Perception and imaging: photography as a way of seeing
Saved in:
| Main Authors: | , |
|---|---|
| Format: | Book |
| Language: | English |
| Published: |
New York ; London
Routledge, Taylor & Francis Group
2018
|
| Edition: | Fifth edition |
| Series: | A Focal Press book
|
| Subjects: | |
| Online Access: | Inhaltsverzeichnis |
| Item Description: | Includes bibliographical references and index |
| Physical Description: | xxi, 441 Seiten Illustrationen |
| ISBN: | 9781138212190 9781138212169 |
Staff View
MARC
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| 245 | 1 | 0 | |a Perception and imaging |b photography as a way of seeing |c John Suler and Richard D. Zakia |
| 250 | |a Fifth edition | ||
| 264 | 1 | |a New York ; London |b Routledge, Taylor & Francis Group |c 2018 | |
| 300 | |a xxi, 441 Seiten |b Illustrationen | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b n |2 rdamedia | ||
| 338 | |b nc |2 rdacarrier | ||
| 490 | 0 | |a A Focal Press book | |
| 500 | |a Includes bibliographical references and index | ||
| 650 | 4 | |a Composition (Photography) | |
| 650 | 4 | |a Visual perception | |
| 650 | 4 | |a Gestalt psychology | |
| 700 | 1 | |a Zakia, Richard D. |d 1925-2012 |0 (DE-588)136252982 |4 aut | |
| 776 | 0 | 8 | |i Erscheint auch als |n Online-Ausgabe |z 978-1-315-45097-1 |
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Record in the Search Index
| _version_ | 1804177940249837568 |
|---|---|
| adam_text | Contents
Preface to the Fifth Edition xix
Acknowledgments xxiii
I Selection 1
Ganzfeld 2
Figure---Ground 2
Figure---Ground Boundary 4
Graphic Symbols 5
Similar Concepts to Figure---Ground 6
Graininess and Noise 7
Resolution 8
Figure---Ground Enhancement 8
The Bigger Picture of Figure---Ground 10
Notan 10
Visual Search 12
Camouflage 13
Negative Space 15
Noticing Negative Space 15
The Role of the Frame 17
Strategies for Using Negative Space 18
Viewpoint and Camera Angles 20
Vertical Orientations 21
Horizontal Orientations 23
Tilted Orientations 24
Field of View 25
Key Words 28
Notes 28
2 Gestalt Grouping 29
Field Theory and the Gestalt Laws 30
Proximity 32
Proximity, Area, and Contrast 34
Side-by Side Images 36
x Contents
Temporal Proximity 37
Proximity and Learning 37
Similarity 38
Similarity of Shape 39
Similarity and Repetition 41
Similarity and Proximity 42
Symmetry and Asymmetry 44
Symmetry and Redundancy 45
Symmetry in Graphic Symbols 45
Continuity 47
Continuity in Typography 50
Continuity in Sequences 51
Closure 52
Closure and Nonclosure 53
Closed Areas 54
The Zeigamik Effect 56
People as Participants 57
Gestalt Critique 58
Words of Caution 58
Captions, Copy, Gestalt 60
Prägnanz 60
Pragnanz as an Overarching Principle 61
Order and Complexity 62
A Summary of Gestalt Principles 64
Key Words 67
Notes 67
3 Memory and Association 69
Types of Memory 70
From STM to LTM 70
BodyfSomatic Memory 71
Verbal Memory 72
Visual Memory 72
Color Memory 73
Unconscious Memory 74
Association 75
Equivalents 76
dissociations in Advertisements 77
Props (Signifiers) 79
dissociations to Color 79
Synesthesia 79
Rebuses and Pictograms 81
Onomatopoeia and Simile 82
Metaphors 82
Contents xi
Semiotics 86
Iconicf Indexical, and Symbolic Representation 87
Semiotics in Analyzing and Designing Ads 88
Semiotic Operations 90
Conceptual Photography 91
Is Conceptual Photography Art? 91
The Concept in Conceptual Photography 93
What Does It Mean, and to Whom? 94
The Sender, Channel, and Receiver 96
Concept Difficulty 97
Creating Titles and Descriptions 99
Symbolism, Metaphors, Similes, and Anthropomorphism 99
Composition and Post-Processing Techniques 101
The Pretty and Ugly Factors 102
Forward and Reverse Engineering 103
Educational Applications 105
Conceptual Advertisements 106
KeyWords 108
Notes 109
4 Space, Time, and Movement I 11
Space 112
The Perception of Depth 113
Anisotropicity 117
Rule of Thirds 118
Golden Section and Fibonacci Numbers 119
Aspect Ratio and Cropping 121
Convexity ¡Concavity 122
Transparency 122
Time and Movement 124
Eye Movement in Composition 124
The Rhythm of Repeating Elements 124
Gradation 125
Blur 125
Multiple Exposures 126
Motion in Stillness 126
The Decisive Moment 128
Capturing the Unique Fleeting Instant 129
Candid Shots of People in Real Life 130
Visual Coalescence 132
Figure-Ground Relationships 132
The Gap and Anticipating Closure 134
The One-Hit Wonder 136
Creating and Losing Oneself 137
xü Contents
The Hour Leading to the Decisive Moment 138
The Myth and Reality of the Decisive Moment Photo 139
Key Words
140
5 Color
Color Notation Systems
141
143
Mum ell System 143
Pantone® 145
CIE System 146
CIE Chromaticity Diagram 146
Luminance (Value and Brightness) 147
Naming Colors within the CIE Map 148
Color Gamuts (Color Spacej 150
Color Perception 152
The Visual Field 152
Flare Desaturates Colors 153
Color Test Chart 153
Color Reproduction 155
Subtractive Color 155
Additive Color 156
Complementary Colors 157
Color Is a Chameleon 158
Constancy 158
Metamerism 160
Simultaneous Contrast and Assimilation 160
Color Dependency 162
Phosphors and Pointillism 162
Color Modality 163
Color Temperature 164
Color Names 165
Color and Synesthesia 167
Synesthesia and Photography 169
Color Connotatiom 170
Color versus Color 174
Neutral Colors 175
Black and White Photography 176
B W as the Origin of Photography 177
The Absence of Color 177
B W Photography in the Digital Age 179
Selective Color 180
Key Words
Notes
181
182
Contents xiii
Contours 183
Common Contour 184
Playing with Depth Perception 186
Activating an Image 189
Subjective Contour 190
Mach Bands 191
Visual Vibrations 192
Photographic Edge Effects 194
Acutance 195
Film and Digital Sharpness 195
Comsweet Effect 196
Development 197
The Psychology of Being Sharp 197
The Beauty of Blur 198
KeyWords ~ 199
Notes 200
Illusion and Ambiguity 201
Trompe TOeil 202
Space, Time, and Color Illusions 204
Geometric Illusions 204
Reversihles 209
Time (Movement) Illusions 209
Depth Cues and Movement 210
The Pulfrich Effect 210
The Waterfall Effect 211
Color Illusions 211
Size-Distance Tradeoffs 211
Dutch Cabinets 213
Size---Size Dependency 213
Shrinking Size, Increasing Distance 214
EmmertJs Law 214
Size-Distance Reversal 215
Ambiguity 216
Ambiguity in Language 216
Ambiguity in Images 217
Illusion in the Digital Age 219
Key Words 221
Notes 221
Morphies 223
Animism 224
Biomorphic 225
Isomorphic 226
xiv Contents
Anthropomorphic 228
Zoomorphic 229
Theriomorphic 230
Mechanomorphic 230
Anamorphic 232
Geometric and Organic Shapes 236
Geometric or Man-Made Patterns 236
Organic or Natural Patterns 237
Mixing Geometric and Organic Patterns 237
Key Words 239
Notes 240
9 Subliminals 241
How the Eye Sees 243
The Retina 243
Photopic/Scotopic Vision 245
Luminance Factor 246
Ambient Light 246
Eye Movements When Reading Pictures 247
Embeds 248
Secondary or Latent Images 250
Hidden Faces 252
Archetypes 254
Kilroy 255
Body Language 257
Microexpressions 257
The Pupils 259
Body Language Patterns 261
The Hands 262
Body Language in Groups 263
Interpersonal Space 265
Key Words 270
Notes 271
10 Rhetoric 273
Using the Rhetorical Matrix 275
Where to Begin 276
Horse and Truck 277
Intuition First 278
Addition 279
Identity 279
Similarity 280
Difference 281
Opposition 283
Contents xv
False Homology 284
Suppression 285
Identity 285
Similarity 286
Difference 287
Opposition 288
False Homology: Ambiguity 288
False Homology: Paradox 289
Substitution 289
Identity 289
Similarity 291
Difference 294
Opposition 296
False Homology: Ambiguity 296
False Homology: Paradox 297
Exchange 299
Identity 299
Similarity 301
Difference 301
Opposition 302
False Homology: Ambiguity 303
False Homology: Paradox 303
Words, Sounds, and Rhetoric 304
A Summary of Rhetorical Techniques 305
The Four Basic Rhetorical Operations 305
The Five Relationships Between Elements 305
Addition 305
Suppression 306
Substitution 306
Exchange 306
Key Words 307
Notes 308
1 1 Personality 309
Leveling and Sharpening 310
Field Dependency 313
Projection 316
The Word Association Test 318
The Thematic Apperception Test 319
The Rorschach 320
The Walker Visuals 322
Mindfulness 323
What Mindfulness Is Not 324
Simply and Truly Seeing 324
xvi Contents
The Beginner s Mind 326
Letting Go 327
The Balance of Concentration and Noticing 328
The Qualities of Mindfulness 329
How to Cultivate Mindfulness 330
Personality Types 332
Jung s Psychological Types 333
How Many Traits Are There? 335
Types Based on Body and Brain 337
Psychodynamics 341
Primary and Secondary Process 343
Multiplicity (Clone) Images 345
From Self-Portraits to Selfies 348
Objective and Subjective Self-Portraits 349
The Bigger Picture of Identity 351
Self Portrait as Self Awareness 352
Other People s Perceptions 352
The Spontaneous or Carefully Composed Self 353
The Superficially Narcissistic Selfie 354
The March of Selfies 355
The Creative Personality 357
Synectics Is Seeing Connections 357
Being Connected to All Things 360
Key Words 362
Notes 362
Photo Sharing and Critique 363
Critique as Evaluation 364
Validity 364
Variability 364
The Role of Context 365
Johari’s Window 366
Known to SelfiKnown to Other (Open) 367
Known to SelflUnknown to Other (Hidden) 368
Unknown to SelfiKnown to Other (Blind) 368
Unknown to SelflUnknown to Other (Unknown) 368
Use Your Words 369
Critique without Words 371
The Clustering Technique 372
Relationships 373
Direction 374
Nostalgia 375
Composition 375
Location 375
Word Clouds 376
Contents xvii
The Semantic Differential Technique 377
Critique Using Group Dynamics 379
Group Dynamics during an Exhibition 381
Online Photo Sharing 384
Settling into and Exploring a Community 385
Getting to Know You 387
Becoming a Good Citizen 387
Titles for Images 388
Descriptions for Images 389
Commenting on Images 391
The Meaning of Likes 395
Popularity and the Ratings Game 398
Image Categoriesy Streams, and Series 399
Sensory/Cognitive Overload 403
Computers and Critique 405
The Illusion of Digital Permanency 406
Photo Sharing as Therapeutic 408
All Photography Can Be Therapeutic 410
KeyWords 411
Notes 412
Bibliography 413
Index 419
Index to Quotes 439
|
| any_adam_object | 1 |
| author | Suler, John Zakia, Richard D. 1925-2012 |
| author_GND | (DE-588)136252982 |
| author_facet | Suler, John Zakia, Richard D. 1925-2012 |
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| dewey-ones | 770 - Photography, computer art, cinematography |
| dewey-raw | 770 |
| dewey-search | 770 |
| dewey-sort | 3770 |
| dewey-tens | 770 - Photography, computer art, cinematography |
| discipline | Kunstgeschichte Allgemeines |
| edition | Fifth edition |
| format | Book |
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| id | DE-604.BV044564914 |
| illustrated | Illustrated |
| indexdate | 2024-07-10T07:56:03Z |
| institution | BVB |
| isbn | 9781138212190 9781138212169 |
| language | English |
| lccn | 017006042 |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-029963462 |
| oclc_num | 1010738333 |
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| owner | DE-11 DE-473 DE-BY-UBG |
| owner_facet | DE-11 DE-473 DE-BY-UBG |
| physical | xxi, 441 Seiten Illustrationen |
| publishDate | 2018 |
| publishDateSearch | 2018 |
| publishDateSort | 2018 |
| publisher | Routledge, Taylor & Francis Group |
| record_format | marc |
| series2 | A Focal Press book |
| spelling | Suler, John aut Perception and imaging photography as a way of seeing John Suler and Richard D. Zakia Fifth edition New York ; London Routledge, Taylor & Francis Group 2018 xxi, 441 Seiten Illustrationen txt rdacontent n rdamedia nc rdacarrier A Focal Press book Includes bibliographical references and index Composition (Photography) Visual perception Gestalt psychology Zakia, Richard D. 1925-2012 (DE-588)136252982 aut Erscheint auch als Online-Ausgabe 978-1-315-45097-1 Digitalisierung UB Bamberg - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029963462&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Suler, John Zakia, Richard D. 1925-2012 Perception and imaging photography as a way of seeing Composition (Photography) Visual perception Gestalt psychology |
| title | Perception and imaging photography as a way of seeing |
| title_auth | Perception and imaging photography as a way of seeing |
| title_exact_search | Perception and imaging photography as a way of seeing |
| title_full | Perception and imaging photography as a way of seeing John Suler and Richard D. Zakia |
| title_fullStr | Perception and imaging photography as a way of seeing John Suler and Richard D. Zakia |
| title_full_unstemmed | Perception and imaging photography as a way of seeing John Suler and Richard D. Zakia |
| title_short | Perception and imaging |
| title_sort | perception and imaging photography as a way of seeing |
| title_sub | photography as a way of seeing |
| topic | Composition (Photography) Visual perception Gestalt psychology |
| topic_facet | Composition (Photography) Visual perception Gestalt psychology |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029963462&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
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