Perception and Imaging: Photography--A Way of Seeing

by Zakia; Richard D.

• ISBN13: 9780240809304
• ISBN10: 0240809300
• Edition: 3rd
• Format: Nonspecific Binding
• Copyright: 2007-07-09
• Publisher: Focal Press

Summary

How do you experience a photograph? What do you want a viewer to feel when they look at your image? Perception and Imaging explains how we see and what we dont see. Relevant psychological principles will help you predict your viewers emotional reaction to your photographic images, giving you more power, control, and tools for communicating your desired message. Knowing how our minds work helps photographers, graphic designers, videographers, animators, and visual communicators both create and critique sophisticated works of visual art. Benefit from this insight in your work. Topics covered in this book: gestalt grouping, memory and association, space, time, color, contours, illusion and ambiguity, morphics, personality, subliminals, critiquing photographs, and rhetoric. Provocative color images demonstrate the power of visual perception Photographs by Bresson, Bruce Davidson, Nathan Lyons, Lisette Model, Barbara Morgan, Man Ray, August Sander, Pete Turner, and Edward Weston Paintings by Degas, Escher, Hockney, Holbein, Kandinsky, Magritte and Warhol Hundreds of inspirational quotes from famous photographers, painters, and writers

Author Biography

Richard D. Zakia is Professor Emeritus at Rochester Institute of Technology.

Table of Contents

Preface	p. xv
Acknowledgments	p. xix
Selection	p. 1
Ganzfeld	p. 2
Figure-Ground	p. 2
Figure-Ground Boundary	p. 5
Graphic Symbols	p. 5
What's in a Name?	p. 6
Graininess and Noise	p. 9
Resolution	p. 9
Digital Resolution	p. 10
Figure-Ground Enhancement	p. 10
Nonvisual Figure-Ground	p. 11
Notan	p. 13
Visual Search	p. 14
Camouflage	p. 15
Key Words	p. 18
Selection Exercises	p. 19
Notes	p. 25
Gestalt Grouping	p. 27
Gestalt	p. 28
Field Theory and Gestalt	p. 28
Gestalt Laws	p. 29
Proximity	p. 30
Similarity	p. 38
Continuity	p. 48
Closure	p. 54
Closure and Nonclosure	p. 55
Gestalt Critique	p. 60
Man as Participant	p. 61
Gestalt Laws as a Means	p. 62
A Word of Caution	p. 62
Pragnanz	p. 63
Seeing	p. 64
Order and Complexity	p. 65
Symmetry	p. 66
Key Words	p. 71
Gestalt Grouping Exercises	p. 71
Notes	p. 80
Memory and Association	p. 81
Short-Term Memory/Long-Term Memory	p. 82
From STM to LTM	p. 82
Body as Memory	p. 83
Mnemonics	p. 83
Visual Memory/Color Memory	p. 83
Sequencing	p. 84
Association	p. 84
Advertisements	p. 86
Props (Signifiers)	p. 87
Colors	p. 88
Equivalents	p. 89
Synesthesia	p. 90
Onomatopoeia	p. 91
Key Words	p. 93
Memory and Association Exercises	p. 93
Notes	p. 100
Space, Time, and Color	p. 101
Space	p. 102
Camera as a Space Vehicle	p. 106
Anisotropicity	p. 106
Convexity/Concavity	p. 107
Transparency	p. 107
Time (Movement)	p. 108
Implied Motion	p. 109
Disappearance	p. 110
Color	p. 110
Color Notation	p. 111
Munsell System	p. 111
Color Ordering Systems	p. 113
Ostwald System	p. 114
Pantone	p. 114
CIE System	p. 115
CIE Chromaticity Diagram	p. 116
Luminance (Value or Brightness)	p. 117
Naming Colors within the CIE Map	p. 118
Color Gamuts	p. 119
Language Problem	p. 121
Color Appearance	p. 122
The Visual Field	p. 122
Flare Desaturates Colors	p. 122
Color Test Chart	p. 123
Color Reproduction	p. 126
Subtractive Systems	p. 126
Additive Systems	p. 127
Color Management	p. 128
Color Is a Chameleon	p. 128
Constancy	p. 129
Metamerism	p. 130
Defective Color Vision	p. 131
Simultaneous Contrast and Assimilation	p. 132
Color Dependency	p. 133
Phosphors and Pointillism	p. 134
Color Modality	p. 135
Complementary Colors	p. 136
Color Temperature	p. 137
Color Names	p. 138
Color and Synesthesia	p. 139
Synesthesia and Photography	p. 144
Color Connotations	p. 145
Color versus Color	p. 148
Key Words	p. 152
Space, Time, and Color Exercises	p. 153
Notes	p. 162
Contours	p. 165
Common Contour	p. 166
A Frog and a Squirrel	p. 170
Subjective Contour	p. 172
Mach Bands	p. 173
Visual Vibrations	p. 175
Photographic Edge Effects	p. 177
Acutance	p. 177
Digital Sharpness	p. 178
Cornsweet Effect	p. 178
Development	p. 179
Key Words	p. 180
Contour Exercises	p. 180
Notes	p. 183
Illusion and Ambiguity	p. 185
Trompe L'oeil	p. 186
Space, Time, And Color Illusions	p. 188
Geometric Illusions	p. 188
Reversibles	p. 193
Time (Movement) Illusions	p. 194
Computer Graphics and Animation	p. 194
The Pulfrich Effect	p. 195
The Waterfall Effect	p. 195
Color Illusions	p. 195
Size-Distance Trade-Offs	p. 196
Dutch Cabinets	p. 197
Size-size Dependency	p. 197
Shrinking Size, Increasing Distance	p. 198
Emmert's Law	p. 198
Size-Distance Reversal	p. 199
Ambiguity	p. 199
Key Words	p. 203
Illusion and Ambiguity Exercises	p. 203
Notes	p. 212
The Morphics	p. 213
Biomorphic	p. 215
Isomorphic	p. 216
Anthropomorphic	p. 218
Zoomorphic	p. 219
Theriomorphic	p. 220
Mechanomorphic	p. 221
Anamorphic	p. 222
Key Words	p. 226
Morphics Exercises	p. 226
Notes	p. 230
Personality	p. 231
Projection, Introjection, and Confluence	p. 232
Projection	p. 232
Introjection	p. 234
Confluence	p. 234
Personality Types	p. 235
Right Brain and Left Brain	p. 237
Personal Space	p. 239
Children	p. 242
Field Dependency	p. 243
Leveling and Sharpening	p. 246
Key Words	p. 249
Personality Exercises	p. 249
Notes	p. 253
Subliminals	p. 255
The Retina	p. 257
Photopic/Scotopic Vision	p. 259
Luminance Factor	p. 260
Ambient Light	p. 260
Reading Pictures	p. 260
Embeds	p. 262
Secondary Images	p. 263
Faces	p. 264
Pupillometrics	p. 267
Archetypes	p. 269
Kilroy	p. 271
Key Words	p. 274
Subliminals Exercises	p. 275
Notes	p. 284
Critiquing Photographs	p. 287
Critique As Evaluation	p. 288
Validity	p. 289
Variability	p. 289
Photographers' Comments	p. 290
Critiquing	p. 291
Clustering	p. 292
Relationships	p. 294
Direction	p. 295
Nostalgia	p. 295
Composition	p. 295
On Location	p. 296
Semantic Differential	p. 297
Critique Using Group Dynamics	p. 299
Critiquing Without Words	p. 301
Semiotics	p. 302
Saussure and Peirce	p. 302
Representation	p. 303
Analyzing an Ad	p. 304
Designing a Photograph for an Ad	p. 306
Semiotic Operations	p. 306
Other Applications	p. 307
Key Words	p. 309
Critiquing Photographs Exercises	p. 309
Notes	p. 313
Rhetoric	p. 315
Using the Rhetorical Matrix	p. 317
Where to Begin	p. 318
Horse and Truck	p. 319
Intuition First	p. 320
Addition	p. 321
Identity	p. 321
Similarity	p. 322
Difference	p. 324
Opposition	p. 326
False Homology	p. 327
Suppression	p. 328
Identity	p. 328
Similarity	p. 329
Difference	p. 329
Opposition	p. 330
False Homology: Ambiguity	p. 331
False Homology: Paradox	p. 331
Substitution	p. 331
Identity	p. 331
Similarity	p. 332
Difference	p. 336
Opposition	p. 337
False Homology: Ambiguity	p. 337
False Homology: Paradox	p. 338
Exchange	p. 339
Identity	p. 339
Similarity	p. 341
Difference	p. 342
Opposition	p. 342
False Homology: Ambiguity	p. 343
False Homology: Paradox	p. 543
Words, Sounds, and Rhetoric	p. 344
Definitions of Rhetoric Terms	p. 346
Addition	p. 346
Suppression	p. 346
Substitution	p. 346
Exchange	p. 348
Key Words	p. 349
Rhetoric Exercises	p. 349
Notes	p. 360
Additional Concepts	p. 363
Notes	p. 377
Answers to Selected Exercises	p. 379
Selection	p. 380
Gestalt Grouping	p. 380
Answers to "Don't Be a Square"	p. 381
Answer to "Closure Challenge"	p. 381
Memory and Association	p. 382
Answer to "Vintage Photograph, 1954"	p. 382
Illusions and Ambiguity	p. 382
Answer to Architectural Illusion	p. 382
Answer to Sharpness	p. 383
Answer to Caged Tiger	p. 383
Answer to Flying Women	p. 383
Morphics	p. 383
Answer to "Swedish Gate" Problem	p. 383
Subliminals	p. 383
Answer to Hide-and-Seek	p. 383
Critique	p. 384
Renoir's Luncheon of the Boat Party	p. 384
Rhetoric	p. 384
Photographic Reality	p. 384
Ads From the Past	p. 385
Emblems	p. 386
Great Ideas of Western Man	p. 387
Kodak Ad	p. 389
Chanel Ad	p. 390
Maidenform Ad	p. 390
The Brandy of Napoleon	p. 391
Warhol Vodka	p. 392
Notes	p. 392
Bibliography	p. 393
Index	p. 399
Index to Quotes	p. 409
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