youre invited to combine and use only a few items in order to
come up with some simple designs drawn from your creative approach to the
exercise, and your careful choice of lighting and background.
The raw ingredients? An egg, six small twigs, a glass lens, and a length of
string. You can use as few or as many of these elements as you like, but use
only these items in your compositions. Limitation will force you to use design
skills to create minimal or complex designs, explorations of line, tone, contrast,
texture and so on. Remember that you also have two very important additional
ingredients to work with: light (soft, side, harsh, raking, etc) and background
(black, textured, plain, crumpled, etc). Approach this opportunity with an open
mind and plenty of time, and you can learn a lot about yourself as
a photographer.
Exercise 2 Design limitations
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Title: Raw elements for a
design exercise
Jeremy Webb
Restrictions placed on a creative
exercise can provide meaningful
boundaries within which to work;
they enable you to design your image
with more creativity and focus.
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Without a doubt, one of the most
frustrating aspects of photography
is the inability of a photograph to
break free from its own inherent
atness its two-dimensionality.
To state the obvious, a two-dimensional
print representing a small portion of the
three-dimensional world is always going
to disappoint if we dont accept and try
to work within its limitations.
Our imaginations are very good at
interpreting a sense of depth when
we look at a photograph. Distances
between objects and relative scale are
all calculated by instinct and judgement
without us being truly aware of the
process. Thus, we construct invisible
layers of depth or markers that denote
perceived space and distance in an
attempt to circumvent the limits of
two-dimensionality.
Skilled photographers, being nely
tuned to this issue, have become
adept at working within conventional
design principles to manufacture
depth. There are a number of skills and
techniques that can be used by any
photographer to increase the appearance
of depth in their photography.
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Title: Blob cloud and hat
Jeremy Webb
Sometimes the eye is constantly
moving between two competing
elements within the frame in order
to determine the spatial relationship
between them.
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Compositional skills are one of the primary
techniques that can overcome a photographs
limitations. The ability to place and position
major elements in your frame, which lead or
guide the eye through a scene, is preferable
to merely dumping your viewer in front of
a at focal point. This does not give the
imagination much to feed on and the viewer
quickly loses interest.
There are other more immediate factors that
lie in wait for photographers even before the
viewnder is raised to the eye, and these will
be discussed in this section.
Using light to achieve depth
Photographers often talk about light in terms
of the physical properties they reveal and
their effect on a subjects appearance. Flat
light often results from a light source that may
be quite strong, but is diffused and comes
from a broad origin and from an angle close
to the axis of the camera or the subject.
Overcast skies can produce this kind of
light and may provide plenty of illumination;
however, it does not provide much in
the way of contrast. Contrast, which we
looked at in the previous chapter, helps to
dene separation between different tones,
increasing our appreciation of a subjects
three-dimensionality.
Photographers can use at lighting for
a range of purposes. Its often used in
fashion and beauty photography precisely
because it is soft and does not reveal
wrinkled textures in skin or materials.
It lights evenly and creates minimal
shadows. In a studio, the effect is often
created by the use of a soft box, which
provides even, fairly shadowless light.
A low, raking light will provide just the
opposite. This kind of lighting, in which a
bright, single source of light is held low and
to the side of the subject, will highlight every
peak and leave long, deep shadows in any
dips or troughs on a subjects surface. The
effect highlights texture and amplies our
appreciation of the subjects surface or form.
This kind of light might be used to highlight
wrinkled or craggy skin in a character portrait,
and can be easily created in the studio
using bright light sources such as spotlights
or even slide projectors. In nature, it can
be seen from the low light of a setting sun
against the rough bark of a tree.
Overcoming limitations

Title: Sand ripples
Jeremy Webb
Backlighting and a low angle of view
can also be used to increase the
sense of depth within an image. Here,
the low light only allows for a wide
lens aperture, which produces narrow
depth of field effects.
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Title: Pipeline, 2005
Michael Levin
The sense of space created by the
breakwater structure extending
away and into the horizon creates
a necessary degree of depth to this
image. It helps to alleviate some of
the limitations of the two-dimensional
flat image.
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Content and context
A subject that stands apart from its
background is said to show good foreground/
background separation. This is a fundamental
concept in design and photography and
its critical to our appreciation of the spatial
separation between a subject and its setting.
In most cases, of course, the main subject
of an image will always be in the foreground,
and the setting or environment it exists
within will be the background. But creative
opportunities exist to overturn this dual
relationship and reverse the conventional
arrangement by shooting beyond a
foreground subject (by using deliberate blur
or de-focus), guiding the emphasis of your
image towards the background as subject.
Overcoming limitations

Title: Crashing wave, Scratby
Jeremy Webb
For certain situations where fast
movement and unpredictability
occur, the autofocus function of
many modern digital cameras will be
useless. It is far better to pre-focus
manually where the action can be
predicted to occur.

Title: Handcuffs
Oliviero Toscani
The international success of Benettons
advertising campaign images is
not solely down to shock value and
controversy. By carefully stripping
away everything that is superfluous
and unnecessary, the image content is
always direct and economical, allowing
the visual message to carry its power
without ambiguity.
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Overcoming limitations | Actual and illusory depth
The limitations of autofocus
and autoexposure
These days, modern cameras are packed
full of circuitry and fail-safe devices to
ensure that a photograph can be captured
with as much clarity as possible, at all
costs. There are anti-shake modes, and
exposure modes pre-set by manufacturers
for landscape, portrait, close-up, and even
sunny or cloudy weather photography.
Of all these different helpers, the mass
adoption of autofocus and autoexposure
has been the most widely accepted
however, these tools could also be the
most detrimental to creative photography.
Without a doubt, both modes will help get
you out of a hole. And if you have to get that
once-in-a-lifetime grab shot, why would you
shoot in any other way? But more often than
not, we have far more time on our hands
and have simply become lazy we rely on
autofocus and autoexposure to do all the
work for us. This hardly encourages us to
apply our own choices. Automation often
reduces our power to inuence some of
the most basic techniques in photography.
The simple user-controlled techniques
often genuinely liberate our creativity and
individuality. Sadly, were often happier
remaining enslaved to all things automatic.
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Foreground and background separation
As weve seen, this refers to the means by
which the main subject of your image stands
out from its environment or background.
Photographers should be aware of the
elements of design that strengthen the
degree of separation between foreground
and background, thus increasing the
perceptual depth within the image. Many of
the design elements weve looked at can
boost foreground/background separation:
contrast, complementary or competing
colours, and textural differences to name
a few.
Sometimes the lack of separation can also
create an appealing image. A sense of
mystery or abandonment may draw us in
where layers of depth are hard to perceive
a foggy scene of trees, for example, where
individual elements may seem hard to locate
in relation to others.
Real depth can only be experienced. The initial
sensation of being aware of our own position
within an environment is quickly supplanted by
the realisation that distance extends outwards
from our position in all directions.
Sometimes an image that does not engage
us so often simply lacks a sense of depth.
Its subject may be of interest to us, the
arrangement of different elements within
its composition may appeal, but something
about the image makes us feel were being
offered a bland snack when what our
imaginations crave is a feast.
Photographers have at their disposal the
means to create that feast by adopting a
viewpoint, distance, and degree of coverage
of that emphasizes depth. Since any
photographic image is two-dimensional, the
depth created is illusory, but this is not to say
that it cannot convince the eye into believing
that it is something greater. There are many
ways to achieve this.
Actual and illusory depth

Title: High-wire walker
Jeremy Webb
Foreground information helps the
imagination to assess depth and
distance within an image.
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Scale and proportion

Title: Vivienne Westwood
Mark Johnson
Foreground and background
separation can be strengthened by
using a longer lens (higher focal
length) whereby depth of field
effects can be better used to blur the
background. This wonderful portrait
of Vivienne Westwood also shows
an interesting blending of colours:
the more saturated, vivid colours
of her hair and knitwear are in the
foreground, while the more subtle
colours of the urban browns and
green are in the background.
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Positioning of picture elements
Many successful photographers make use
of our sophisticated sense of perspective
and space by skilfully placing a series of
elements or points of interest at varying
distances throughout the frame: foreground,
middle and far distance. These points of
interest anchor our gaze temporarily and
allow us to wander through the image in a
route organized by the photographer.
The careful positioning of elements is
much easier to achieve and conceive
where images are planned and prepared
from the start. Still life is a good example
photographic image can be built from
scratch instead of attempting to manipulate
multiple elements and points of view out
in the eld where this may be physically
impossible or simply impractical.
Use of depth of eld
Perhaps more than any other technique,
photographers should be aware of the
principles behind depth of eld. Light, lens
focal length and lens aperture (the size of the
hole used by the lens to gather in the light
required to create an accurate exposure) are
critical to the amount of sharp focus within
the image.
Small apertures of f16 or f22 will provide
maximum depth of eld (good focus from
near foreground and extending into distance)
whereas larger holes, such as f2 or f4, will
provide a very narrow band of sharp focus
items in the near distance and far distance
will be out of focus.
Wide-angle lenses will allow greater depth
of eld at large or wide apertures, but they
can also distort our sense of perspective,
scale and spatial relationships. Telephoto
lenses are less tolerant of large or wide
lens apertures and focusing becomes more
critical although narrow depth of eld can
easily be achieved.
Why is all this technical detail important?
Depth of eld assists our imaginations
in perceiving depth within an image by
conferring emphasis (sharp focus) on part or
parts of an image we want to underline. This
therefore gives less importance to elements
that are in blurred or de-focused areas.
The careful positioning of elements
is much easier to achieve and
conceive where images are planned
and prepared from the start.
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Title: Romania, 2005
Tamas Dezso
Placing figures at either end of the
frame and at different distances
allows the eye to switch between
the two elements and explore the
background in between.
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False attachment
This is a neat trick occasionally used by
photographers who enjoy the opportunity to
play with our knowledge of two-dimensional
atness and three-dimensional reality. It
requires two planes of distance near and far
and creates the illusion that near is as big
as far, or that far is as near as big. In effect,
it attempts an optical illusion by suggesting
that both foreground and background
actually share the same scale and distance
to camera. Our brains, however, unpick this
deception and quickly separate both planes
of depth, and so we simply enjoy the joke.
Down the line images
Imagine a row of bottles on a windowsill.
Do you shoot them head-on? Do you simply
frame them all, equally sized, all lined up from
the left-hand side of the frame to the right?
A slightly more creative response might be
to go to one end of the line and shoot down
the line, allowing some bottles to stay in
focus whilst other drift out. This then creates
the illusion that each bottle is a different
size even though this is simply the result of
similarly sized objects receding in apparent
size due to the effects of perspective.
This kind of approach may seem obvious and
simplistic, but theres a world of difference
between the results of the two approaches.
One appears at and uniform, its ordered
pattern is monotonous; the other approach
is more likely to generate an image with a
greater sense of depth.

Title: False attachment
Jeremy Webb
Simple optical illusions such as this
combine near and far subject matter
that seem to share the same distance
to camera.
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Layers, reections and
multiple exposures
Layers created by reections allow
photographers to project more than one
meaning or interpretation to their image
while at the same time inviting the viewer to
perhaps switch between messages.
The degree to which different layers of
meaning or intent become apparent can be
harnessed by a skilful photographer to create
a sense of depth. It is a delicate process and
the photographer must ensure that the image
does not become muddy or indistinct. Careful
judgement is required in order to attain an
image that is not too complex or unreadable.
Multiple exposures have always fascinated
photographers of a more haptic nature, and
have been used from the earliest beginnings
of photography. Used successfully, multiple
exposures can create an impression of depth
as the eye switches between the exposures.
However, one must bear in mind that if
the result of such conglomerations are too
random or unsuited, confusion and frustration
can often result.
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Title: Reflection of St Peters
Jeremy Webb
Both the old and the new can be
brought together in different layers
by using reflections in the urban
environment.
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Scale allows us to view the size of something
compared to a normal or average model.
Most photography represents the scenes and
subjects we witness on a daily basis as they
are, but photographers have an opportunity
to use scale as a design tool in order to force
us to view a subject in a completely new light.
The importance of scale to perception
The willingness with which we can accept
exaggerations of scale (both normal to small,
and normal to large) depends on many
factors, not the least of which is being able
to judge the intent of the photographer or
image-maker.
If its felt that the photographer is simply
trying to deceive us with image trickery (by
digital image editing, for example) we may
not buy into the vision and reject the image,
deeming it too absurd or ridiculous. But if we
enter into a kind of contract with the image
creator through a shared sense of fun, we
can accept the deceit and take part in its
obvious manipulation.

Title: Albuquerque, New Mexico,
1957
Garry Winogrand
Winogrand intuitively captured
moments of ambiguity or uncertainty
in his work. In this image a small
child is emerging from a vast dark
interior into a sunlit world where there
appears to be no boundary between
the safety of home and the great
wilderness on the doorstep. The
childs size and proportion in relation
to everything else within the image is
what gives this photograph its power.
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Title: Supergirl with giant silver
shoe
Steve Hart
Visual deceptions and tricks that
exploit our ability to perceive size and
scale are a favourite technique in
advertising photography it has the
ability to grab our attention.
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Foreground and background separation
Proportion, like scale, is often measured
against a scale of normal values.
It describes the size of something in
relation to this xed idea of normality. In
photographic terms, it not only describes
the disproportionate relationships between
shapes or forms having extreme differences,
but also describes subjects whose distance
to the camera (and therefore whose size
within the photographic frame) may be
termed disproportionate.
Such techniques, whether manipulated or
accidental, can create wonderfully intriguing
imagery as the brain attempts to make
sense of the differences between the
apparent size of something against what
is expected.
Photography has always enjoyed a
tenuous relationship with truth. Subverting
expectations and assumptions by
manipulating size or shape proportions is
another means of exploring the medium
creatively.

Title: Tunnel #2, 2003
James Casebere
Casebere exploits to the full
our willingness to accept the
photographic truth of his
meticulously crafted and beautifully
lit interiors. As real and as life-sized
as they appear to be, they are in fact
created on a much smaller scale
within a studio. The photographers
use of lighting, the creation of depth,
the absence of any superfluity or
detail, and his colour palette all
combine together to create these
emotionally charged interior scenes,
which evoke some powerful and
perhaps unexpected emotional
responses in the viewer.
Photography has always enjoyed a
tenuous relationship with truth.
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Photography student Sanette Blignaut shot a series of fashion images
to show a range of garments in the outdoors. Aside from being
beautifully styled, the images project a condence and professionalism
resulting from many factors most of which are the result of careful
consideration given to design principles. The natural setting works
sympathetically with the clothes, and the make-up colours used
complement the colour palette within the images.
The image on the top left shows good separation between foreground and
background as provided by the depth of field, allowing the background to
go out of focus, which in turn projects the model forward.
The image on the top right is rich with texture: the smooth skin on the
models face, the hat, her hair, the pleats of the coat and the bark of the tree.
The light appears to be coming from strong sunlight above and to the left of
the model. This has been softened by a reflector, which bounces the light
back towards the shadow side of the models face. Another intriguing shadow
is cast by a single strand of hair, creating a point of interest.
The image on the bottom right manages to create a sense of depth through
the use of a wooden gate or fence that leads from foreground to background.
Again, the separation between foreground and background is evident, and
the hazy sunlight from the right-hand side casts a bright, but soft light on
the model.
The image on the bottom left is a good example of creative rule breaking.
Not only has the models face risen disproportionately to the top of the frame,
but the top of her head is also cut off by the edge of the image. What works,
however, is the balancing act between two areas of interest and the space in
between. The models face appears at the top of the frame while the detail
of the garment and some beads appear at the bottom. Subject matter of
primary importance is usually placed in or near the central area of the frame,
but here, the space is used as a gap to separate the two primary areas
of interest, allowing the eye to switch between them and explore other
elements nearby.
Case study 4
Style
and setting
Case study 4 Style and setting
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Scale and proportion | Case study 4 | The absence of scale

Title: Fashion images
Sanette Blignaut
The suitability of the environment is
critical to our reading of images. The
backgrounds and natural textures of
the woodland used for this series
work in harmony with the clothes and
make good use of the natural light
available.
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Playing with scale allows the photographer
to mask or obscure the obvious. In practice,
many subjects can be photographed from
a range of distances. This allows us to take
good, clear images that show the subject
within its environment. These images can
be taken at a sensible distance to render
the subject at a proportionate size within
the frame.
On the other hand, we can do without
proportionality altogether, and through the
use of lenses, viewpoint, shooting angle or
distance, completely obliterate any sense
of scale.
Disorientation
Abstract photography can be so compelling
because it provides no sense of scale
or proportion. This leaves us oundering.
However, the brain is determined and
programmed to make sense of the
most bewildering of circumstances.
Being able to let go of rationality and an
analytical deconstructive approach to
abstract images is easier for some than
it is for others. We still live in a world
where everything has to be explained.
The ability to let go allows us to view and
appreciate a scene that doesnt make sense
at all. It is possible to nd great beauty in
unanswered questions or the unexplained
being lost is sometimes a great place to be.
Reference points
Like anchors in a storm, reference points
give us a clue or a sign that help us to make
sense of a disorientating image. Once these
points are found, the eye and the brain start
to understand what it sees.
An image of bare golden desert at sunset
could be taken from an aeroplane above
to create an interesting pattern of light and
shadow, dips and rounded bumps, and a
beautiful golden texture. And yet, place this
image in front of someone who is unaware
of the subject or the circumstances and they
might think it is an image of a square foot of
sand right next to the photographers feet.
Only a reference point, such as the long
shadow of a desert camel or a small oasis,
would break up the unity of this particular
image, providing an instant marker with which
to assess scale and proportion.
The absence of scale
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Case study 4 | The absence of scale | Abstraction

Title: Wood, Winterton
Jeremy Webb
The absence of any recognisable
scale can act powerfully on our
reading of an image.
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Abstract photography comes from an
expressionist approach to the medium, and
its relationship to scale deserves a closer
look. It may be most visible in the ne-art
world, but commercial photography has often
used abstraction as an artistic way to express
bigger concepts. In car advertising, for
example, where the camera pulls away from
a single droplet running down a beautifully
waxed bonnet to reveal the car in all its glory.
By proximity with subject
In Chapter 1, we looked at how the edges of
the frame can dene objects in space and
how a rational understanding of a particular
scene can be reached by the way we
organize the various elements in our images.
If we show an object without its edges,
it becomes unfamiliar to us and we
become lost. This forces us to observe the
objects substance rather than its shape
or form. Abstract images provide us with
an opportunity to take pleasure from the
observance of resulting design elements
such as line, colour and texture. Abstracts are
a wonderful way of keeping photographically
t we are forced to exercise our creative
muscles by creating meaningful imagery from
the most unpromising of subjects.
Telephoto lenses can take us articially closer
to a subject due to their ability to condense
and reduce a scene and ll the frame with
many identical shapes, which result from
a foreshortening of perspective. Subjects
or elements that might appear more widely
dispersed with wide-angle lenses are still
possible to capture provided that the edges
of the scene or subject are excluded.
Abstraction

Title: Glass light
Jeremy Webb
Abstracts often achieve an impact
when scale and proportion are absent,
forcing the viewer to focus on how the
design elements work together.
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The absence of scale | Abstraction | Exercise 4

Title: Crouch
Jeremy Webb
Getting closer to any subject allows
you to create an abstract view that
may have far more visual appeal
than a more conventional shot from a
greater distance.
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By viewpoint
Altering your viewpoint is an easy way of
creating abstract images try adjusting your
position in relation to your chosen subject.
Adopting a shooting position whereby
a conventional framing of your image is
deliberately obscured by competing elements
will hide clues as to the real shape or form
of your subject simply because its full mass
cannot be seen.
Alternatively, use a low viewpoint in order to
frame. For example, capture the bark of a tree
against a bland white backdrop of sky this
is one way of avoiding all references to scale
or recognisable matter, which may enhance a
good abstract image.
By de-focusing
Allowing areas of your image to become
unfocused can abstract a scene or
subject forcefully or with great subtlety.
Many photographers create intriguing
abstracts by fully de-focusing the whole
image, thereby putting conventional
practice into reverse and deliberately
reducing sharp detail to indistinguishable
areas of blurred colour and form.
This process allows us to drop the intellectual
and reductive approach to an image and
simply enjoy the abstract arrangement of
design elements, which have now come to
the fore through de-focusing.
Through the careful use of depth of eld,
it is possible to control the amount of
de-focusing in your image. You dont have
to blur the entire picture for an interesting
abstract to result just taking the time and
care to create intrigue and mystery can
result from overturning the conventional
methods de-focus your foreground, focus
your background. Rules are always there
for breaking, provided you can justify your
outcomes sufciently.
Abstraction
Rules are always there for
breaking, provided you
can justify your outcomes
suf ciently.
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The absence of scale | Abstraction | Exercise 4

Title: Hammer head
Duncan Loughrey
Lighting and viewpoint combine
powerfully in this image. The handle
of the tool is not necessary to include
in the image once the simple form of
the hammerhead itself is understood
the imagination does the rest.

Title: Green III from the series
Winterstille
Christiane Zschlommer
Intriguing abstracts can be created
by deliberately using de-focusing to
disorientate the viewer. Used with
strong colour, the effect is even more
powerful, allowing the image to assert
its design elements with confidence
and integrity.
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Abstract images, perhaps more than any other type of image, force
us to examine the design principles that lie at the heart of their
construction because a recognizable and specic subject is absent.
What remains allows us to enjoy the more visible effects of design
elements in all their glory.
From the interior and exterior environments around you (or from the list below),
shoot a series of six abstract images that focus on a particular aspect of
design:
1. An abstract image created by the play of sunlight upon a textured
surface.
2. An abstract image created by an unusual or unorthodox viewpoint.
3. An abstract created by blurred or unfocused colour.
4. An abstract in monochrome, showing good contrast and detail.
5. An abstract image that shows a repeating pattern.
6. An abstract image that shows a sense of depth existing (real), implied
or constructed.
Exercise 4 Abstract images
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Abstraction | Exercise 4
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Title: Abstract images
Jeremy Webb
You dont have to travel too far before
abstract images start to reveal
themselves. All of the above images
were created within a variety of
domestic environments and were the
result of observing how light,
exposure time, viewpoint and
proximity can all combine to produce
stunning imagery.
Basic design theory
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Movement
and ow
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Where I was | Where I am | Where I am going
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Behind many great compositions lies a
solid structure of design that acts like an
invisible blueprint upon which all the
visible matter of the photographic content
appears to rest. Much of what often
passes for compositional genius in the
art world may in fact be simply the result
of a genuine gift of artistic instinct;
perhaps developed unknowingly through
an immersion or interest in visual art
initiated at an early age.
We are all, however, able to draw on the
power of composition and design skills,
and this is necessary in order to support
the creation of original and engaging
photography. Visual artists of all kinds
continually make use of many of the
design tools and techniques that provide
the means by which the very static nature
of the single image can be offset, or at
least partly overcome, by directing the
gaze of the viewer within the image and
conveying a sensation of movement
or ow.
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Title: Uncertainty
Ansen Seale
The photographers imaginative
use of slitscan photography allows
strange collisions of movement and
time to take place in a process where
unmoving objects are blurred and
moving bodies are rendered clearly.
This image has resulted in an unusual
repetition of a single figure, with each
of the four elements or stages being
marginally different from the next.
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The use of directional forces allows the
photographer to steer the eye of the viewer
towards particular elements in an image
maybe in a particular order or simply to guide
the viewer around the image in a journey that
will make the most sense to him or her.
This process is simply not achievable when
faced with a fast-moving subject matter
or in situations where time and subject
motion are beyond our control. However,
its possible to maintain peak interest in
an image by carefully observing line (both
real and imagined) and direction within the
frame. Being able to produce compositions
that are capable of directing the eyes
movement in this way is a valuable skill for
any photographer.
Lines
The use of a line quite naturally demands that
our eye follows it. Were simply conditioned
that way. Exploiting this knowledge allows
photographers to place elements at particular
points towards the beginning and end of
those lines. Thus, the eye is encouraged to
travel from one end to the other and explore
points or areas of interest in between.
When we talk about lines in photography,
there are two types to consider: real lines and
optical lines. Real lines are distinct design
elements within the image, while optical lines
are not actually visible they are lines of eye
movement that connect and link different
elements within the same frame.
Diagonal (optical) lines can work in several
ways. They create dynamic and powerful
lines of force if created from bottom left
to top right. However, they have less of an
impact when they run from top left to bottom
right. Its also worth remembering that
diagonal lines that run from right to left often
run counter to the brains conditioning for
leftright movement.
Directional forces

Title: Drama school, 2006
Hannah Starkey
Making deliberate use of the
diagonal lines that zigzag across
the scene, the left-to-right horizontal
movement in the image is disrupted
by human figures interrupting the
linear patterns created.
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Behind many great compositions lies a
solid structure of design that acts like an
invisible blueprint upon which all the
visible matter of the photographic content
appears to rest. Much of what often
passes for compositional genius in the
art world may in fact be simply the result
of a genuine gift of artistic instinct;
perhaps developed unknowingly through
an immersion or interest in visual art
initiated at an early age.
We are all, however, able to draw on the
power of composition and design skills,
and this is necessary in order to support
the creation of original and engaging
photography. Visual artists of all kinds
continually make use of many of the
design tools and techniques that provide
the means by which the very static nature
of the single image can be offset, or at
least partly overcome, by directing the
gaze of the viewer within the image and
conveying a sensation of movement
or ow.
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Title: Uncertainty
Ansen Seale
The photographers imaginative
use of slitscan photography allows
strange collisions of movement and
time to take place in a process where
unmoving objects are blurred and
moving bodies are rendered clearly.
This image has resulted in an unusual
repetition of a single figure, with each
of the four elements or stages being
marginally different from the next.
BLACK TEXT
The use of directional forces allows the
photographer to steer the eye of the viewer
towards particular elements in an image
maybe in a particular order or simply to guide
the viewer around the image in a journey that
will make the most sense to him or her.
This process is simply not achievable when
faced with a fast-moving subject matter
or in situations where time and subject
motion are beyond our control. However,
its possible to maintain peak interest in
an image by carefully observing line (both
real and imagined) and direction within the
frame. Being able to produce compositions
that are capable of directing the eyes
movement in this way is a valuable skill for
any photographer.
Lines
The use of a line quite naturally demands that
our eye follows it. Were simply conditioned
that way. Exploiting this knowledge allows
photographers to place elements at particular
points towards the beginning and end of
those lines. Thus, the eye is encouraged to
travel from one end to the other and explore
points or areas of interest in between.
When we talk about lines in photography,
there are two types to consider: real lines and
optical lines. Real lines are distinct design
elements within the image, while optical lines
are not actually visible they are lines of eye
movement that connect and link different
elements within the same frame.
Diagonal (optical) lines can work in several
ways. They create dynamic and powerful
lines of force if created from bottom left
to top right. However, they have less of an
impact when they run from top left to bottom
right. Its also worth remembering that
diagonal lines that run from right to left often
run counter to the brains conditioning for
leftright movement.
Directional forces

Title: Drama school, 2006
Hannah Starkey
Making deliberate use of the
diagonal lines that zigzag across
the scene, the left-to-right horizontal
movement in the image is disrupted
by human figures interrupting the
linear patterns created.
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Curves
From a design point of view, a curved line is
at its most powerful when set against straight
lines. It acts as a contrast to the more
mundane and uniform straight line by
introducing an element of change, softness
or unpredictability that can be very powerful if
placed appropriately and sensitively within
the composition.
More generally, curves are traditionally
associated with the feminine form and
features; they are found in natural forms such
as rolling landscapes or rounded pebbles.
The appearance of a curve or curves can
signify associations with water, nature,
spirituality and a certain calmness,
which offsets the more rigid and inexible
straight line.
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Directional forces | Case study 5

Title: Grey pavement
Jeremy Webb
Interesting compositions can be
observed and created from almost
anything even the pavement
beneath your feet. A strong curved
form sweeps through the linear grid
of paving stones, and further pattern
is revealed in post-capture image
editing to bring out the pattern and
texture of the pavement slabs.
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Student photographer Tomasz Tylicki took a bold
approach to a coursework assignment to photograph
aspects of the seafront in Portsmouth, UK.
The exterior shot of the restaurant windows and deck
umbrella contains an arrangement of lines, reflections and
areas of complex detail that divide up the frame into a range
of different spaces and shapes.
The strength of the composition lies in the careful position,
distance and viewpoint the photographer adopted for the
shot, carefully excluding any unwanted surrounding detail,
yet at the same time allowing the complex nature of the
lines and forms of the architectural environment to speak for
themselves.
The interior image of the seats in front of the bar area relies
on a simpler, less complex image of the restaurant seating,
where harmonious colours and repeating shapes are the
predominant design elements on display.
Case study 5 Lines and shapes
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Directional forces | Case study 5 | Containment
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Title: Portsmouth
Tomasz Tylicki
Shooting locations, such as the ones
shown, for commercial clients provide
creative challenges for many
photographers. From a design point
of view, it requires the photographer
to be very selective in what they
include and what they exclude, and to
make the most of the available light in
order to retain atmosphere and
ambience especially where interiors
are concerned.
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Photographic images not only allow us
to wander and explore freely within our
images, but they also keep the audience
contained and engaged with the experience.
Photographers want the viewer to be
engaged long enough so that their message
is completely appreciated and understood.
The trouble is, once we become procient at
leading our viewers through our skilful use of
optical lines and beautiful sweeping curves,
those same lines can take our curious visitor
right out of the picture and on to something
else. Suddenly, the interest is no longer held
and the viewer becomes aware of the space
outside the image.
This is often the result of an optical or real line
leading us right out of the picture. If this is the
case, the scene and its component elements
need to be contained. Sometimes, this is
possible by placing detail or an interrupting
element at the end of the errant line; the
line then ceases to become an exit route for
our eye. Skilful and sensitive observation of
areas of light or shadow can also be used to
obscure a line that seems to be heading out
of the frame. There are also other means of
attaining containment.
Containment

Title: Big Joe Thomas
offensive tackle
Cleveland Browns
Peter Read Miller
The border created by the sheet film
edges creates the simple means by
which the size and larger-than-life
presence of the subject can be held
inside the image border. The subject
fills the frame and space, and leaves
nothing in the way of background to
distract the viewer.

Title: On the wall, 1983
Olivia Parker
The very edges of a piece of sheet film
have created an instant border for this
image that neatly contains the image
content and prevents the whites and
the lighter tones from bleeding and
merging onto a white page.
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Use of borders
Borders are a contentious issue among
many photographers. A few purists still
argue against the essentially manufactured
construction of a border. They prefer a
less mediated treatment of the image,
allowing the picture to breathe in its own
space without restrictive or articially
introduced graphic treatments.
All photographs have a border the
inevitable boundary or the edge between
image and non-image. Its how we treat
this edge that is of most importance to the
design-conscious photographer.
For instance, thick borders can be too clumsy.
Too thick and the border starts to intrude on
the image; it could dominate and overwhelm.
Thick borders can be too clumsy. Many
photographers prefer to use a thin key line
that denotes, in a much more subtle way,
the edge of the image. Key lines contain the
image elements, but never allow the discreet
border to dominate or reduce the power of
the image.
The use of borders is certainly something
that photographers should consider in the
presentation of their own work. For many
occasions such decisions in the commercial
world may be taken out of their hands by
picture editors and designers, who have
aesthetic decisions to make concerning
layouts and whole page designs.
Some photographers who exhibit their work
at exhibitions prefer to block mount their
images by adhering their images to at
surfaces. The thickness of these surfaces
allows the image to extend outwards and
away from the gallery wall, appearing to have
no border or boundary as such, except for the
image edge that is now dened by the space
and thickness of the presentation surface
rather than line.
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Case study 5 | Containment | Flow direction
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Frames within frames
If one frame can be said to contain an image,
would two frames emphasize the subject
further? Framing exists to select and isolate a
fragment of the world and keep it held within
an enclosed space. Every image, in a sense,
is framed simply because there is a denite
and tangible edge to the space that contains
the image content. Putting a frame within
a frame allows the photographer to create
another picture within a wider picture.
The frame shape is obviously determined by
the subject it need not be rectangular it
could be circular, or a series of shapes (for
example, portholes on the side of a cruise
liner, or a landscape divided into smaller
views by several windows on the side of a
train carriage).
As a compositional device, framing allows
the photographer to potentially tell several
stories at once; it can offer separate but
related views of the same subject, or multiple
points of view. It can also be very effective
in providing a sense of depth to a scene,
especially if the framing occurs in the
foreground and divides the background into
smaller portions.
Used with care and judgement, frames
within frames increase our understanding
and appreciation of a subject, but applied
with little thought or care given to the overall
composition, the use of a poorly chosen
framing device can make imagery appear
contrived and self-consciously constructed.
Containment

Title: Glove 2 duo
Jeremy Webb
The use of a discarded picture frame
allowed the staging of a series of still
life studies where ordinary gardening
gloves were presented and linked by
the use of this frame within a frame.
Framing devices can be as simple or as
complex as you like:
A single rectangular frame ordered in a
neat fashion, with bottom and top frame
edges of the inner frame creating a parallel
distance between those of the outer frame.
Disordered allows a less static
arrangement without parallels, making a
more dynamic composition with diagonal
lines, though still structured around straight
lines.
Concerned with several different shapes
could be a circular frame within a traditional
rectangular outer frame.
Intersecting or overlapping contains one
or more inner frame shapes, hence creating
further geometry.

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Case study 5 | Containment | Flow direction
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The skilful use of leading lines and directional
forces within an image, are fundamental to
the degree with which we feel engaged by
that image. Without doubt, adherence to this
principle is practically impossible when faced
with photographic situations where simply
getting the shot is the aim, and the aesthetics
can be dealt with later.
Being mindful of the power of these optical
and real lines to direct our gaze makes it
easier to feed the design instinct. This can
lead us to create powerful and imaginative
compositions in the most difcult and
unexpected circumstances.
Flow direction allows our gaze to be steered
in a particular fashion through the skilful
use of line and curve; it enables us to
piece together the various design elements
provided by the content of the image.
Human eye preference for
left-to-right motion
As weve already seen, this is related to
the recognised and established patterns
of eye movement. However, the theory
falls apart somewhat when applied
universally. For example, the decoding
of language, signs and symbols in some
cultures happens with the eye being
trained to travel in the opposite direction.
However, even when faced with an empty
rectangle in landscape format, the eye tends
to anchor immediately to the top left corner,
then zigzag downwards in a left-to-right
motion in a seemingly futile attempt to read
what isnt there.
This knowledge is not much use in and of
itself, but for photographers it has very real
implications as this has an impact on
composition. Elements arranged within the
usual pattern of left-to-right eye movement
will meet with little visual discomfort or
obstruction. Compositions arranged in the
opposite direction can sometimes appear
odd, and yet were not quite sure why.

Flow direction

Title: Beyond, 2006
Mona Kuhn
Mona Kuhns beautiful images
conveys a softness and intrigue
achieved in part by her use of
exposure and depth of field, and also
by the skill with which she composes
her images. Here, she guides the
gaze from the top left of the frame to
the furthest point at bottom right in
this beautifully constructed image.
Flow direction allows our gaze to be
steered in a particular fashion through the
skilful use of line and curve.
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Horizontal
The use of horizontal lines to inuence ow
direction can be forcefully employed when
using the landscape format since it has the
potential to travel the distance between the
widest points within the frame.
In such a way, a horizon line becomes a
dominant design element that resonates with
our primeval urge to scan the horizon line for
a predator threat or the returning tribe. We
explore the points adjacent to the horizon
and will tend to begin our journey to the left
and nish on the right, unless interrupting
elements or dominant features are placed
towards the right-hand side of the centre,
which encourage us to start here and work
towards the left.
Horizontal lines used within a portrait format
image can be used quite effectively to disrupt
the expectation that long, wide lines should
be placed within the longer, wider proportions
of the landscape format.
Wide-angle lenses often distort a straight line
so that long empty horizons photographed
at an angle show a large degree of barrel
distortion. For some photographers, the ability
of these lenses to distort the arrow-straight
lines of architecture, for example, hold a
creative appeal. But for others (particularly
those in commercial photography), the effect
is a professional nuisance and must be
controlled. This can be done by using either
a monorail camera or post-capture digital
image processing.
Flow direction

Title: Dave Grohl
Neil Gavin
Bright overhead sunlight has created
subtle shadows on the subjects
face, which appear to drop vertically
from the fringe, echoing the stronger
vertical lines in the background.
Taking the portrait from below
the subject increases the vertical
strength of the image, and the use
of the colour blue throughout further
strengthens its appeal.
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Vertical
The use of vertical lines to direct the ow of
movement and gaze is most often seen in
portrait format images where their length
and dynamic movement can be contained
easily. But again, interesting subversions can
be created by using the wider landscape
format viewnder to capture vertical lines.
This is often exploited by photographers who
understand that interest can be generated by
switching between different formats.
The photographer has the power to turn any
line in any orientation. Photographers who
are able to switch their mindset between
observing the subject itself and viewing the
subject as design elements of form and line
have an advantage over those whose vision
extends only towards observing the subject
as subject only.
Diagonal
Images that contain no vertical or
horizontal lines can appeal to the eye since
comparisons are subconsciously made
between the dominant elements of the
design and an index of order (provided by
the right-angled vertical and horizontal lines
of the frame) that contains them.
Diagonal lines, therefore, become dynamic
and powerful forces that are able to create
many interesting forms and intersecting
patterns of line. Diamond and triangular
shapes become strong design structures with
which to build around when placed within
the solid and reliably dependable rectangular
frame. Do not go out and shoot endless
diagonal lines in the mistaken belief that
this will somehow make your photography
instantly more appealing. The application
of this aspect of design is most useful
when reading images generally; absorb
the knowledge into your appreciation of the
visual lexicon.

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Containment | Flow direction | Exercise 5

Title: Vertiginous exhilaration
Rut Blees Luxemburg
The sense of urban danger and
discomfort in this image is created
in part by the daring viewpoint
adopted, but strengthened further
by the diagonal lines that provide
more dynamic lines of force within a
rectangular frame.
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Choose a building in your neighbourhood that you are familiar with.
It may be something you pass by each day: a rundown, abandoned
house, a church, a skyscraper or a corner shop any place that holds
your interest or engages your curiosity.
Spend around half an hour observing its qualities, its physical properties
and how the light falls on its different areas. Dont take any photographs yet,
just observe your subject with an open mind and with your senses tuned to
its construction and appearance. Then ask yourself some questions: Does
it contain textures, patterns or colours that intrigue you? How does it make
you feel? What role does this building hold in the immediate environment or
community? What purpose does it or did it serve?
If it is a building or property that you can legally and safely enter inside, what
do you nd there? Bear in mind that you may have to gain permission if the
building is in public use or on private land. Can you capture the spirit of the
place by focusing on a detail that tells a bigger story? How can you best use
the light available to you?
When you feel you are ready, determine an approach towards photographing
your subject. Try to incorporate some of the design elements weve explored
so far. In particular, pay attention to line, colour, curves, frames within frames,
points of interest, abstracts and depth of eld. Take 20 shots only and edit your
series down to six images that create a unied and engaging set of images.
Exercise 5 Observation
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Flow direction | Exercise 5
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Title: Exercise in observation
Jeremy Webb
Unlike film photography, digital
capture means we can take endless
images of a subject without having to
worry about cost, or using up a limited
number of frames. Because of this,
many creative digital photographers
have had to become very skilful at
editing their own work rigorously,
which often means limiting the
number of images you shoot or
having to take some very tough
decisions later on.
Basic design theory
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Emphasis and
emotion
6
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Photography has the power to inuence us
on a deep level; it affects our emotional
lives, attitudes and our behaviour in ways
that often surprise. At its best, its this
aspect of the medium that persuades us
to donate money to an appeal; buy
products we dont really need; visit exotic
locations on the other side of the world; or
pay a small fortune for a print to display
proudly on the wall.
The careful and creative construction of
an image plays a huge part in transporting
the vision of one photographer to a wider
audience, but this is not learned by rote
nor from a checklist of aesthetic dos and
donts that magically guarantee success.
More often than not, the nuts and bolts of
good composition and the application of
good technique are intuitive and deeply
rooted in the photographer.
To give emphasis to a particular item
in an image is to promote interest in a
particular subject at the expense of
something else. This generates powerful
effects on our reading of an image and our
ability to take from it the meaning that was
intended by the photographer.
This section of the book looks at how we
can push design principles a little bit
further, and how simple photographic
techniques can alter these elements in
order to maximize emphasis and create
emotional impact in our images.
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Title: Night stream 4
Jeremy Webb
Where tripods become impractical,
the landscape often provides a
solution. This image was taken by
supporting the camera on a discarded
wooden plank that allowed the
camera to be lowered and positioned
at a spot almost level with the steadily
flowing stream. An exposure of eight
seconds recorded both the deep
blue cast of the evening sky and the
motion of the water rendered smooth
by the long time exposure.
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The point of interest (POI) anchors the viewer
within the image. It is usually a principal shape
or subject around which the rest of the image
information is secondary a recognizable face
turning to look back in the crowd, for example,
or a bare tree picked out easily along the at
horizon of a desolate landscape.
Many traditionalists nd it hard to shake
off rigid rules and received wisdom, and
consider the absence of a POI as a
weakness. It is hard to argue against this,
but it is still possible to create innovative
and engaging photography without a POI
in the traditional sense. Abstract imagery is
one particular eld where the image must
still convey a persuasive intent and meaning
even if it has no obvious POI. Many of the
best abstract images simply draw us into
a landscape of the mind to deliberately
disorientate us; our senses can wander freely
without being directed and we are content
being lost.
Photographers have a range of design
principles at their ngertips, all of which
were explored in the earlier chapters. These
emphasise or subjugate elements of an
image so that a POI can be clearly expressed
through the structure of the work. Leading
lines, areas of focus/de-focus, colour, and so
on, can all be manipulated so that a point of
interest can emerge as the principal source
of curiosity for an image.
Point of interest
The rule of thirds
Many photographers have quite rightly
become very sceptical about the stifling and
omnipresent rule of thirds. They claim that
its overuse now creates images every bit
as mundane and formulaic as the subject-
centred images that the application of the
rule of thirds tried to improve upon.
In practice, many of the so-called rules of
photography are still best treated as part of
a photographers armoury of possibilities
rather than applied in every instance
regardless of their suitability.

Secondary points of interest
Too many POIs can dilute the ability of an
image to communicate its primary theme
or subject effectively. A secondary POI can,
however, be useful in leading the eye to
explore the frame in full. This forces the eye to
switch between points and make sense of the
configuration of elements and the space used.
Many photographers still work with the theory
that primary and secondary POIs should
always be applied with the rule of thirds in
mind, and placed at the intersections of the
grid that divides the rectangular frame into
nine sections.

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Placement of the point
Some photographers take a very playful
approach to POIs almost as a way of
challenging rules and the way they can stie
experimentation or innovation. Guy Bourdin
is one such photographer who often created
lopsided arrangements in his fashion images
where the POI was pushed right up against
one side of the picture without anything to
balance the dead space on the other side.
Many photographers and artists will tell you that
POIs should be placed at the intersecting
points of a rule of thirds grid. This, it is claimed,
places POIs in harmonious positions within the
frame and prevents subject matter ending up in
dull central areas within the image.
Size of the point
The size of the POI can be of critical
importance to the degree with which the
image as a whole succeeds or fails. Its
not so much the size of the subject we
wish to emphasize, but more its size in
relation to the rest of the subject matter
in the image. A tiny pinprick of light in a
dark landscape may be small in every
respect, but it will have huge signicance
if its presence signies rescue or life.
The change in size of a POI in relation
to its surroundings can be affected by
the lens chosen. Wide-angle lenses will
exaggerate the difference between near
and far distance; telephoto lenses will
diminish the difference between them. In
this way, photographers such as Bill Brandt
created stunning wide-angle monochrome
images of nudes and landscapes where
ordinary perceptions of scale and proportion
were stretched like never before.
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Point of interest | Focus areas vs areas of de-focus

Title: Jennifer and kite, Austin,
Texas
Sandy Carson
Simple compositional technique
need not be a complex or
intimidating thing. Here, the eye
takes on a simple journey that
starts at the feet, moves up and
through the arm and eventually
alights on the kite in the sky.
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The use of a single colour
Constructing an image with a single,
dominant colour requires care and
judgement in order for the right effect to be
achieved. At a very simple level, a single
tomato positioned over a monochromatic
background, for example, will immediately
stand out and appear to leap forward.
Single colours in the design of an image work
best when their purpose and intention are
clear. If colour is not the primary reason for
the image, then it may be in competition with
(and draw power from) the main subject or
POI, which may also lead to confusion over
the real intention or purpose of the image.
The visual effect of a single colour as a
POI is often made more effective by its
placement or positioning within an image.
Proportion and a keen sense of composition
are often the balancing factors that apply
most strongly to creative decisions over the
degree to which a single colour is used.
Point of interest

Title: Car park detail
Jeremy Webb
A single spot colour amidst a wealth
of cool blues achieves a powerful
POI in this empty car park.
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Simplicity and complexity
A single POI can be most clearly conveyed
when used within a simple image. A
background may need to be restful or quiet in
order to allow the POI to stand out. A plain sky
or uniform area of tone obviously offers little
or no pattern, no competing shapes or forms,
but it allows the POI to stand out by simply
offering nothing to threaten its prominence.
On the other hand, complex images can
also offer great visual value by allowing the
imagination a more active role in reading an
image with multiple points of interest. Such
compositions encourage the audience to
compare different areas of the image, to
make links and connections, or to simply
enjoy the opportunity to wander freely
around an image that may constantly throw
up surprises.
There are two well-known photographic
portraits that demonstrate the design
differences between simplicity and
complexity. Both portraits feature the same
subject, Igor Stravinsky, in a black-and-
white portrait. The rst portrait is by Arnold
Newman, taken in 1946. Its a stark, graphic,
studio-shot image incredibly bold and of
its time, unique in terms of its composition
and simplicity.
Compare this image wit h the more intimate
and domestic portrait of Stravinsky taken by
Henri Cartier-Bresson in 1967. Stravinksy is
now an old man reecting on life at home.
In this image, the great composer seems
almost disengaged, allowing us to take a
good long look around the bookshelves and
busy background of his home. Here, we see
the work of two photographers, two unique
approaches, and two very different outcomes.
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Point of interest | Focus areas vs areas of de-focus

Title: House door ajar
Jeremy Webb
Sometimes the expectation of some
event or moment of significance holds
more appeal than the event itself. This
image represents the simple appeal
of standing in front of a scene where
both photographer and audience are
on the threshold of opening the door
into a room bathed in golden sunlight.

Title: Newborn baby
Oliviero Toscani
Simplicity is key to the successful
transmission of ideas and concepts
in photography, and this is no more
so than in the field of advertising.
Benetton made a series of very
stark (and sometimes politically
controversial) advertisements to
strengthen brand awareness.
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The use of focusing to separate a subject
in sharp focus from a background that is
unfocused is almost as old as photography
itself. To begin with, areas of sharpness
were simply a product of the early cameras
themselves where depth of eld and
sharpness were dictated to the photographer
by the rudimentary nature of the camera
and lens.
Over time, focusing and depth of
eld became more controllable and
photographers began to experiment with the
means with which the appearance of depth
could be achieved by the eye comparing
a subject in sharp focus against an area of
unfocused background or foreground.
The use of focusing to direct our gaze
becomes a very powerful way to give
emphasis to a subject it forces the eye to
alight with certainty on something sharp and
detailed. Photographers who make good
creative use of focusing and depth of eld
are often able to skilfully direct the way we
look at their images, and allow us to glimpse
their world as they saw it.
Use of lens aperture
Without a doubt, the most useful aspect of
photographic technique to acquire is the
relationship between lens aperture (or f
number) and depth of eld (the amount of
sharp focus within an image).
Wide or large lens apertures of f2 or f3.5
behave like the pupil of the eye in a darkened
room they remain large to drink in the
light required. These lens apertures give the
smallest depth of eld, and so are useful
if you want focus to fall on a single subject,
keeping the remaining foreground and/or
background detail out of focus.
Small lens apertures of f16 or f22 behave like
the pupil of the eye in bright sunlight, closing
down to a small hole in order to cope with the
brightness of the sun. These lens apertures
give the most depth of eld, so are most
useful if you want good overall sharpness
throughout your image, from near foreground
right through to far background.
Aperture control, for any photographer, is one
of the simplest and most effective methods
of applying emphasis; it inuences the
gaze of the viewer or simply expresses your
intention clearly.
Focus areas vs areas of de-focus

Title: Fatale, 2006
Mona Kuhn
The use of a wide aperture creates
a very narrow depth of field (area of
focus).
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Use of focal length
Creative photographers rarely stick to just one
lens. While many opt for the convenience
of a single lens that ranges from wide angle
through to standard, to short telephoto,
some photographers prefer xed focal
length lenses due to their superior optical
quality. Whatever your choice, the lens
you use affects the degree of sharpness
and depth of eld available to you.
In general terms, depending on your
lens choice and depth of eld, what
will be and wont be in focus, will work
(very roughly) along these lines:
A standard lens will provide an average
depth of eld in much the same way as
was described in the previous section.
A wide-angle lens will provide a better
than average depth of eld: more will
be in focus at the same lens aperture
than is used on the standard lens.
A telephoto lens will provide a less
than average depth of eld, so that
the plane of focus will be small, again
still using the same aperture, making
good focusing critically important.
Of course, the minute you change your lens
focal length the scale and proportions of
the scene will change. If you switch to wide
angle, for example, you may have to move
nearer to the subject; if using a telephoto,
you may have to move farther away from
the scene or subject in order to capture
what you require with your standard lens.
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Point of interest | Focus areas vs areas of de-focus | Juxtaposition

Title: Caister beacon
Jeremy Webb
The use of a de-focused foreground
helps to create a sense of depth as
if peering over the foreground rocks
into the distance.
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Its very rare that we are ever in a position
to study just one thing on its own, devoid
of all context or environment. Most of our
visual experiences rely on being able to
make comparisons and contrasts between
one thing and another, deriving pleasure
or displeasure from the inter-relationships
between objects.
In photography, juxtaposition is the
placement of unrelated elements or objects
within a frame which then creates an
unusual, humorous, or thought-provoking
effect on the viewer.
Subject and environment
Melting ice cream cone discovered on the
red velvet bedspread of a luxurious hotel
bedroom might usefully illustrate how
juxtapositions work. The ordinary is presented
in a completely alien environment, providing
us with an unnatural but interesting scene,
which may lead to numerous questions: How
did the ice cream get there? Was it put there
deliberately? If so, why? Does it belong to a
child? Where is that child? How long has it
been there? Is this a staged scenario? Was
this scene manufactured for the purposes of
the photograph?
The key to the torrent of questions arising
from this scene is the contrast delivered by
the unusual relationship between the primary
elements of the juxtaposition. Shoot a melting
ice cream on an urban grey pavement and
the response is likely to be, Ah! What a
shame, some poor child has dropped their
ice cream and that may be the end of that.
Juxtapositions enjoy a warm reception with
audiences who appreciate the surreal, and
who realise that one of the most powerful
effects that art can have on all of us is the
recognition that questions are far more
interesting than answers.
Juxtaposition
Juxtaposition is a very potent form of
creative approach that is well suited to the
medium of photography.
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Forced relationships
Images that force us to buy into their
contrived relationships have a rich tradition in
photography. The works of the Dadaists, Man
Ray, German Expressionists and even the
more recent album cover art of the 70s from
Hipgnosis and Storm Thorgerson all show
juxtaposition at their heart. Juxtaposition is a
very potent form of creative approach that is
well suited to the medium of photography.
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Focus areas vs areas of de-focus | Juxtaposition | Case study 6

Title: Connections #4
Rune Guneriussen
Juxtapositions often allow us to
explore an absurd idea for the
sheer joy of creating something
nonsensical and unreal while at the
same time exploiting our sense of the
photographic truth of a situation. We
know it has been staged, but it still
tempts our imaginations to accept it
as somehow found and unmediated.
The are different types of
juxtaposition:
Colour juxtaposition where clashing
or jarring effects are created by the
proximity of two clashing colours.
Size juxtaposition take, for example,
the elephant and the mouse.
Shape juxtaposition where contrasting
shapes are brought together, for example,
a grapefruit on a square plate.

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These images were created with juxtaposition in mind.
The idea was to combine elements of considerable
ugliness and low value with something intended to
contain or present something of great value and beauty.
Juxtaposition examines the relationship between different
subjects through the human desire to compare and contrast.
At its best, it throws up uncomfortable or hard-hitting truths,
as well as moments of great beauty or insight.
Juxtapositions require us to enter a strange place that sits
uneasily between the real and the unreal. In order to make
sense of an image we have to accept that what was there,
was there (whether it was or not), and this enables us to
manufacture a relationship of sorts between two completely
different things, united somehow in one unusual image.
Case study 6 Juxtaposition

Title: Examples of juxtaposition
Jeremy Webb
Many photographers set out to create
juxtapositional images, but they can
be found in real-life situations literally
a few feet away from where you are
now. By being aware of their presence
in ordinary life, situations like these
will appear out of nowhere.
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Juxtaposition | Case study 6 | Incongruity
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An image that shows incongruity is one
that prompts the question: What on
earth is that doing there? It generates
genuine surprise by putting together
the familiar with the unfamiliar in a way
that seems absurd or impossible.
It has much in common with juxtaposition,
but there is a distinct difference. While the
incongruous can be incorporated as part
of a juxtaposition, the incongruous is most
usually seen as a single element at odds with
its environment; it is not an unconventional
relationship between two elements. It
is something that sticks out like a sore
thumb unsuited to its environment, and
disharmonious with the space it occupies.
The incongruous may provoke surprise,
laughter, shock or any number of reactions
this is what gives it power and inuence.

Scale
Subjects that are larger or smaller than they
should be are incongruous when placed
or photographed within a normal setting.
This is one sure way of getting something
noticed. The absurdity of the situation is
what grabs the viewers attention, and once
hooked, they study the scene to assess
whether the odd arrangement is real or fake.
Advertising photography plays with scale
or size incongruity continuously because
its effect on perception is immediate and
powerful. A number of advertisements in lm
and print media have featured incongruities
such as ordinary people in a landscape
full of giant toilet rolls (or is it little people in
a landscape full of ordinary toilet rolls?).
As creative concepts go, they may seem
hackneyed and unoriginal, but they
are certainly effective in their ability to
grab our attention and effectiveness
(measured by results) always overrides
creativity in an industry fuelled by
big bucks and big expectations.
Incongruity
Incongruous
An item is described as being
incongruous if it is not in harmony or
in keeping with its surroundings
or environment.
The incongruous may
provoke surprise, laughter,
shock or any number of
reactions this is what gives
it power and in uence.
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Subject
A subject unsuited to its surroundings takes
us a little closer to the idea of juxtaposition
again. A penguin in the arctic is neither
incongruous nor juxtaposed since it is seen
within its natural environment no surprise
or absurdity arises. The same penguin
might appear incongruous if it appears
in a zoo enclosure or perhaps on Oxford
Street in London. But a cute penguin with
a ying helmet and goggles would be a
juxtaposition, the non-ying bird having
apparently appropriated the symbols of ight.
Subjects that provoke the question How
did that get there? or the statement That
just doesnt belong there are questioning
the relationship of unsuitability between
a subject and its surroundings.
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Case study 6 | Incongruity | Mood and emotion

Title: Nic Chagall 02
Nikolaj Georgiew
The addition of incongruous
elements can add an element of
the unreal to your images.
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Its often said of news photography that a
single frame can convey more emotional
power than the same subject conveyed by
moving lm. All the iconic images of the last
century from the troops landing on D-Day,
to the shooting of JFK, to the screams of a
small naked Vietnamese girl burning with
napalm have been transported to our
lives via the medium of still photography.
Newsreel footage can elucidate, explain
and add powerful interpretations of world
events, but it could be argued that still
photography of the very best kind distils
to a single moment the signicance and
power of a particular situation or event.
Photography has the power to validate
us and conrm our humanity. It makes
us recognise and reect on what it is to
be human. The components of design
lie at the heart of photographys ability to
affect our emotional lives deeply. Even on
a supercial level, the calming effect of
pastel colours, or the delicate convergence
of lines and shadows can transform our
imaginations and allow our emotional
lives the space within which to expand.

Mood and emotion

Title: Tension
Jeremy Webb
In a spirit of advertising simplicity,
this image was created to depict the
inevitable before it actually happens.
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Tension and unease
Images can evoke tension and unease when
the viewer is given certain knowledge that
something unpleasant is about to happen.
The image content is arranged or captured
so that the story is set up and the viewer
lls the gaps with his or her imagination.
Sometimes, the use of tension to create an
unnerving visual experience can unsettle
us but there is still no good reason why we
shouldnt be a little uncomfortable every
now and then. The skill lies in taking your
audience with you, not letting them turn away
feeling disturbed or that youve crossed a line.
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Incongruity | Mood and emotion | Exercise 6

Title: Gulls descending
Jeremy Webb
Although the original cloudscape
image retained more cyan and blue,
a black-and-white treatment gives the
image a much more oppressive feel
evocative of thunder or the threat of a
heavy rainstorm.
How to create tension in your images:
Use compositional imbalance to convey
lack of control or a sense of unsteadiness.
Incorporate colour combinations that clash
or jar to induce a sense of nausea.
Feature dark shadows with unseen detail
lurking in the background.
Use unconventional cropping or framing to
create a feeling of claustrophobia.
Take advantage of lighting to make
subjects seem foreign or unfamiliar,
adding a sense of menace or danger.

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Harmony and disharmony
For an image to be considered harmonious,
it must contain design elements that
complement each other and blend well
together. This may be seen in the form of
colours, a pattern created by the careful capture
of light, or the carefully crafted composition
of lines and shapes used in a still life.
Disharmony is most often created by an
imbalance present in the image usually
arrived at through inappropriate or poorly
judged arrangement of design elements.
Balance and imbalance
Balance is likely to depend upon the
positioning and distribution of tone within
an image. An image may be considered
imbalanced as it will appear top-heavy if dark
tones appear as shapes, or large areas are
dominant in one part of the image. It may
even irritate the viewer due to the absence
of a counterweight to even things up.
This is not to say, however, that every image
must abide by the rules of balance in order to
be effective. Many photographs are visually
successful, in spite of an imbalance in the
composition. Other factors such as the impact
of the subject, use of colour and simplicity
may compensate for the imbalance.
One of the best ways to assess an image for
its balance is to view it in a mirror, a technique
used by Leonardo Da Vinci. This allows for a
completely fresh view on the image, enabling
the photographer to see how the composition
works, where the spaces are, and how the
image design structure works as a whole
all from a slightly different point of view.
Alternatively, you can squint through half-closed
eyes or turn the image upside down. All these
techniques are extra design tools that allow you
to recongure the image structure temporarily.
Mood and emotion

Title: Stilleben mit schwebendem
Ei 1930 (ca)
Walter Peterhans
Every element in this carefully
balanced still life is in its place
for a reason. The carefully
designed structure behind this
image shows the importance
of balance between simplicity
and complexity and between
showing too little or too much.
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Movement and stillness
Photography grants us the dual pleasure of
being able to record and capture a subjects
movement over time; it also enables us
to capture a single aspect of time. Many
photographers have captured frozen
moments with fast shutter speeds and bursts
of ash, or the uid grace of subjects in
motion for a more impressionistic image.
The notion of movement and stillness
may refer to the way in which the eye can
become transxed by a single point of
view, or whether it is free to travel between
points bounded by the frame. If an image is
constructed in such a way that the eye tends
to rest upon a single element, the image may
be considered as lacking movement (though
not necessarily lacking appeal or impact).
If the image encourages the eye to swing
left and right, or up and down, in search of
meaning reading of the image content
and message, the image may be said to
contain movement.
Both types of imagery can have a signicant
effect on the emotional response of the
viewer. Images that show minimal movement
can sometimes touch us with a simplicity or
purity that resonates deeply when applied
with a sympathetic subject. On the other hand,
images containing frantic directional lines or
sweeping curves that take the eye from one
corner of the image to the other can be used
with more complex compositions, which may
demand more work from the viewer. However,
this could be equally rewarding in the end,
when applied in the appropriate manner and to
the right degree.

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Incongruity | Mood and emotion | Exercise 6

Title: Breakwater smash
Jeremy Webb
Sometimes, certain subjects demand
a more impressionistic approach to
powerfully convey the mood of the
scene. It is not essential to reveal every
tiny detail in a dramatic subject if the
full drama of the scene cannot be
effectively conveyed in the process.
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Select a room in your house, or if you prefer, in the house of a friend
or relative. Carefully choose your position, angle and viewpoint.
Observe the subject matter and content of your environment. Plan and
produce a series of four images that illustrate any four of the following
themes:
The key to this exercise is to take a sideways look at your environment. Rather
than focusing your attention on the specic subjects you nd, look instead at
what they may symbolize or represent.
Try to use framing, distance, depth of eld, and exposure in a creative way that
will help you to explore your chosen themes in depth.
Once again, the outcome of an exercise like this will depend on how you observe
light, create depth, and how you position yourself and the camera. The key to an
exercise such as this is to understand that creative and imaginative photography
isnt necessarily reliant upon filling your viewfinder with a stunning subject. In
other words, its not what you photograph, but how you photograph something.
Incongruity
Security
Claustrophobia
Tension
Balance
Imbalance
Juxtaposition
Movement
Stillness
The past
The present
The future
Sharpness
Blur
Darkness
Light
Exercise 6 Themes
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Mood and emotion | Exercise 6
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Title: Examples of themes
Jeremy Webb
Creative and imaginative photography
isnt necessarily reliant upon filling your
viewfinder with a stunning subject its
not what you photograph, but how you
photograph something.
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Putting it all
together
7
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Any photographer must remember that
while design principles can be applied
effectively for many picture-taking
instances, they are not an off-the-peg
magic solution able to transform the
mundane into the extraordinary.
Throughout this book, the emphasis has
been on introducing a range of options,
ideas, or suggestions rather than straight
rules to apply with the certainty that their
application will inevitably bring success.
One has to keep in mind, though, that the
real success that photographers enjoy
comes when all that technique, all those
theories and all those nuggets of wisdom
are put away because theyve been
absorbed and internalised. The mystery
behind the power of photography is
distilled to a very simple approach in this
quote by John Szarkowski in The
Photographers Eye:
The central act of photography, the act of
choosing and eliminating, forces a
concentration on the picture edge the
line that separates in from out and on
the shapes that are created by it.
This section looks at how other areas of
your practice can benet from design if
fed carefully into your working methods.
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Title: Doors, Gorleston-on-Sea
Jeremy Webb
Colour, shape, line and repetition all
feature strongly as design elements
behind this image of colourful bathing
hut doors. The absence of human
figures or reference points also adds
another element of interest, allowing
the subject to speak for itself with
clarity and simplicity.
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What can we do to really get to grips with
a subject and explore it to the full? If you
feel passionately about a subject or theme,
see if you can approach your subject from
a different angle one that really takes the
blinkers off and allows you to experience
the subject from different perspectives.
Think around the edges of your subject to
avoid retreating into the obvious. How have
other photographers treated this subject?
How does lighting affect your choices
of angle, viewpoint and position? What
physical features of your subject interest
you the most? And how can you emphasize
these features most successfully?
This preliminary round of hard questioning is
important if you are to avoid falling into the
trap of clich. As photographers, we are all
somehow and at some time exposed to the
danger of taking the kind of photographs
that other photographers take. This is not
the route to follow if you want to create
fresh, original and exciting photography.

Expressing views and visions

Title: A(part)/together
Katie Shapiro
By presenting a single idea across
two separate but related images,
Katie Shapiro has successfully
conveyed the connection between
both subjects and found a metaphor
that expresses the title of the series
from which this portrait comes.

Title: Weathered wood
Jeremy Webb
This digital image was originally a
black-and-white toned print, which
was then re-photographed in front of a
light box. The digital copy has captured
some of the softness that this process
produces and required very little post-
capture image processing.
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Design principles and presentation
of work
Design doesnt start and finish with the
production of the print. Many photographers
are now finding innovative and exciting
ways of presenting their work. This trend
has accelerated over the last two decades
and photographers such as Wolfgang
Tillmans, and many others, have found
different ways of showcasing their work.
For some, this involves presenting multiple
images in small grid formations, or mounting
prints on recycled materials. Photographers
have also absorbed some techniques from
other art disciplines and use a range of glues,
varnishes and other fine art techniques to
deliver their visions to a wider audience.
At the other extreme, photographers also
have a wealth of digital presentation methods
at their disposal large projection screens,
slideshow software, and the option to mix
media with digital film, animation and video.
No matter what method you choose, care
and a great deal of thought must be given
to your presentation. It must be
appropriate and suited to the style
and nature of your work, and how you
intend to communicate your vision.
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Expressing views and visions | Symbolism as visual shorthand
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As weve seen in previous chapters, symbols
are signs that represent something. Modern
graphic advertising is full of symbols that are
easy shortcuts to common concepts.
A life belt, for example, can represent help or
assistance; a simple graphic of a cup of
coffee means refreshments available to
weary motorway drivers.
Photography is a versatile medium capable of
harnessing the power of symbols to
communicate sometimes difcult concepts
through imagery short cuts. However, great
care should be taken when using signs and
symbols because different, perhaps
unintended, readings can occur based
on the gender, religious or cultural beliefs,
and geographical background of the viewer.
The danger of clich
The danger of clich lurks around the corner
for every creative photographer. Why are we
prone to clich and the endless repetition
and recycling of ideas? Some may cling to
the comfort of the familiar; others may simply
not have the time or the energy to come up
with anything original.
Photography sells clich like no other art
form, and no more so than in the
commercial world. Stock libraries are full of
images that sell concepts: businessmen
shaking hands (closing the deal); dads
cavorting with their beautiful children at the
beach (modern family man), or elegant
ladies sipping white wine at a business
lunch (successful career women).
Recently, there has been a backlash against
much of this easy social stereotyping. Many
modern image libraries are always looking for
fresh ways of meeting the same needs, but
with much more dynamic imagery that gives
a fresher, more contemporary twist to
traditional themes. Successful photographers
in this arena are those who are capable of
delivering something different an image
that is unambiguous, strong on design, and
communicates with economy and condence.

Symbolism as visual shorthand

Title: Shell
Jeremy Webb
A shell is symbolic of many things
nature, a home, protection, refuge and
the sea.
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Gateway to other worlds
Photography has the power to take us out
of the moment. Symbolism can speed up
this process it provides photographers
with an opportunity to tap into a rich vein
of visual clues and access points that link
to larger and more complex processes.
Many photographers have attempted to
feed symbolism into their work: tunnels
and tubes are symbolic of journeys,
travelling, birth and death; pyramids can
represent hierarchy, aspiration, entombment
or mysticism; and circles are symbolic
of eternity, completeness and unity.
Some photographers use symbolism as
a major driving force for the production
of their work. Others simply respond to
occasional circumstances when opportunities
arise, recognizing on a conscious level the
signicance of the symbolism before them.
There are also times when symbols may not
be obvious to the photographer, but they
are unlocked and made real by the viewer.
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Expressing views and visions | Symbolism as visual shorthand | Case study 7

Title: Two men up vines
Jeremy Webb
In recent years, the mass adoption
of Photoshop software within the
photographic community has had a
huge impact on visual culture and the
working methods of photographers.
Photography has the power to
take us out of the moment.
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The snapshot aesthetic, or the vernacular, is usually interpreted as
an informal approach towards the photographing of the ordinary or
the everyday. This form of photography has become very popular in
recent years, spawned in part by a generation that has grown up with
expectations of immediacy in all things, and the mass adoption of
digital technology.
Much of the imagery (but not all) that appears to be informal and
grabbed is perfectly genuine and mirrors a resurgent interest in the
vernacular as originally practiced by the North American photographers
of the 1960s, such as William Eggleston and Stephen Shore.
They were spurred on by the influences of pop art, consumerism,
artistic democracy and mass media. These photographers turned
their cameras towards the mundane aspects of everyday life
yet still created some very vibrant and captivating images.
Many of todays snapshot art aficionados are followers of a fashion
that has no real recognition of official design aesthetics, preferring to
rely on spontaneity as a driving force. Nevertheless, many of the best
examples of this genre show a significant degree of strong design at
their heart despite their more casual appearance, whether their creators
recognize its presence within their work or not. Evidence perhaps that
design is a much more internalized force than they might care to admit.
A dip into the world of the vernacular can be a valuable temporary retreat
from the norms, principles, rules and aesthetics. It forces photographers
to approach the world from a different angle, with a rawness that some
may find challenging. The best examples of vernacular snapshots often
show at their heart an energy and intensity that are imparted to the
viewer by skilful observation of colour, emphasis, pattern or form.
Case study 7
The
vernacular
Case study 7 The vernacular
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Symbolism as visual shorthand | Case study 7 | Creative strategies
JJJJJJJJJ

Title: Examples of vernacular
imagery
Jeremy Webb
The ease with which lightweight
digital technology can be shrunk,
placed inside mobile phones or
miniature digital cameras, and carried
around easily has helped to spawn a
resurgence of interest in snapshot
photography, as witnessed by the
continuing success of websites such
as Flickr.
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How you convey your ideas and effectively
communicate with your audience should
largely be driven by your subject. Whether
you shoot the subject in colour or black and
white, whether you use single images or sets
and series, whether you take a dispassionate
forensic view at distance or foster a close
personal relationship with your subject, your
creative strategy should convey your creative
concept with clarity.
Using design principles to overturn
expectations
A well-known, two-page advertising
campaign for Levis jeans shot by Nick
Knight shows what appears to be the rear
view of a tall, long-legged, blonde-haired
young woman standing in a condent
pose with legs wide apart, and a hand
combing through her waist-length hair. Its
a deliberately seductive image, typical of
the style and technique that advertising
and fashion photographers use. Turn the
page and the truth is out. The subject is
not the young model we all expected it to
be, but is actually silver-haired, 79-year-
old model Josephine Mann. She smiles
knowingly behind a Stetson hat, in the same
deant pose, having made us all feel a little
embarrassed at our own daft assumptions.
The appeal of this two-page print
advertisement lies in our delight at being
conned. Our assumptions were tested
and found wanting. The ad itself neatly
highlights the kind of shallow judgements
were expected to make while powerfully
aligning a product with the notion that unique
and individualist people wear the jeans.
Photography used in this way allows us to
challenge the way we perceive the world.
Even the photographing of abstracts of
indeterminate subject matter gives us the
chance to view the ordinary in extraordinary
ways. Its a compelling strategy to take if
you can nd the means with which to disrupt
our view of the world, whether this be on an
everyday mundane level or on a cosmic scale.
Creative strategies

Title: Coco
Nikolaj Georgiew
The lightness of the womans
skin stands out against the dark
blue background providing good
foreground/background separation
in this beautifully composed image.
Your creative strategy
should convey your creative
concept with clarity.
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Simplicity vs complexity
Some images succeed because they
deliver a message so unequivocal and
straightforward that there is only one
way to read it. Such images are often
the result of a very simple design: single
point of view, minimal background
or a single predominant colour.
Its no surprise that the worlds of print media
advertising, editorial, fashion and news
journalism depend on a regular supply of
images structured around an approach to
design simplicity. Simple equals stark. It gets
noticed; it is immediate and unambiguous.
Complex images may be constructed from a
much wider range of design principles. They
may have multiple points of view, competing
patterns and forms, perhaps clashing colour
palettes, all of which add layers of additional
difculty or impenetrability to an image.
Such images generally appear in contexts
where the viewer doesnt have to be grabbed
and bludgeoned with the immediacy of the
message. They can be found in books and
magazines, for example, where readers
have time to peruse and deliberate, or art
galleries where photographers can explore
more complex themes with their work.
As creative photographers, we must try to
master a variety of creative approaches
and effectively incorporate both simplicity
and complexity in our image-making.
Design and conceptual photography
While design principles can be discussed
endlessly in terms of their application to many
different forms or strands of photography
landscape, commercial, portrait, to name a
few there exists much confusion about the
term conceptual. Conceptual photography
begins with the idea the concept. It can
communicate a simple message, sometimes
a political, social, historical or cultural
comment, sometimes a personal joke or irony.
The important thing that unites all conceptual
photographs is that they have to start out as
ideas which then require the use of a range
of design principles in order to be delivered.
So what design elements are used in
conceptual photography? Anything that
allows for the clean and economical delivery
of the message. Conceptual photography
enjoys a healthy regard for symbolism
(see pages 164165). These symbols are
used by conceptual photographers to
represent aspects or whole parts of the
message contained within the image.
In order to achieve an unambiguous and clear
reading of an image, conceptual photography
makes use of design simplicity, minimalism
and other design ingredients that convey
ideas with directness. Some photographers
allow or encourage subjective interpretations
enabling individuals to bring their own
experiences and backgrounds to an image
in order to nd their own meanings. Others
attempt to create images that supply one, and
only one, message that appeals universally.
Creative strategies
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Case study 7 | Creative strategies | Exercise 7

Title: Toe-rag studio
Angus Fraser
An astonishing range of pattern,
colour and intricate detail is present
within this wonderful image. The
work remains well-balanced and
every single element (down to the
teapot and the small rectangle of
the red Recording sign) seems
to be rightfully in its place. And
yet, because all the image detail is
divided up into separate portions,
and all the elements are given
space to breathe, the image never
appears to be too dense or complex.

Title: Leather armchair
Jeremy Webb
Pop-up flashes on digital cameras
are a poor substitute for a dedicated
flashgun. On this occasion, however,
its stark and indiscriminate light
managed to render the leather
on the chair perfectly. The flash
fall-off meant that nothing of the
background was illuminated
enough to record on the sensor.
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Since this is the nal exercise in the book, this assignment requires
you to produce a variety of creative responses to a single concept or
idea. Its designed to encourage lateral thinking, conceptual skills,
observational skills, presentation skills and the creative freedom to
incorporate a range of design principles in your work. Select a single
word from the list below:
Once youve made your selection, proceed to produce the following:
A conceptual image based on your chosen word.
An image observed and captured from observation.
An image that presents an unusual interpretation or alternative view.
A single presentation of your concept created by a montage or series of six
or more smaller images of the same subject.
Roll
Sink
Corner
Bridge
Bounce
Disturbance
Exercise 7 Concepts and ideas
Exercise 7
Concepts
and ideas
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Creative strategies | Exercise 7
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Title: Inflation/deflation series
Jeremy Webb
This simple series emerged from a
humorous attempt to produce a visual
metaphor for the economic downturn.
The collapsing airbed represents a
similarly deflating economy against a
backdrop of leaves that depict the
passage of time.
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Conclusion

Title: Summerhouse
Jeremy Webb
Blurred foreground detail can add a
sense of depth to an image. In this
case, it offers a frames within frames
layer of cooler blue to invite the viewer
forward towards the warmer glow of
the table lamp.
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Theres no right way or wrong way to
produce photographs only a selection of
choices to make along the way. Adopting
a design-aware approach to photography
does not limit you to a narrow portfolio of
acceptable choices it opens up a feast
of possibility and gives power to both the
photographer and the image.
Simplify, emphasize and isolate. Dont
let the strength of your image-making be
diluted by unnecessary or distracting detail.
Be sure of your intent. Dont allow your
work to be driven by equipment or
technique. Focus on what fascinates you
about your subject. Always question why it
is that you are photographing something.
Limit yourself having the discipline to
accept self-imposed restrictions can
focus your intent and release creativity
and insight.
Avoid following current fashions and
trends; move away from the familiar in
order to take a more objective view or nd
fresh inspiration.
Remember that the design structure of an
image can communicate with intensity well
before any reading of its meaning or intent
takes place. This may well provide the basis
for an unintended stay, which then allows
meaning to unfold. Such an opportunity
may not arise if the image is constructed
with less attention given to its design, at
which point, the viewer moves on.
Recognize that the subject in front of
your lens may not be the only subject in
the image.
Accept your mistakes as part of your
learning, but never be afraid to take risks.
And nally...
Love what you do. Wear many different
hats and free yourself from negativity. The
process by which we become intuitive and
uid with design is a journey that should
be enjoyed for its own sake. It will take
time to feed into your work, but it soon
takes on a life of its own within you.
Photographers often nd that although
they may continually test the limits and
boundaries of their own design awareness,
their commitment to the design
process simply becomes internalized
and uid, and once you can approach
your photography with the condence
that comes from this knowledge, your
work can breathe once again, allowing
your photography to become liberated,
spontaneous and highly creative.
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Abstract non-representational;
dealing with a way of seeing that
extracts value from producing
images based around ideas and
evocations rather than a descriptive
showing of the thing itself.
Analogue refers to the traditional
film capture and process of
Aperture the opening in the
lens that controls the amount of
light reaching the film (used in
conjunction with the shutter speed).
Barrel distortion a defect of
optical lenses in which straight,
horizontal or vertical lines
appear to be convex curves.
Bounced flash achieves softer
light from a flash gun or flash head
by bouncing the flash off a nearby
wall, ceiling or white reflector.
Bracketing method of ensuring
correct exposure by taking several
additional pictures, usually +1 stop
above the given exposure, and -1
stop below the given exposure.
Composition the artistic
arrangement of the subject matter
within a photographic image.
Contact sheet A print made on
photographic paper by exposing the
paper to light with the negatives in
direct contact with the print. These
same size thumbnail images are
used as a basis to establish which
images to print, what cropping
needs to take place and so on,
although some larger format
negatives, due to their size, can
create their own contact prints
without the necessity of an enlarger.
Containment keeping
something held in or contained.
De-focused allowing some of the
image area to remain out of focus.
Depth the appearance or
impression of near and far
within a photographic image.
Depth of field The amount of a
picture that will appear sharp in front
of and behind the point at which you
focus the lens. Large depth of field
refers to a large area of the picture
being in sharp focus from near
foreground to far distance, usually
achieved with wide-angle lenses or
small apertures of f16, f22 etc. Small
depth of field indicates a very narrow
band of focus often through the use
of wide apertures such as f1.2 or f2.
Directional forces the
organization of visual matter or
elements that encourage the viewer
to observe the image content
following a particular line or direction.
Duotone popular Adobe
Photoshop effect that gives
the appearance of hand-toned
photographs by using black
and another colour ink when
working in greyscale mode.
Exposure results in the
combination of lens aperture
and shutter speed, which is
used to control the intensity
of light reaching the film.
Expressionist artwork that
generally responds to and reflects
the inner world of emotion, often
using distortion or other effects to
reflect the idea of an inner reality.
F-stop indicates the size of
the lens aperture. The smaller
the number, the wider the
aperture, the higher the number,
the smaller the aperture.
Flattening In Photoshop, the
process of merging together
all layers within the file to
return the image again to one,
single background image.
Focal length the distance
between the centre of a
lens and its focus.
Format the shape, size and
proportions of the image area.
Gaussian blur used within
Photoshop, this creates a
softer, de-focussed effect.
Grain composed of minute
metallic silver particles in film
that form the visible image when
exposed and developed.
Greyscale Print or transparency
consisting of a series of grey
tones of regular increasing
depth from white to black.
History Palette Within Photoshop,
every time you modify or edit your
image, it is recorded as a history
state within the History Palette.
This chronological recording of
events can be used if you want
to return to an earlier state within
the current work session.
Incongruity something that
is not in harmony with, or is
poorly suited to, the environment
within which it is placed.
ISO Initials of the International
Standards Organisation used to
indicate the speed or light sensitivity
of photographic materials.
JPEG a type of digital image file
that compresses files by up to 75
per cent although some image
data can be lost. Usually produces
smaller file sizes than PSDs or
TIFFs, hence it is easier to send
via email or as screen previews.
Juxtapose to position or place
in close proximity with something
else producing contrast, surprise
or other strong reaction.
Layers Palette An information
palette within the Photoshop
interface that provides information
on the number and type of layers
within a digital image. New layers
are automatically created when
using the type tool, and when any
copy-and-paste work is undertaken.
Monochrome black and white.
Monotone a single colour.
Multiple exposure more than
one exposure captured within
the same frame or produced
within the same image.
Glossary
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Panning the photographer follows
the action in front of him or her by
attempting to move the camera at
a sympathetic speed to track the
subject. The result often renders
the subject as sharp or semi-sharp
against a blurred background.
Pixellation the blocky effect
that occurs when an image is
enlarged to a size where the
pixels become obvious.
Pixels individual picture elements
usually (though not exclusively)
seen as square blocks that form
the basis of all digital images.
Most visible at high magnification
if the image is said to be of high
resolution. More easily visible in
low resolution digital images such
as those using the jpeg file type.
PSD stands for Photoshop
Document and is the native file
format for Photoshop images; most
often used for works in progress,
or layered images that require
many work sessions, or multiple
openings and closings of the file.
Raking light bright light that
illuminates across the surface
of a subject highlighting
its texture or detail.
Resolution the picture detail,
sharpness, or quality of a digital
image measured in pixels per
inch. The higher the resolution,
the higher the quality and detail,
and the bigger the file size.
Reticulation Formation of
minute cracks on the surface of
an emulsion, usually caused by
extreme temperatures during
processing. Modern films are
normally very resistant to reticulation.
Safelight Darkroom light of a
particular wavelength to which the
photographic paper is not sensitive.
This allows you to see and handle
materials in the darkroom. In the
case of black-and-white printing,
the appropriate safelight is usually
an orange, red or deep green.
Saturation the strength
or intensity of colour.
Shutter speed The amount
of time (usually measured in
fractions of a second) for which
a camera shutter remains open,
permitting light channelled through
the lens to fall on the film.
Soft box a large diffuser
placed over a studio flash
head to soften the light.
Symbolism the use of
symbolic images or visual
metaphors to express ideas,
emotions or states of mind.
Telephoto lens A lens providing a
longer focal length than a standard
lens, giving a narrow field of view
and enabling the photographer
to get closer to the subject than
a standard lens would allow.
TIFF a type of high-quality digital
image file; stands for Tagged
Image File Format and supports
up to 24-bit colour per pixel.
TTL is through- the-lens metering,
a method that uses light-sensitive
exposure metering cells within
the camera body to take readings
of the reflected light falling on the
subject, exactly as seen by the
lens. In automatic cameras, these
readings are translated directly into
apertures and/or shutter speeds.
Vanishing point The point where
receding parallel lines viewed in
perspective appear to converge
at a point in the distance.
Viewfinder the device used
on camera that shows the field
of view of the lens used.
Vignetting is the visual effect of
the darkening of edges and corners.
Can be deliberate or accidental.
Wide-angle lens A lens
that takes in a wide view.
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Bibliography and webography
Contemporary photography
Art Photography Now by Susan
Bright, pub: Thames & Hudson.
Blink pub. the editors at Phaidon.
How You Look at It: Photography
of the 20th Century, Ed: Heinz
Liesbrock & Thomas Weski,
pub: Thames & Hudson.
Image Makers, Image
Takers by Anne-Celine Jaeger,
Public Relations New British
Photography, pub: Cantz.
Creativity/inspiration/ideas
Exploring Colour Photography: A
Complete Guide by Robert Hirsch,
pub: Lawrence King Publishing Ltd.
Fine Art Photography:
Creating Beautiful Images
for Sale and Display by Terry
Hope, pub: Rotovision.
Innovation/Imagination: 50
Years of Polaroid photography
pub. Harry N Abrams.
Looking at Photographs by
John Szarkowski, pub: Museum
of Modern Art, New York.
Susan Sontag On Photography
by Susan Sontag pub: Penguin.
Tao of Photography by Tom
Ang, pub: Mitchell Beazley.
The Art of Enhanced Photography
by James Luciana and Judith
Watts, pub: Mitchell Beazley.
The Impossible Image:
Fashion Photography in the
Digital Age pub: Phaidon.
The Nature of Still Life: From
Fox Talbot to the Present Day
Ed: Peter Weiermair, pub: Electa.
The Photographers Eye
(Composition and Design
for Better Digital Photos) by
Michael Freeman, pub: ILEX.
General /reference
Approaching Photography
by Paul Hill, pub: Photographers
Institute Press.
Fine Art Photography by
Terry Hope pub: Rotovision.
Home Photography by Andrew
Sanderson, pub: Argentum.
Innovation/Imagination: 50
Years of Polaroid photography,
pub: Harry N Abrams.
Photographic Possibilities (2nd
edition) by Robert Hirsch & John
Valentino, pub: Focal Press.
Photography as Fine Art
(Introduction by Douglas Davis),
Photography: The Key Concepts
by David Bate, pub: Berg.
Right Brain, Left Brain
Photography by Kathryn
Marx, pub: Amphoto.
Susan Sontag on Photography
by Susan Sontag, pub: Penguin.
The Abrams Encyclopedia of
Photography, Brigitte Gouignon
Editor-in-chief, pub: Harry N Abrams.
The Focal Encyclopedia of
Photography (4th Ed), Michael R
Peres Editor-in-chief, pub: Focal Press.
The Oxford Companion to the
Photograph, Ed: Robin Lenman,
pub: Oxford University Press.
The Photography Handbook by
Terence Wright, pub: Routledge.
Whats Missing? Realising Our
Photographic Potential, compiled
by Eddie Ephraums, pub: Argentum.
Instructional (for film-based
photography)
Creative Photo Printmaking by
Theresa Airey, pub: Amphoto Books.
Cyanotype: The History, Science
and Art of Photographic Printing
in Prussiona Blue, by Mike
Ware, pub: The Science Museum
and The National Museum of
Photography, Film and Television.
Photographys Antiquarian
Avant Garde The New Wave
in Old Processes by Lyle
Rexer, pub: Harry N Abrams.
Silver Gelatin: A Users Guide to
Liquid Photographic Emulsions
by Martin Reed & Sarah Jones,
pub: Working Books Ltd.
Spirits of Salts: A Working
Guide to Old Photographic
Processes, by Randall Webb &
Martin Reed, pub: Argentum.
Sun Prints by Linda McCartney,
pub: Ebury Press.
The Darkroom Cookbook
(2nd edition) by Stephen G
Anchell, pub: Focal Press.
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Glossary | Bibliography and webography | Index
Photographers and
projects to explore
Altered Landscapes by John
Pfahl, pub: The Friends of
Photography in association with
the Robert Freidus Gallery.
Brandt: The Photographs of Bill
Brandt, pub: Thames & Hudson.
Couples and Loneliness by Nan
Goldin, pub: Korinsha Press.
Harry Callahan: The Photographer
at Work by Brett Salvesen, pub:
Centre for Creative Photography
and Yale University Press.
Karl Blossfeldt
Photography, pub: Cantz.
Koudelka: Reconnaissance Wales
pub: Ffotogallery in association
with the Cardiff Bay Arts Trust, The
National Museum and Galleries
of Wales and Magnum Photos.
Other Edens by Nick
Waplington, pub: Aperture.
Philip Lorca diCorcia, pub: The
Museum Of Modern Art, New York.
Robert Doisneau: A
Photographers Life, by Peter
Hamilton pub: Abbeville Press.
The Americans by Robert
Frank, pub: Scalo.
The Democratic Forrest by William
Eggleston, pub: Doubleday.
Useful websites (magazines,
forums, online publishing
and resources)
www.a-n.co.uk
The website of Artists Newsletter a
wealth of information for visual artists
funding, contracts, exhibitions,
opportunities and much more.
www.the-aop.org
The Association of Photographers.
www.aperture.org
The Aperture Foundation
photography in all its forms.
www.aphotoeditor.com
An insiders guide to the
business of photography.
www.apug.org/forums/home.php
Resources and forum for the
analogue photographer.
www.artscouncil.org.uk
Access to grants and
funding information.
www.art-support.com
US-based resources for photographers,
some international contacts.
www.thebfp.com
The website of the Bureau of
Freelance Photographers.
www.bjp-online.com
The website of the British
Journal of Photography.
www.theblacksnapper.net/archive
International online photography
magazine of mostly documentary
and photojournalism.
www.thecolorawards.com
Inspiring photography from this well-
established awards for excellence.
www.dayfour.info
Online photography showcase of
photographers personal work.
www.digitaltruth.com
Resources of all kinds
for photographers.
www.ephotozine.com
Online resource for news,
reviews, articles, equipment.
www.equivalence.com
A site devoted to European
contemporary photography.
www.festivaloflight.net
Information on photography
festivals worldwide.
www.graphic-exchange.com
The archives section are a stunning
showcase of photography.
www.lenswork.com
Photography and the creative process.
www.london-photographic-
association.com
Membership organization,
competitions, awards, opportunities
and much, much more.
www.photo.net
A vast online community
of photographers.
www.photoarts.com
International online photography.
www.photography.org/index.php
The Centre for Photographic Art.
www.photolucida.org
The organizers of Critical Mass.
www.photomediacenter.org
Promotes photography, digital
and film.
www.photonet.org.uk
The website of the Photographers
Gallery, London.
www.photoshot.com
The world of photography on the web.
www.portfoliocatalogue.com
The Portfolio Magazine website.
www.profotos.com/education/
referencedesk/masters/index.
shtml
Contains information on many of the
worlds best-known photographers.
www.rhubarb-rhubarb.net
The International Photographic
Review website.
www.sfcamerawork.org
A US-based site for
contemporary photography.
www.shotsmag.com
The Shots Magazine website.
www.source.ie
Contemporary photography magazine.
www.unblinkingeye.com
A source of information and articles
for film-based photographers.
www.vam.ac.uk/collections/
photography/index.html
Access to the Victoria & Albert
Museum photography collection.
www.zonezero.com/zz/
A large portfolio and magazine site.
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Index
Page numbers in italics refer to
illustrations.
abstraction 116, 11823, 123, 142, 176
actual/illusory depth 1049
advertising 102, 103, 144, 145, 152,
164, 168
Ambrose, Gavin 62
Amor, Mary 61
analogue photography 176
angle of view 212, 100, 101
aperture 56, 106, 146, 176
arcs 33
Ashraf, Osman 86, 867
autoexposure 103
autofocus 102, 103
background 68
see also foreground/
background separation
backlighting 54, 55, 100, 101
balance 156
Benetton ads 102, 103, 144, 145
Blees Luxemburg, Rut 1367
Blignaut, Sanette 114, 115
bold colours 645
Boonstra, Rommert 63
borders 130, 131, 131
Bourdin, Guy 143
Brandt, Bill 143
bright light 56
Carson, Sandy 143
Cartier-Bresson, Henri 88, 89, 145
Casebere, James 112, 113
Clarke, Jonathan 22, 23
clich 162, 164
colour 607
contrast 925
depth creation 105
juxtaposition 149
monochrome in 66, 667
points of interest 144
saturation 92, 177
symbolism 81
temperature 92
texture and 46
colour wheel 62
complementary colours 62, 92
complexity 145, 156, 157, 170, 171
composition 11, 2669, 71, 176
depth creation 100
movement/flow 125, 132, 134, 135
rule-breaking 24
conceptual photography 170, 172, 173
confusing the eye see illusory depth
containment 1303, 176
content and depth 102, 103
contrast 60, 925, 100
converging lines 345, 35
cool colours 60, 61, 64, 65
creative strategies 16871, 169
cultural symbolism 81, 164
curves 33, 88, 91, 127, 130, 134
darkness 60, 62
de-focusing 120, 121, 1467, 176
depth 8, 17, 42, 45, 98123, 176
depth of field 100, 101, 106, 120,
1467, 176
Dersky, Oleg 17
design elements 8, 2869, 71
design theory 8, 1027
detail 14, 46
Dezso, Tamas 107
diagonal lines 32, 78, 79, 126, 132,
1367, 137
difference 845
digital technology 6, 166, 167
see also Photoshop
direction of light 54, 55
directional forces 1267, 1347, 176
disharmony 156
disorientation 116
disruption of order 82
distance
between subjects 445, 45
to subject 18, 20, 22, 118, 119
see also depth
distortion 136, 176
Doisneau, Robert 80
Double-King, Libby 38, 64, 65
down the line images 108
edges 12, 118, 130, 131
Eggleston, William 166
elements of design 8, 2869, 71
emotion 8, 14059
emphasis 8, 14059
environment/subject juxtaposition
148, 153
everyday images see mundane
images
expectations, overturning 168
exposure 103, 109, 1401, 176
expression 1623
eye movement 134, 157
f-stops 176
false attachment 108, 108
fixed focal length lenses 147
flash photography 171, 176
flat images 36, 445, 176
see also two-dimensional space
flat lighting 100
flow 8, 88, 89, 12439
focal length use 147, 176
focus
areas 1467
autofocus 102, 103
de-focusing 120, 121, 1467, 176
see also aperture
Fontana, Franco 21
forced relationships 149
foreground/background separation
37, 42, 102, 104, 168, 169
form/shape 3641
formats 134, 1367, 176
fractals 74, 75
frames within frames 132, 133, 174
framing images 1214, 13, 174
Franck, Martine 59, 90
Fraser, Angus 171
Funnell, Greg 84, 85
Gavin, Neil 136
Georgiew, Nikolaj 153, 168, 169
Gillie, Damien 32
Godwin, Fay 80
graphic approach 78
Grogin, Harry 191
Guneriussen, Rune 149
Haas, Ernst 37, 667
hard light 52, 59
harmony 78, 79, 82, 84, 156
Hart, Steve 76, 77, 111
Hatakeyama, Naoya 85
high-contrast images 94
highlights 94
horizontal lines 30, 31, 78, 79, 136
hue 62
ideas 170, 172, 173
illusory depth 17, 45, 1049
imbalance 156
incongruity 1523, 176
infinite patterns 74, 75
intensity of light 56
interruption 82, 83
intersecting lines 35, 132
intuition 24
Johnson, Mark 105
Jones, Alice 1901
juxtaposition 14853, 151, 176
Kase, Luka 91
Knights, Ricki 60, 61
Krupp, Alfred 54
Kuhn, Mona 134, 135, 146
landscape format 134, 1367
learnt skills 24
left-to-right eye movement 134
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Bibliography and webography | Index | Acknowledgements and picture credits
lenses 106, 177
see also aperture
Levin, Michael 101
library images 164
light 289, 5060, 62, 68, 867, 177
depth and 867, 100
flash photography 171
patterns 723
repetition 81
shape/form 367, 38, 3941
texture and 46, 479, 52, 56, 57
line 305, 789, 88, 90, 12637, 129
long shadows 59
Loughrey, Duncan 121
low-contrast images 94
low light 52, 56, 100
Luxemburg, Rut Blees 1367
McBean, Angus 39
McCall, Barry 54, 55
Macfadden, Bernarr 1901
Mandelbrot images 74
manipulating images 1901
Manos, Constantine 723
Maruyama, Shinichi 701
monochrome 66, 667, 176
Monument to Daedalus (Clarke) 22, 23
mood 1547
see also emotion
motifs 80, 84, 88, 91
movement 8, 902, 91, 12439
multiple exposures 109, 176
mundane images 6, 9, 18, 1668, 167
negative space 17, 42, 43
Newman, Arnold 54, 145
news photography 154, 1901
objects 40, 41
observation 130, 1389
opposing colour temperatures 92
optical illusions 17, 108
see also illusory depth
optical lines, definition 126
see also line
overlapping frames 132
Oviedo, Alberto 33
Parker, Olivia 14, 15, 40, 41, 130
pattern 46, 56, 57, 725
see also repetition
Pejouan, Marie 25
Pen & Ink Press 96, 97
perception and scale 110
perspective 118
Peterhans, Walter 156
Photoshop 66, 74, 75, 165, 1767
placement see positional decisions
points of interest (POIs) 1425
points of view see viewpoint
POIs (points of interest) 1425
portrait format 1367
positional decisions 1822, 19, 23
depth creation 106, 107
emphasis 1401, 1434, 1489
shape/form 37, 38
space 45
positive space 17, 42, 43
presentation of work 163
primary colours 62, 64
proportion 11013
proximity see distance
psychology of colour 60, 61
quality of light 52
raking light 100, 177
random patterns 723, 73
Read Miller, Peter 130, 131
real lines, definition 126
see also line
reductive photography 12
reference points 116
reflections 109, 109
Renoux, Pascal 94
repetition 72, 74, 7681, 84, 85
movement/flow 1245
rhythm 88, 91
rhythm 8891
Rodchenko, Aleksandr Mikhajlovich 20
rough textures 46, 47
rule-breaking 24, 114, 115, 120
rule of thirds 1423
saturation 92, 177
scale 8, 98123
absence of 116, 11718
incongruity 152
perceptual importance 110
proportion and 11013
Schutmaat, Bryan 43
Seale, Ansen 1245
secondary POIs 142
shadows 52, 54, 59, 94
shape/form 3641
Shapiro, Katie 162, 163
sharp focus 106, 1467
Shore, Stephen 166
shutter speeds 177
sidelighting 46, 54, 55, 56, 100
silhouettes 37, 76
simplicity 13, 1601, 170, 171
single-colour images 62, 144, 176
size issues 143, 149
see also scale
skills see design skills
Smart Photography Ltd 40
smooth textures 48, 489
snapshot photography 166, 167
soft light 52, 53, 56, 59, 100, 177
space 12, 1617, 37, 425, 98123
spatial relationships 445, 45, 989
Starkey, Hannah 1011, 126
still life depth 106
stillness 157
Stravinsky, Igor 145
strength of light 56
subject contrast 95
subject/environment juxtaposition 148, 153
subjective interpretations 170
substance 14, 16
subtlety
colour 645, 92
curves 33
surface texture see texture
symbolism 30, 801, 1645, 170, 177
Szarkowski, John 161
telephoto lenses 20, 445, 45, 106,
118, 143, 147, 177
temperature of colour 92
tension 154, 155
tessellation 96, 97
texture 469, 52, 568, 57
theory of design 8, 1027
three-dimensional space 42
Tillmans, Wolfgang 163
time and light 501
Tolstov, Vadim 64, 65
tonal contrast 92, 94
Toscani, Oliviero 102, 103, 144, 145
truth 14, 112, 113, 190
Turner, Ike 16
two-dimensional space 42, 99
see also flat images
Tylicki, Tomasz 128, 129
unease 155
uniformity 84
unity 78, 79, 82, 83, 845
vantage point 21
variety 845
vernacular imagery 166, 167
vertical lines 30, 31, 78, 79, 136, 137
viewfinder use 1215, 13, 177
viewpoint 18, 213, 86, 867, 120, 121
see also angle of view
views, expressing 1623
warm colours 60, 61
Weston, Edward 52
wide-angle lenses 45, 106, 136, 143,
147, 177
Winogrand, Gary 80, 11011
Zschlommer, Christiane 121
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BLACK TEXT
Acknowledgements and picture credits
Many thanks to all the contributors who have supplied images
for this book. I hope that their images will inspire others as
much as Ive been inspired by them. Thanks also to Osman
Ashraf, Tomasz Tylicki, and Sanette Blignaut for contributing
such superb coursework for this project and to all my current
and past students who continue to supply some seriously
impressive work.
Id also like to thank my wife Kat, my son and webmeister
extraordinaire Jack, and my daughter Dixie for their wonderful
support and help along the way.
Lastly but by no means leastly to Rene Last for her
incredible positivity and patience, Sarah Jameson for her
dedication to the cause, David Smith for the wonderful book
design, and to Brian Morris and everyone at AVA for making
the whole venture possible.
Thank you one and all.
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Index | Acknowledgements and picture credits | Ethics
10, 126: Courtesy of Hannah Starkey;
Tanya Bonakdar Gallery, New
York; Maureen Paley, London.
15: Photography by
Olivia Parker 1976.
17: Oleg Dersky
www.olegdersky.com
20: Rodchenko & Stepanova
Archive, DACS 2010; Image
supplied by the San Francisco
Museum of Modern Art. Purchase
through a gift of Robin Moll and
Accessions Committee Fund:
gift of Barbara and Gerson Bakar,
Frances and John Bowes, Shawn
and Brook Byers, Mimi and Peter
Haas, Byron R. Meyer, Madeleine
H. Russell and Phyllis Wattis.
Estate of Alexander Rodchenko/
RAO, Moscow/VAGA, New York.
21: Franco Fontana.
25: Marie Pejouan.
32: Damien Gillie.
33: Alberto Oviedo.
37, 67: Ernst Haas/Hulton
Archive/Getty images.
38, 64: Libby Double-King 2006.
39: National Portrait
Gallery, London.
40: Smart Photography Ltd.
41: Photography by Olivia
Parker 1977.
43: Bryan Schutmaat 1977.
55: Barry McCall.
59, 90: Martine Franck/
Magnum Photos.
61: Mary Amor 2008.
61: www.rickiknights.co.uk
62: Courtesy of Gavin Ambrose.
63: Rommert Boonstra.
64: Vadim Tolstov.
70: Shinichi Maruyama 2006.
73: Costa Manos/Magnum Photos.
77, 111: Steve Hart
Photographic Ltd.
85: Collection Centre Canadien
dArchitecture/Canadian Centre for
Architecture, Montral; Gift of the artist
on the occasion of Phyllis Lambert's
80th birthday Naoya Hatakeyama.
85: Greg Funnell.
87: Osman Ashraf.
89: Henri Cartier-Bresson/
Magnum Photos.
91: Luka Kase.
94: Pascal Renoux.
97: Pen & Ink Press.
101: Michael Levin 2005.
103: Handcuffs by Oliviero
Toscani (September 1989) for
United Colours of Benetton.
105: Mark Johnson.
107: Tamas Dezso.
110111: 1984 The Estate of
Garry Winogrand, courtesy of
Fraenkel Gallery, San Francisco.
113: James Casebere.
115: Sanette Blignaut.
121: Christiane Zschlommer 2005.
121: Duncan Loughrey.
124: Ansen Seale 2010.
129: Tomasz Tylicki.
130: Photography by
Olivia Parker 1983.
131: Peter Read Miller.
135, 146: Mona Kuhn.
136: Neil Gavin.
137: Rut Blees Luxemburg
and Union Gallery London.
143: Photography by Sandy Carson
www.sandycarson.com
145: Newborn baby by Oliviero
Toscani (September 1989) for
United Colours of Benetton.
149: Rune Guneriussen.
153, 169: Nikolaj Georgiew.
156: Estate Walter Peterhans,
Museum Folkwang, Essen.
163: Katie Shapiro 2008.
171: Angus Fraser.
All reasonable attempts have been
made to trace, clear and credit the
copyright holders of the images
reproduced in this book. However,
if any credits have been inadvertently
omitted, the publisher will endeavour
to incorporate amendments in
future editions.
All other photographs and images are
courtesy of the author, Jeremy Webb:
www.jeremywebbphotography.com
Index compiled by:
Indexing Specialists (UK) Ltd.
Indexing House
306A Portland Road
Hove
East Sussex
BN3 6LP, UK
Telephone: +44 (0)1273 416 777
YELLOW 5145
The subject of ethics is not new, yet
its consideration within the applied
visual arts is perhaps not as prevalent
as it might be. Our aim here is to help a
new generation of students, educators
and practitioners nd a methodology
for structuring their thoughts and
reections in this vital area.
AVA Publishing hopes that these
Working with ethics pages provide
a platform for consideration and
a exible method for incorporating
ethical concerns in the work of
educators, students and professionals.
Our approach consists of four parts:
The introduction is intended to be
an accessible snapshot of the ethical
landscape, both in terms of historical
development and current dominant
themes.

The framework positions ethical
consideration into four areas and
poses questions about the practical
implications that might occur.
Marking your response to each of
these questions on the scale shown
will allow your reactions to be
further explored by comparison.
The case study sets out a real project
and then poses some ethical questions
for further consideration. This is a focus
point for a debate rather than a critical
analysis so there are no predetermined
right or wrong answers.
A selection of further reading
for you to consider areas of particular
interest in more detail.

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Lynne Elvins
Naomi Goulder
Publishers note
BASICS
Working with ethics
BASICS
Introduction

YELLOW 5145
In modern times the most important
and controversial questions in
ethics have been the moral ones.
With growing populations and
improvements in mobility and
communications, it is not surprising
that considerations about how to
structure our lives together on the
planet should come to the forefront.
For visual artists and communicators,
it should be no surprise that these
considerations will enter into the
creative process.
Some ethical considerations are
already enshrined in government laws
and regulations or in professional
codes of conduct. For example,
plagiarism and breaches of
condentiality can be punishable
offences. Legislation in various nations
makes it unlawful to exclude people
with disabilities from accessing
information or spaces. The trade of
ivory as a material has been banned in
many countries. In these cases, a clear
line has been drawn under what is
unacceptable.
Ethics is a complex subject that
interlaces the idea of responsibilities
to society with a wide range of
considerations relevant to the
character and happiness of the
individual. It concerns virtues of
compassion, loyalty and strength,
but also of condence, imagination,
humour and optimism. As introduced
in ancient Greek philosophy, the
fundamental ethical question is: what
should I do? How we might pursue
a good life not only raises moral
concerns about the effects of our
actions on others, but also personal
concerns about our own integrity.
U268651_BCP Design Principles 1 # WPA(N) 06.07.2010 1 GP_U006
But most ethical matters remain
open to debate, among experts and
lay-people alike, and in the end we
have to make our own choices on the
basis of our own guiding principles or
values. Is it more ethical to work for a
charity than for a commercial
company? Is it unethical to create
something that others nd ugly or
offensive?
Specic questions such as these may
lead to other questions that are more
abstract. For example, is it only effects
on humans (and what they care about)
that are important, or might effects on
the natural world require attention too?
Is promoting ethical consequences
justied even when it requires ethical
sacrices along the way? Must there
be a single unifying theory of ethics
(such as the Utilitarian thesis that the
right course of action is always the one
that leads to the greatest happiness of
the greatest number), or might there
always be many different ethical values
that pull a person in various directions?
As we enter into ethical debate and
engage with these dilemmas on a
personal and professional level, we
may change our views or change our
view of others. The real test though is
whether, as we reect on these matters,
we change the way we act as well as
the way we think. Socrates, the father
of philosophy, proposed that people
will naturally do good if they know
what is right. But this point might only
lead us to yet another question: how do
we know what is right?
186/187

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50

Your client
What are your terms?
Working relationships are central
to whether ethics can be embedded
into a project, and your conduct on
a day-to-day basis is a demonstration
of your professional ethics. The
decision with the biggest impact is
whom you choose to work with in the
rst place. Cigarette companies or
arms traders are often-cited examples
when talking about where a line might
be drawn, but rarely are real situations
so extreme. At what point might you
turn down a project on ethical grounds
and how much does the reality of
having to earn a living affect your ability
to choose?
Using the scale, where would you
place a project? How does this
compare to your personal ethical level?
You
What are your ethical beliefs?
Central to everything you do will be
your attitude to people and issues
around you. For some people,
their ethics are an active part of the
decisions they make every day as
a consumer, a voter or a working
professional. Others may think about
ethics very little and yet this does not
automatically make them unethical.
Personal beliefs, lifestyle, politics,
nationality, religion, gender, class
or education can all inuence your
ethical viewpoint.
Using the scale, where would you
place yourself? What do you take
into account to make your decision?
Compare results with your friends
or colleagues.

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A framework for ethics
50
188/189

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Your specications
What are the impacts of your
materials?
In relatively recent times, we are
learning that many natural materials
are in short supply. At the same
time, we are increasingly aware that
some man-made materials can have
harmful, long-term effects on people
or the planet. How much do you know
about the materials that you use?
Do you know where they come from,
how far they travel and under what
conditions they are obtained? When
your creation is no longer needed,
will it be easy and safe to recycle? Will
it disappear without a trace? Are these
considerations your responsibility or
are they out of your hands?
Using the scale, mark how ethical
your material choices are.
Your creation
What is the purpose of your work?
Between you, your colleagues
and an agreed brief, what will your
creation achieve? What purpose
will it have in society and will it make
a positive contribution? Should your
work result in more than commercial
success or industry awards? Might
your creation help save lives, educate,
protect or inspire? Form and function
are two established aspects of judging
a creation, but there is little consensus
on the obligations of visual artists
and communicators toward society,
or the role they might have in solving
social or environmental problems.
If you want recognition for being the
creator, how responsible are you for
what you create and where might that
responsibility end?
Using the scale, mark how ethical the
purpose of your work is.

01 02 03 04 05 06 07 08 09 10

01 02 03 04 05 06 07 08 09 10
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50
Bernarr Macfaddens New York Evening
Graphic was dubbed the Porno
Graphic for its emphasis on sex, gossip
and crime news. In the early 1920s,
Macfadden had set out to break new
ground and publish a newspaper that
would speak the language of the
average person. One of the papers
trademark features was the creation
and use of the composograph. These
were often scandalous photographic
images that were made using
retouched photo collages doctored to
imply real situations. The most
notorious use of the composograph
was for the sensational Rhinelander
divorce trial in 1925.
Wealthy New York socialite Leonard
Kip Rhinelander married Alice Jones, a
nursemaid and laundress he had fallen
in love with. When word got out, it was
one of high societys most shocking
public scandals in generations. Not
only was Alice a common maid, it was
also revealed that her father was
African American. After six weeks of
pressure from his family, Rhinelander
sued for divorce on the grounds that
his wife had hidden her mixed-race
origins from him. During the trial,
Joness attorney had requested that
she strip to the waist as proof that her
husband had clearly known all along
that she was black.

One aspect of photography that raises
an ethical dilemma is that of inherent
truth or untruth in manipulating images,
particularly with the use of digital
cameras. Photographs have, arguably,
always been manipulated and at best
they represent the subjective view of
the photographer in one moment of
time. There has always been darkroom
manipulation through retouching or
double exposures, but these effects are
far easier to produce digitally and
harder to detect. In the past, the
negative was physical evidence of the
original, but digital cameras dont leave
similar tracks.
While creative photography might not
set out to capture and portray images
with the same intent that documentary
photography might, is there an inherent
deception in making food look tastier,
people appear better looking or resorts
look more spacious and attractive?
Does commercial image manipulation
of this kind set out to favour the
content in order to please, or is it
contrary to public interest if it results in
a purchase based on a photograph that
was never the real thing? How much
responsibility should a photographer
have when the more real alternative
might not sell?

Composographs
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Case study
50
Because the court had barred
photographers from witnessing this
display, the Evening Graphic staged a
composograph of Jones displaying her
nude torso to the all-white jury. It was
made by combining separate
photographs of all the people involved
and resizing them to proportion. Harry
Grogin, the assistant art director, also
arranged for an actress to be
photographed semi naked in a pose
that he imagined Alice would have
taken. Grogin is said to have used 20
separate photos to arrive at the one
compiled shot, but the resulting picture
was believable. The Evening Graphics
circulation rose from 60,000 to several
hundred thousand after that issue.
Despite healthy sales, the paper
struggled nancially because its trashy
reputation did not attract advertisers. In
spite of the nancial position,
Macfadden continued to plough his
own money into the venture. The paper
lasted just eight years from 1924 to
1932 and Macfadden is said to have
lost over USD$10 million in the process.
But the sensationalism, nudity and
inventive methods of reporting set a
model for tabloid journalism as we
know it today.
190/191

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Is producing fake images of real
situations unethical?
Is it unethical to produce images
based on sensationalism and
nudity?
Would you have created
composographs for the Evening
Graphic?
A photograph is a secret about a
secret. The more it tells you the
less you know.
Diane Arbus
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50
Further reading

AIGA
Design Business and Ethics
2007, AIGA
Eaton, Marcia Muelder
Aesthetics and the Good Life
1989, Associated University Press
Ellison, David
Ethics and Aesthetics in European Modernist Literature:
From the Sublime to the Uncanny
2001, Cambridge University Press
Fenner, David E W (Ed)
Ethics and the Arts:
An Anthology
1995, Garland Reference Library of Social Science
Gini, Al and Marcoux, Alexei M
Case Studies in Business Ethics
2005, Prentice Hall
McDonough, William and Braungart, Michael
Cradle to Cradle:
Remaking the Way We Make Things
2002, North Point Press
Papanek, Victor
Design for the Real World:
Making to Measure
1972, Thames & Hudson
United Nations Global Compact
The Ten Principles
www.unglobalcompact.org/AboutTheGC/TheTenPrinciples/index.html
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Title: BCP Design Principles
Client: AVA 491mm X 230mm

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AVA Academias Basics Creative
Photography titles are designed to
provide visual arts students with a
theoretical and practical exploration
of each of the fundamental topics
within the discipline of creative
photography. Packed with examples
from students and professionals
and fully illustrated with clear
diagrams and inspiring imagery,
they offer an essential exploration of
the subject.
students to the use of design
methodology in the creation of
In an age oversaturated with
photographic imagery, this book
demonstrates how design
awareness can add a new level of
depth to your images. It guides
students through a comprehensive
range of principles traditionally
associated with design, including
the use of line, shape, colour, space,
texture and light, and demonstrates
how these can be applied to
photography.
Basics Creative Photography:
students to a more considered
approach that can add dynamism
and impact to photography,
whatever the style or genre.
Ethical practice is well known, taught
and discussed in the domains of
medicine, law, science and sociology
but was, until recently, rarely
discussed in terms of the Applied
Visual Arts. Yet design is becoming
an increasingly integral part of
our everyday lives and its influence
on our society ever-more prevalent.
AVA Publishing believes that our
world needs integrity; that the
ramifications of our actions upon
others should be for the greatest
happiness and benefit of the greatest
number. We do not set ourselves
out as arbiters of what is good or
bad, but aim to promote discussion
in an organised fashion for an
individuals understanding of their
own ethical inclination.
By incorporating a working with
ethics section and cover stamp
on all our titles, AVA Publishing aims
to help a new generation of students,
educators and practitioners find
a methodology for structuring their
thoughts and reflections in this
vital area.
Jeremy Webb is a Norwich-based
photographer and tutor with over
25 years experience. He has
travelled extensively throughout
Europe, shooting stock for agencies;
joined a team of cruise ship
photographers based in Florida,
USA; and was an expedition
photographer with an environmental
charity based in Tanzania.
More recently, his work with light
painting has received much attention
and been featured in the British
Journal of Photography, as well as
numerous published portfolios and
websites. He has extensive experience
as a teacher and workshop leader
in higher and further education and
is also a distance-learning tutor for
several organisations. He embraces
both film and digital media, and
has won several awards for his
creative work with Photoshop.
Jeremy is the author of Creative Vision
(AVA Publishing, 2005). His website is:
www.jeremywebbphotography.com.
Featured topics
basic design theory
the use of space
positional decisions
the elements of design
line
shape or form
space
texture
light
colour
pattern
rhythm
contrast
scale and proportion
abstraction
movement and flow
containment
emphasis and emotion
juxtaposition
incongruity
mood and emotion
Featured contributors
Aleksandr Rodchenko
Angus Fraser
Angus McBean
Ansen Seale
Constantine Manos
Ernst Haas
Henri Cartier-Bresson
Libby Double-King
Martine Franck
Naoya Hatakeyama
Olivia Parker
Pascal Renoux
Steve Hart
ava publishing sa
www.avabooks.com
http://blog.avabooks.com
[email protected]
[email protected]
BASICS
01
DESIGN
PRINCIPLES
BASICS
01
n
a fundamental basis of a
system of thought or belief
Author 3
Author 2
Jeremy Webb
n
purpose or planning that
exists behind an object

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Publishers note
U
U268651 WPA 16.09.2010 175#
4
1 2 3 4 5 6 7 8 9 10 OK N/HAC
GP-U 006
ISBN-13:978-2-940411-36-8
Black Text
UK Cover
BCP_DesPrinciples_FinalDesign_Cover_ADS_OK.indd 1 9/16/10 1:47:02 PM

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