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Symmetry involves a close or exact correspondence between opposite halves of an image, on the facing sides of an axis or center. One half is the mirror image of the other. Usually in photography we see such symmetry across the horizontal plane, which some call “bilateral symmetry.” But the symmetry also could be vertical. In both cases the halves appear equivalent and the image achieves “symmetrical balance.” It is a balance achieved by similarity.
Symmetry can also be achieved by a single element centered in an image, with space on two, three, or all sides.
There are a variety of qualities associated with symmetry. The image may feel peaceful, calm, stable, harmonious, or grounded - especially in bilateral symmetry. Such designs may remind us of geometry and the aesthetics of Renaissance classicism. Think of those perfectly symmetrical European gardens and palaces. And so images with symmetrical balance may create feelings of order, tradition, classicism, formality, and constancy.
While perfect symmetry can be quite satisfying for the eye that loves precision, stability, and order, it sometimes may be a bit static, artificial, and boring. Subtle differences between the two sides can add interest value, allowing the eye at first to appreciate the overall balance of similarity, and then moving on to explore the intricate differences between the halves. Sometimes one or two obvious discrepancies between the two sides adds tension that offsets the sense of order and predictability in an interesting or even surprising way.
Subtle and more obvious differences between the halves often adds character to an image. For example, the human face is not perfectly symmetrical. If you’ve ever seen a manipulated image in which half of someone’s face is duplicated and flipped horizontally to create a perfectly symmetrical face, it looks odd. The subtle differences between the two sides of a person’s actual face creates more psychological depth, realism, and character. The same is true of a not-quite symmetrical image.
A horizontally symmetrical image emphasizes the horizontal dimension. A vertically symmetrical image emphasizes the vertical dimension. However, in both cases there is that invisible axis that marks the boundary between the two halves. In the horizontally symmetrical image, it is a subtle reminder of the vertical dimension. In the vertically symmetrical image, it is the hint of the horizontal. In both cases it is the mysterious boundary that marks the reversal of the image, the concealed surface where the reflection begins. Some symmetrical images, most noticeably those involving mirror and lake reflections, tend to have this self-reflective, introspective quality.
* This image and essay are part of a book on Photographic Psychology that I’m writing within Flickr. Please see the set description.
“Good composition!”
You’ve heard that comment many times. It’s a nice compliment, but what exactly does it mean?
Generally speaking, the word “composition” is the way in which something is made up, the way individual parts are put together to construct a whole. In art and music, it is the plan, placement, or arrangement of elements to create a work. While composing paintings and music, artists have carte blanche to add whatever elements they wish to the canvas or sheet music. For traditional photography, the process is more limiting. To create good composition, photographers must carefully frame a preexisting and often visually complex scene, usually by following the three most basic rules of good composition: simplify, simplify, simplify. Fortunately, the digital age has now given photographers the same flexibility as artists in other media. With the right image processing tools, in what some call image manipulation, you can add and subtract elements as much as you like while creating the image.
How should elements be arranged to create good composition? That’s a complex, elusive question. Entire books have been devoted to it, including many sections of this one you are reading right now. There are traditional principles to guide us, such as the rule of thirds and the golden ratio. Some people even say there is a kind of grammar and literacy in visual design, just as there is in writing. Mastery of that grammar enables you to create an image that has a pleasing sense of proportions and balance of the individual elements. Always seeking order and pattern, the human mind appreciates a composition that offers it, especially when that design is not immediately obvious, but instead subtle, registering on an almost subconscious level
Although some speak about the rules of good composition, we probably should think of them as guidelines. Compulsivity about doing the “right” thing can lead to compositions that are a bit stiff, predictable, and boring. Breaking the rules might produce intriguingly creative compositions.
Good composition is more than just how the individual parts are arranged to fit together. At the most sophisticated level, it entails how all the elements of the image – color, texture, shading, lines, perspective, depth of field, etc. - come together to express the idea, meaning, feeling, or subject matter of the image. When creating an image, it’s always helpful to ask oneself, “Does this element support the idea?” A soft focus portrait will not accurately capture the edgy personality. Regardless of how beautiful low key photography can be, shooting a dark photograph of a party will not reinforce the idea that everyone had fun.
In truly exceptional composition, all the elements come together to create a sense of unity. They support each other in producing a Big Picture where the whole is greater than the sum of its parts. They complement each other by expressing different nuances of meaning concerning the subject matter. Great masters have said that in the perfect composition, nothing can be added and nothing taken away. The image is complete unto itself. For the viewer, it just “feels right,” even though they may not be able to verbalize why.
* This image and essay are part of a book on Photographic Psychology that I’m writing within Flickr. Please see the set description.
Here are some new psychology titles that have been purchased over the past couple of months. Place your cursor over a book's cover to receive more information. Click on the "Check for availability" link in the note to see a book's status in the Library's online catalog.
Forensic psychological science is the juncture between psychological science and the justice system. It involves understanding basic legal principles, significantly with relation to witness testimony and therefore the specific content space of concern (e.g., ability to square trial, kid custody and visitation, or geographic point discrimination), in addition as relevant territorial concerns so as to be able to act appropriately with judges, attorneys and alternative legal professionals.
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Ida is studying psychology, and uses almost all of her spare time reading. And I'm shooting her reading instead of reading as I'm supposed to.
Child psychology is crucial to understand, and if you’re struggling with your child’s behavioural problems, it’s always better to consults experts counsellors.
Genital Autonomy Seminar: Understanding the Psychological Harm of Male Circumcision @ Keele University, UK, 2013
New Student: "Is this the Psychology Department?"
Disaffected Student: "Seriously? What's wrong with you?"
Do you want a carrot?...
Of course he does. Even though he’s old, sleeps most of the time, and has failing vision, our dog Griffin, sitting under the kitchen table, immediately rivets to that carrot as soon as he spots it. He loves carrots. In this shot I imagine this is how it looks to him.
Viewpoint. I also like to call it “perspective,” although in photography and art that term often refers to how visual elements are arranged to create a sense of depth and distance. That’s an element of what I’m calling viewpoint, but there’s more to it. Viewpoint is how the image places the viewer within the image, the psychological perspective or point of view that the image creates for the viewer.
Often when we shoot, we are standing. That’s our typical viewpoint, the way we usually see the world. What about other perspectives? What if you kneel down to shoot? Or lie down, get closer, or further away? How would this scene look to a child, a dog, an ant, a bird? How does your TV or car see things? Interesting photos often are those that place the viewer into an unusual viewpoint that encourages us to see, in a new way, even a familiar person or everyday scene.
Thinking with spatial expressions can help us see and shoot from different perspectives. Look up … down … between… into ... along … through … under … over ... next to … from inside … from outside … from above … from below … from the other side ... and any combination of these and other terms.
Other than the physical position the photographer and viewer takes towards the scene, including how closely connected or distant one feels from it, psychological perspective also is achieved by other elements of composition, like shapes, color, texture, focus, and tonal range. What exactly would this scene look like through the eyes of a bird, squirrel, tree, dog, child, or people who are tired, drunk, sick, spinning, jumping, angry, happy, sad? Learning how to create different viewpoints in an image is learning how to empathize with people, animals, and things.
* This image and essay are part of a book on Photographic Psychology that I’m writing within Flickr. Please see the set description. If you have a photo that illustrates the ideas in this essay, please feel free to post it.
by Smithsonian Institution
Psychology degrees have recently gained huge importance in the job market. Interestingly, the psychology behind going for a psychology degree is that the knowledge earned can be implemented in various sectors, irrespective of their relation with psychology. This kind...
Texture is one of the most intriguing, even mysterious aspects of photography. It stimulates the sensation of touch. Whereas our sense of vision operates at a distance from the world, the sense of touch brings us up close and personal, to the sensitivity of our fingertips, face, and skin.
Different light sources will draw out different texture qualities. Front lighting might emphasize sharp, bold, constrasty textures, as when bright sunlight comes over your shoulder and shines onto the metal, wood, and brick surface of a building. Side lighting creates fine shadows that accentuate detailed textures, as well as the surface qualities of an object’s three-dimensional form. Imagine the effect of the setting sun on a statue in a field of grass. Diffuse light helps us appreciate the subtle tones of smooth, silky textures, as evident in the foliage of trees under an overcast sky.
The sensations created by textures are almost endless. Sharp, silky, gritty, bumpy, scratchy. The memories and emotions they stir can be equally varied and subtle. Sometimes the feelings aroused cannot be easily verbalized. They exist beyond words. Not having yet developed language or even sophisticated visual abilities, infants rely on the sensation of touch to experience the world. They explore the environment with their hands and put everything into their mouths.
The texture of hair, skin, lips, a teddy bear, a baby blanket, bubbles, a faint prick of a pin. Just my mentioning these things probably creates within you a distinct sensation, memory, or feeling. This is the power of using texture in photography. It can activate very personal, deeply felt experiences.
People differ in whether they notice and in how they react to texture. Those with “kinesthetic” sensitivities – who are tuned to bodily sensations – respond more readily. It’s interesting to note that on the Rorschach test, the tendency to perceive textures in the inkblots is associated with needs concerning interpersonal attachment and contact comfort.
Texture means “touching.”
Technical note: Textures can change subtly or dramatically with different levels of sharpening and blur. I think the ideal degree of sharpening for the image above is somewhere in between the original larger view and the flickr-sharpened version above. It was hard for me to predict just how much flickr would sharpen this one.
See my touchy feely set for the kinds of texture shots that I like.
Feel free to post your own favorite texture shots!
* This image and essay are part of a book on Photographic Psychology that I’m writing within Flickr. Please see the set description.
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Experience Psychology
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Record number: PRC 00111
Author: Theodore Flournoy
Title: Spiritism and Psychology
Imprint: New York: Harper & Brothers Publishers, 1911
Rights info: No known restrictions on access.
Repository: Thomas Fisher Rare Book Library, University of Toronto, Toronto, Ontario Canada, M5S 1A5, library.utoronto.ca/fisher
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