photo
S
heet1
| F | 1940-1959 | ||||||||||
| A | Adams, Ansel | ||||||||||
| B | Baltermants, | D | C | M | W | G | H | L | P | I | R |
| Capa, Robert Cartier-Bresson, Henri |
|||||||||||
| Domon, | K | ||||||||||
| E | Eisenstaedt, Alfred Edgerton Harold Eugene |
||||||||||
| Frank, Robert | |||||||||||
| Giacomelli, Mario Goldblatt, David Gosani, Bob Gottlieb, William P. |
|||||||||||
| Haas, Ernst Helmer-Petersen, Keld Henle, Fritz Ho, Fan Herve, Lucien Halsman, Phillippe Hurrell, George Edward |
|||||||||||
| Choose any photographer from this list | |||||||||||
| J | |||||||||||
| Karsh, | Y | T | |||||||||
| List, Herbert Lerski, Helmar Lange, Dorothy |
|||||||||||
| Model, Lisette Morath, Inge Man, Felix, H. Miyatake, Toyo |
|||||||||||
| N | Namuth, Hans Newton, Helmut Nilsson, Lennart Newman, Arnold |
||||||||||
| O | Outerbridge Jr., Paul | ||||||||||
| Parkinson, Norman Penn, Irving Pitseolak, Peter Plicka, Frank Parks, Gordon |
|||||||||||
| Q | |||||||||||
| Riboud, Marc Rai, Raghu Ray, Man |
|||||||||||
| Sudek Josef Sander, August |
|||||||||||
| Tata, Sam | |||||||||||
| U | Jerry Uelsmann | ||||||||||
| V | Van Parys, Germaine Vandivert, William |
||||||||||
| Weegee (Arthur Fellig) Weston, Brett Weston, Edward White, Minor Wolcott, Marion Post |
|||||||||||
| X | |||||||||||
| Madame Yevonde | |||||||||||
| Z | Zimmerman, John G. |
Online Discussion #3: Ways of Seeing_Design in everyday objects and routines
https://www.ted.com/talks/rob_forbes_on_ways_of_seeing (Links to an external site.)
This discussion is part of our lesson in learning how to see and how to recognize design in daily
objects and images. Some of you are art, photography, or design majors, so this might be a very
easy assignment. For those who are not, do not panic. As long as you participate and try, you will
not go wrong. You will probably need a couple of days before you can post anything.
This is the process:
1. Please watch this video. Be patient. It may be boring at first but watch carefully.
2. Pay attention to the images you see every day. It can be something in your kitchen, on the
way to work, in your closet, in the grocery store, etc.
3. Think about the video you saw, now take a picture (your cell phone is fine) of an image
you see every day that you think can be a “design” – based on your understanding of the
video you saw. I know, you may not know much about design or photography yet since
class just started and you probably have never had an art/photo class before.
4. Post (embed) your photo on this discussion page. If you don’t know how to embed an
image, go to the resource module and read the guide.
5. Briefly discuss how the video you saw influenced your choice of image. Try to connect
your photograph to design and photography. Go back to the video if needed. The easiest
way is to write a bit about what you learned from the video. Then describe how the things
you learned effected your choice of subject (that you photographed). In your description
of your photograph, think in terms of visual elements (see list below). Try using the
vocabulary from the visual element list (14pts).
• Visual Elements in art/photography:
o Line: What kind of lines are in the photograph? Curvy, straight, thin, thick? One
single line? Multiple lines? Are the lines creating some kind of directions or
movements? Is a natural line formed by the object itself (like an electrical line) or
is it a group of objects that formed a line (like a bunch of cones lined up to form a
line)?
o Shape: Are the shapes geometric or organic? One shape or many? Do they form a
pattern?
o Space: Does the photograph seem to show depth? Shallow? What made this (like
large cones in front and gets smaller as they move into the back – this creates
depth)? Is there a spatial illusion? What about the negative/background space?
o Texture: Does the image/object feel rough? Smooth? Does it look wet? Shiny? If
you could touch the surface what do you think it would feel like?
o Value: How dark is the darkest value? The lightest? Is there a long range of
grays? Does the foreground or main object have the lightest or darkest value?
6. After you post yours, choose 2 classmates’ posting and comment on their post. Be
kind and constructive in your comments (6pts).
Tips on reading and analyzing photographs Photo 121
Analyzing a photograph goes beyond “what you see” and “what you like or don’t like”. Formal
analysis focus on visual elements that include: shape, size, texture, line, space.”
The following are general descriptions of the elements and components in art. There is no
consensus in the number of elements or if “element” is an accurate word to describe them. As
a student, you should be mindful of what your teacher in specific class calls which and follow
directions. I don’t actually care how we categorize them. I list as many as I use myself so to help
you read and analyze your photograph. I write these in ways to help you think them through.
An analysis of a photograph is composed of 3 parts:
1. Formal Analysis
a. Looking for visual elements: shape, size, texture, line, value, and space.
b. Looking at visual components: focus, light, repetition, vantage point/angle,
balance, foreground/midground/background space, contour, contrast, setting,
framing/placement.
c. Looking at the photographer’s decisions about the composition (the
arrangement of the visual elements and components) of the photograph.
2. The content (image and meaning) of the photograph, and the artist’s intention.
3. The historical and social context of the photograph as well as the time when the
photograph was made.
General vocabulary:
§ Abstract: an image that emphasizes formal elements (line, shape, etc.) rather than
specific, recognizable objects.
§ Representational: Images of recognizable objects.
§ Subject: The main object or person in a photograph.
§ Content: The subject, topic or information captured in a photograph
§ Objective: The capturing of a subject in a non-subjective way, showing no personal bias,
not making any statement. Showing the subject as is.
§ Intention: The reasons why the artist created this work or the reasons for the choices
(could be formal or aesthetic) she made in creating this work.
§ Expressive: Showing emotion
§ Theme: a consistent, dominant, and unifying idea in a body or collection of work.
§ Geometric shape: shapes found in geometry like circles, squares, triangle, and
rectangles.
§ Organic shape: shapes based on natural objects such as trees, rocks, leaves.
§ Landscape: Environment (can be natural or man-made like buildings).
Visual Elements in art/photography:
§ Line: What kind of lines are in the photograph? Curvy, straight, thin, thick? One single
line? Multiple lines? Are the lines creating some kind of directions or movements? Is a
natural line formed by the object itself (like an electrical line) or is it a group of objects
that formed a line (like a bunch of cones lined up to form a line)?
§ Shape: Are the shapes geometric or organic? One shape or many? Do they form a
pattern?
§ Space: Does the photograph seem to show depth? Shallow? What made this (like large
cones in front and gets smaller as they move into the back – this creates depth)? Is there
a spatial illusion? What about the negative/background space?
§ Texture: Does the image/object feel rough? Smooth? Does it look wet? Shiny? If you
could touch the surface what do you think it would feel like?
§ Value: How dark is the darkest value? The lightest? Is there a long range of grays? Does
the foreground or main object have the lightest or darkest value?
Components in art/photography:
§ Vantage point or Angle: Where is the photographer’s vantage point? Does it seem like
the photographer is very low on the ground pointing the camera up? The opposite?
§ Background or negative space: Not the main object or point of interest in the
photograph. This can be supporting landscape, objects, buildings, or people.
§ Balance: Are the visual elements in the photograph evenly (symmetrical) distributed? Or
the opposite (Asymmetrical)? How does the evenness make you feel? What about the
unbalanced asymmetrical placement of objects? Does it make you feel uneasy?
§ Focus: Which object(s) are most prominently focused in the photograph?
§ Light: Which part of the photograph is highlighted? Shadows? Is the light natural or
artificial? Is it soft lighting? Harsh light? Is it a direct light source (light shining on the
subject)? Or is it a reflected source (light bouncing off something else onto the subject)?
Can you guess the time of day base of the lighting?
§ Repetition: Are there a group of shapes that are grouped together to create a pattern
(this can be objects or the negative/background spaces)?
§ Composition: The arrangement of the formal elements that make up the photograph.
§ Contour: The outline of an object or shape. Does the light cause the objects to form an
outline? What purpose does this serve? Does the shadow or value or light form an
illusion of lines that move your eyes from certain point to point?
§ Contrast: Strong visual differences between light and dark, smooth and rough textures,
single object that connotes light weight vs a large group of objects that give the notion
of heavy weight, etc.…
§ Framing or Edge of paper: How did the photographer crop or frame the work? Does the
object/image end at exactly the end of the edge of the paper? Does the object/image
get cut off? Are there a lot of space left at the top of the paper? Does this make
everything seem really crowded in the space? Does the amount of space devoted to the
top make the sky/space see, bigger? Ask why the object/image ends where it ends?
Why are things placed where they are?
§ Setting: The actual environment where the image/object is photographed? Is it indoor?
Outdoor? On a table? On a stage? Describe the space.
Notable photographers from 1940 – 1959
Adams, Ansel
Baltermants, Dmitri
Beaton, Cecil
Berko, Ferenc
de Biasi, Mario
Bischof, Werner
Brassai (Gyula Halasz)
Bravo, Lola Alvarez
Bravo, Manuel Alvarez
Bush, Peter
Boix, Francisco
Bluhova, Irena
Burri, Rene
Brandt, Bill
Capa, Robert
Cartier-Bresson, Henri
Domon, Ken
Doisneau, Robert
Bruce Davidson
Domon, Ken
Eisenstaedt, Alfred
Edgerton Harold Eugene
Frank, Robert
Giacomelli, Mario
Goldblatt, David
Gosani, Bob
Gottlieb, William P.
Haas, Ernst
Helmer-Petersen, Keld
Henle, Fritz
Ho, Fan
Herve, Lucien
Halsman, Phillippe
Hurrell, George Edward
Karsh, Yousuf
Kalischer, Clemens
Kuhn, Heinrich
Kijima, Takashi
Kikuchi, Shunkichi
Kitazumi, Genzo
List, Herbert
Lerski, Helmar
Lange, Dorothy
Model, Lisette
Morath, Inge
Man, Felix, H.
Miyatake, Toyo
Namuth, Hans
Newton, Helmut
Nilsson, Lennart
Newman, Arnold
Outerbridge Jr., Paul
Parkinson, Norman
Penn, Irving
Pitseolak, Peter
Plicka, Frank
Parks, Gordon
Riboud, Marc
Rai, Raghu
Ray, Man
Sudek Josef
Sander, August
Tata, Sam
Jerry Uelsmann
Van Parys, Germaine
Vandivert, William
Weegee (Arthur Fellig)
Weston, Brett
Weston, Edward
White, Minor
Wolcott, Marion Post
Madame Yevonde
Zimmerman, John G.
Lincoln on Battlefield
of Antietam, Maryland,
Alexander Gardner, October 2,
1862
Analyzing Photographs
The activities in this curriculum rely on three methods of visual analysis:
description, reflection, and formal analysis. These methods provide a
structure for viewing, analyzing, and writing about photographs that is
consistent throughout the curriculum. For the purposes of explaining the
methods of visual analysis, this section relies on Alexander Gardner’s Lincoln
on Battlefield of Antietam, Maryland, but the same methods can be applied to
analyzing any image.
Description
The first step in visual analysis is description.
Describing an image is a useful technique for
looking closely at an image and absorbing its
details. Descriptions should remain objective,
discussing what can be seen without drawing
conclusions about a photograph’s meaning. For
instance, when looking at Lincoln on Battlefield
of Antietam, Maryland, it would be appropriate
to say, “The tall man in the middle is wearing a
black suit,” but it would be inappropriate to say
“The tall man in the middle is dressed as if
going to a funeral.” This sort of subjective
comment should be reserved for the reflection
section. A description can begin anywhere, but
generally it is easiest to begin by discussing
the subject matter. For example, a description
of this image might begin with the basic statement, “In this black-and-white
image, three men stand in front of a tent.” Once you have stated the subject
matter, simply elaborate on what you can see: “The man in the middle is the
tallest and is posed with his hands down at his sides, wearing a formal black
suit with a bowtie and a tall stovepipe hat. The man to the left is wearing a
worn dark suit and a bowler hat. The man to the right is dressed in a military
uniform with bright buttons and epaulets. The tent is pitched on a grassy
clearing with trees in the background.”
Reflection
This section should focus on the emotions and interpretations that an image
evokes for the viewer. Different viewers will react to the same image in
different ways, so there are no wrong responses. Knowing the historical
context for an image can be very important for constructing reflective
responses. For this image, it is important to know that the Battle of Antietam
was one of the most bloody and brutal battles of the Civil War. Appropriate
comments for this type of analysis include the following: “The tone of Lincoln
on Battlefield of Antietam, Maryland seems very bleak. The somber facial
expressions of the men, coupled with the barren grass and sparse trees give
an overall impression of death and dying. There is also a sense of loneliness
about the figure of President Lincoln. Although standing next to two men, he
The J. Paul Getty Museum
http://www.getty.edu/art/gettyguide/artObjectDetails?artobj=67188&handle=li
seems totally isolated. He is unresponsive to the camera; rather than making
eye contact, he stares distantly off into space, increasing the sense of
isolation.”
Formal Analysis
After looking carefully at an image and considering its emotional and
interpretive properties, formal analysis is the next step. Each lesson in this
curriculum includes links to descriptions of the elements and principles of art,
which can be used as a guide in your formal analysis. The “elements of art”
are the building blocks for achieving the “principles of art.” A very good place
to start formal analysis is by deciding which elements are most strongly
represented. In the Lincoln picture, the very distinct lines and geometric
shapes are immediately apparent. Upon closer inspection, it is clear that
these lines and shapes function to frame and to move the viewer’s eye
towards the central subject, President Lincoln. For instance, note the way
that all of the lines in the image draw the eye toward the figure of the
president. The tent forms an inverted “V” shape directly behind Lincoln, while
the vertical tent post and tree trunk in the background further elongate
Lincoln’s already tall figure, clearly emphasizing Lincoln’s figure in the
composition. There are other strongly represented elements as well. Consider
the use of contrast in this image: there is a stark contrast between the white
of Lincoln’s shirt and his black suit, which further draws our attention towards
the president’s face. There is also a sense of balance, with the figures
standing to either side of the president in similar poses, like mirror images.
Tips on reading and analyzing photographs Photo 121
Analyzing a photograph goes beyond “what you see” and “what you like or don’t like”. Formal
analysis focus on visual elements that include: shape, size, texture, line, space.”
The following are general descriptions of the elements and components in art. There is no
consensus in the number of elements or if “element” is an accurate word to describe them. As
a student, you should be mindful of what your teacher in specific class calls which and follow
directions. I don’t actually care how we categorize them. I list as many as I use myself so to help
you read and analyze your photograph. I write these in ways to help you think them through.
An analysis of a photograph is composed of 3 parts:
1. Formal Analysis
a. Looking for visual elements: shape, size, texture, line, value, and space.
b. Looking at visual components: focus, light, repetition, vantage point/angle,
balance, foreground/midground/background space, contour, contrast, setting,
framing/placement.
c. Looking at the photographer’s decisions about the composition (the
arrangement of the visual elements and components) of the photograph.
2. The content (image and meaning) of the photograph, and the artist’s intention.
3. The historical and social context of the photograph as well as the time when the
photograph was made.
General vocabulary:
§ Abstract: an image that emphasizes formal elements (line, shape, etc.) rather than
specific, recognizable objects.
§ Representational: Images of recognizable objects.
§ Subject: The main object or person in a photograph.
§ Content: The subject, topic or information captured in a photograph
§ Objective: The capturing of a subject in a non-subjective way, showing no personal bias,
not making any statement. Showing the subject as is.
§ Intention: The reasons why the artist created this work or the reasons for the choices
(could be formal or aesthetic) she made in creating this work.
§ Expressive: Showing emotion
§ Theme: a consistent, dominant, and unifying idea in a body or collection of work.
§ Geometric shape: shapes found in geometry like circles, squares, triangle, and
rectangles.
§ Organic shape: shapes based on natural objects such as trees, rocks, leaves.
§ Landscape: Environment (can be natural or man-made like buildings).
Visual Elements in art/photography:
§ Line: What kind of lines are in the photograph? Curvy, straight, thin, thick? One single
line? Multiple lines? Are the lines creating some kind of directions or movements? Is a
natural line formed by the object itself (like an electrical line) or is it a group of objects
that formed a line (like a bunch of cones lined up to form a line)?
§ Shape: Are the shapes geometric or organic? One shape or many? Do they form a
pattern?
§ Space: Does the photograph seem to show depth? Shallow? What made this (like large
cones in front and gets smaller as they move into the back – this creates depth)? Is there
a spatial illusion? What about the negative/background space?
§ Texture: Does the image/object feel rough? Smooth? Does it look wet? Shiny? If you
could touch the surface what do you think it would feel like?
§ Value: How dark is the darkest value? The lightest? Is there a long range of grays? Does
the foreground or main object have the lightest or darkest value?
Components in art/photography:
§ Vantage point or Angle: Where is the photographer’s vantage point? Does it seem like
the photographer is very low on the ground pointing the camera up? The opposite?
§ Background or negative space: Not the main object or point of interest in the
photograph. This can be supporting landscape, objects, buildings, or people.
§ Balance: Are the visual elements in the photograph evenly (symmetrical) distributed? Or
the opposite (Asymmetrical)? How does the evenness make you feel? What about the
unbalanced asymmetrical placement of objects? Does it make you feel uneasy?
§ Focus: Which object(s) are most prominently focused in the photograph?
§ Light: Which part of the photograph is highlighted? Shadows? Is the light natural or
artificial? Is it soft lighting? Harsh light? Is it a direct light source (light shining on the
subject)? Or is it a reflected source (light bouncing off something else onto the subject)?
Can you guess the time of day base of the lighting?
§ Repetition: Are there a group of shapes that are grouped together to create a pattern
(this can be objects or the negative/background spaces)?
§ Composition: The arrangement of the formal elements that make up the photograph.
§ Contour: The outline of an object or shape. Does the light cause the objects to form an
outline? What purpose does this serve? Does the shadow or value or light form an
illusion of lines that move your eyes from certain point to point?
§ Contrast: Strong visual differences between light and dark, smooth and rough textures,
single object that connotes light weight vs a large group of objects that give the notion
of heavy weight, etc.…
§ Framing or Edge of paper: How did the photographer crop or frame the work? Does the
object/image end at exactly the end of the edge of the paper? Does the object/image
get cut off? Are there a lot of space left at the top of the paper? Does this make
everything seem really crowded in the space? Does the amount of space devoted to the
top make the sky/space see, bigger? Ask why the object/image ends where it ends?
Why are things placed where they are?
§ Setting: The actual environment where the image/object is photographed? Is it indoor?
Outdoor? On a table? On a stage? Describe the space.
Photo 121 – History and Appreciation of Photography
Vocabulary for Photograph Analysis Exercises
General vocabulary:
o Abstract: an image that emphasizes formal elements (line, shape, etc.) rather than
specific, recognizable objects.
o Representational: Images of recognizable objects.
o Subject: The main object or person in a photograph.
o Content: The subject, topic or information captured in a photograph
o Objective: The capturing of a subject in a non-subjective way, showing no personal bias,
not making any statement. Showing the subject as is.
o Intention: The reasons why the artist created this work or the reasons for the choices
(could be formal or aesthetic) she made in creating this work.
o Expressive: Showing emotion
o Theme: a consistent, dominant, and unifying idea in a body or collection of work.
o Geometric shape: shapes found in geometry like circles, squares, triangle, and
rectangles.
o Organic shape: shapes based on natural objects such as trees, rocks, leaves.
o Landscape: Environment (can be natural or man-made like buildings).
Visual Elements in art/photography:
o Line: What kind of lines are in the photograph? Curvy, straight, thin, thick? One single
line? Multiple lines? Are the lines creating some kind of directions or movements? Is a
natural line formed by the object itself (like an electrical line) or is it a group of objects
that formed a line (like a bunch of cones lined up to form a line)?
o Shape: Are the shapes geometric or organic? One shape or many? Do they form a
pattern?
o Space: Does the photograph seem to show depth? Shallow? What made this (like large
cones in front and gets smaller as they move into the back – this creates depth)? Is there
a spatial illusion? What about the negative/background space?
o Texture: Does the image/object feel rough? Smooth? Does it look wet? Shiny? If you
could touch the surface what do you think it would feel like?
o Value: How dark is the darkest value? The lightest? Is there a long range of grays? Does
the foreground or main object have the lightest or darkest value?
Components in art/photography:
o Vantage point or Angle: Where is the photographer’s vantage point? Does it seem like
the photographer is very low on the ground pointing the camera up? The opposite?
o Background or negative space: Not the main object or point of interest in the
photograph. This can be supporting landscape, objects, buildings, or people.
o Balance: Are the visual elements in the photograph evenly (symmetrical) distributed? Or
the opposite (Asymmetrical)? How does the evenness make you feel? What about the
unbalanced asymmetrical placement of objects? Does it make you feel uneasy?
o Focus: Which object(s) are most prominently focused in the photograph?
o Light: Which part of the photograph is highlighted? Shadows? Is the light natural or
artificial? Is it soft lighting? Harsh light? Is it a direct light source (light shining on the
subject)? Or is it a reflected source (light bouncing off something else onto the subject)?
Can you guess the time of day base of the lighting?
o Repetition: Are there a group of shapes that are grouped together to create a pattern
(this can be objects or the negative/background spaces)?
o Composition: The arrangement of the formal elements that make up the photograph.
o Contour: The outline of an object or shape. Does the light cause the objects to form an
outline? What purpose does this serve? Does the shadow or value or light form an
illusion of lines that move your eyes from certain point to point?
o Contrast: Strong visual differences between light and dark, smooth and rough textures,
single object that connotes light weight vs a large group of objects that give the notion
of heavy weight, etc.…
o Framing or Edge of paper: How did the photographer crop or frame the work? Does the
object/image end at exactly the end of the edge of the paper? Does the object/image
get cut off? Are there a lot of space left at the top of the paper? Does this make
everything seem really crowded in the space? Does the amount of space devoted to the
top make the sky/space see, bigger? Ask why the object/image ends where it ends?
Why are things placed where they are?
o Setting: The actual environment where the image/object is photographed? Is it indoor?
Outdoor? On a table? On a stage? Describe the space.
Photograph Analysis Assignment
Analyzing a photograph: Before you get started, browse through these links to get a better
understanding of the process and key aspects of how to analyze a photograph. Reading through
these articles will help you know what to focus on when looking at an image.
Helpful articles
https://photography.tutsplus.com/tutorials/how-to-read-a-photograph–cms-25495
https://intrepidexposures.com/photo-inspiration/how-do-we-read-a-photograph/
https://www.blog.theteamw.com/2013/02/19/15-questions-to-ask-yourself-when-evaluating-
a-photo/
http://erickimphotography.com/blog/2017/11/14/how-to-visually-analyze-your-photography-
compositions/
https://www.danieljgregory.com/inspiration/analyzing-photographs/
About light – https://www.diyphotography.net/analyzing-light-breakdown-lighting-photo/
About composition – http://www.digital-photo-secrets.com/tip/165/how-to-analyze-
composition/
These are the steps:
1) Go through the exercise of data gathering (see below).
2) Use your data gathering notes to write your analysis. Compose your analysis into 3
paragarphs:
a. Describe the image (the subject, foreground, background, shapes, lines), the
style or genre of the photo, the process. Give some background as to the time
period (artist, date, location are included in each photo).
b. Analyze the composition (composition, content, context).
c. Interpret the content (think about artist intention, context of social, political,
cultural event at the time).
This is not the only way to analyze and interpret an artwork. There are many ways of going
about the task. This is my way of helping you ease into this. If you have other ways of analyzing
visual images, go for it. Just map your thoughts into 3 paragraphs for me.
Data gathering steps:
1) Describing what you see:
a. Foreground (the subject matter)
b. Midground (anything between the subject matter and the background)
c. Background
d. Genre, style (is it abstract, expressionistic)
e. Subject matter (people, animal, landscape, architecture…)
f. Elements (line, shape & size, texture, value (color/or shades of gray)
2) Composition:
a. Movement
b. Light (well lit could make things seem bright, clarity, openness; darkly lit subject
could make things seem mischievious or devious…)
c. Placement (are objects/people placed close/tight to each other? Spread out?…)
d. Framing (close up, wideshot…)
e. Space
f. Balance (symmetrical, assymetrical)
g. Camera angle (low angle makes subject seem larger than reality, high angle
makes the subject look small).
3) Process:
a. Type/format (color, black and white, polaroid, digital, etc…)
4) Context:
a. Cultural (beliefs/practices)
b. Political
c. Social (class, race,
5) Content:
a. Theme
b. Visual representation
c. Symbolic representation
d. Viewpoint (subjective or obejective)
e. Artist intention
f. Viewer interpretation
Example of how I answer number 1 in the data gathering part:
Foreground: Exterior
stucco wall with
giant hole
Midground:
neighborhood (you
can tell by the
casual clothing and
closeness) children
playing (because
they are smiling)
Background: more walls. Is this a
fenced off area? In a war zone? (the
holes in the walls denote some sort
of gun blasts, rubbles on the floor).
Tall walls are meant to block certain
things out.
Subject matter: Children playing in an area
that seems filled with physical destruction. It is
in another country (middle east? – their
clothes). It is a representational image
(meaning not abstract, what you see is what
you get – images that are represented is
exactly what they are). It is a black/white
photograph. Lots of contrast between the
smoothness of the wall surface and the
roughness of the rubbles on the ground (you
can come back later in #5 to talk about the
possible symbolism behind this).
Photo 121 – History and Appreciation of Photography
Vocabulary for Photograph Analysis Exercises
General vocabulary:
o Abstract: an image that emphasizes formal elements (line, shape, etc.) rather than
specific, recognizable objects.
o Representational: Images of recognizable objects.
o Subject: The main object or person in a photograph.
o Content: The subject, topic or information captured in a photograph
o Objective: The capturing of a subject in a non-subjective way, showing no personal bias,
not making any statement. Showing the subject as is.
o Intention: The reasons why the artist created this work or the reasons for the choices
(could be formal or aesthetic) she made in creating this work.
o Expressive: Showing emotion
o Theme: a consistent, dominant, and unifying idea in a body or collection of work.
o Geometric shape: shapes found in geometry like circles, squares, triangle, and
rectangles.
o Organic shape: shapes based on natural objects such as trees, rocks, leaves.
o Landscape: Environment (can be natural or man-made like buildings).
Visual Elements in art/photography:
o Line: What kind of lines are in the photograph? Curvy, straight, thin, thick? One single
line? Multiple lines? Are the lines creating some kind of directions or movements? Is a
natural line formed by the object itself (like an electrical line) or is it a group of objects
that formed a line (like a bunch of cones lined up to form a line)?
o Shape: Are the shapes geometric or organic? One shape or many? Do they form a
pattern?
o Space: Does the photograph seem to show depth? Shallow? What made this (like large
cones in front and gets smaller as they move into the back – this creates depth)? Is there
a spatial illusion? What about the negative/background space?
o Texture: Does the image/object feel rough? Smooth? Does it look wet? Shiny? If you
could touch the surface what do you think it would feel like?
o Value: How dark is the darkest value? The lightest? Is there a long range of grays? Does
the foreground or main object have the lightest or darkest value?
Components in art/photography:
o Vantage point or Angle: Where is the photographer’s vantage point? Does it seem like
the photographer is very low on the ground pointing the camera up? The opposite?
o Background or negative space: Not the main object or point of interest in the
photograph. This can be supporting landscape, objects, buildings, or people.
o Balance: Are the visual elements in the photograph evenly (symmetrical) distributed? Or
the opposite (Asymmetrical)? How does the evenness make you feel? What about the
unbalanced asymmetrical placement of objects? Does it make you feel uneasy?
o Focus: Which object(s) are most prominently focused in the photograph?
o Light: Which part of the photograph is highlighted? Shadows? Is the light natural or
artificial? Is it soft lighting? Harsh light? Is it a direct light source (light shining on the
subject)? Or is it a reflected source (light bouncing off something else onto the subject)?
Can you guess the time of day base of the lighting?
o Repetition: Are there a group of shapes that are grouped together to create a pattern
(this can be objects or the negative/background spaces)?
o Composition: The arrangement of the formal elements that make up the photograph.
o Contour: The outline of an object or shape. Does the light cause the objects to form an
outline? What purpose does this serve? Does the shadow or value or light form an
illusion of lines that move your eyes from certain point to point?
o Contrast: Strong visual differences between light and dark, smooth and rough textures,
single object that connotes light weight vs a large group of objects that give the notion
of heavy weight, etc.…
o Framing or Edge of paper: How did the photographer crop or frame the work? Does the
object/image end at exactly the end of the edge of the paper? Does the object/image
get cut off? Are there a lot of space left at the top of the paper? Does this make
everything seem really crowded in the space? Does the amount of space devoted to the
top make the sky/space see, bigger? Ask why the object/image ends where it ends?
Why are things placed where they are?
o Setting: The actual environment where the image/object is photographed? Is it indoor?
Outdoor? On a table? On a stage? Describe the space.
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Understanding Formal Analysis
169
Performing Arts in Art
© 2011 J. Paul Getty Trust
Elements of Art
The elements of art are the building blocks used by artists to create a work of art.
Line is a mark with greater length than width. Lines can be horizontal, vertical,
or diagonal; straight or curved; thick or thin.
Shape is a closed line. Shapes can be geometric, like squares and circles; or
organic, like free-form or natural shapes. Shapes are flat and can express length
and width.
Forms are three-dimensional shapes expressing length, width, and depth. Balls,
cylinders, boxes, and pyramids are forms.
Space is the area between and around objects. The space around objects is of-
ten called negative space; negative space has shape. Space can also refer to the
feeling of depth. Real space is three-dimensional; in visual art, when we create
the feeling or illusion of depth, we call it space.
Color is light reflected off of objects. Color has three main characteristics: hue
(the name of the color, such as red, green, blue, etc.), value (how light or dark it
is), and intensity (how bright or dull it is).
• White is pure light; black is the absence of light.
• Primary colors are the only true colors (red, blue, and yellow). All other
colors are mixes of primary colors.
• Secondary colors are two primary colors mixed together (green, orange,
violet).
• Intermediate colors, sometimes called tertiary colors, are made by mixing
a primary and secondary color together. Some examples of intermediate
colors are yellow green, blue green, and blue violet.
• Complementary colors are located directly across from each other on the
color wheel (an arrangement of colors along a circular diagram to show
how they are related to one another). Complementary pairs contrast
because they share no common colors. For example, red and green are
complements, because green is made of blue and yellow. When comple-
mentary colors are mixed together, they neutralize each other to make
brown.
Texture is the surface quality that can be seen and felt. Textures can be rough or
smooth, soft or hard. Textures do not always feel the way they look; for exam-
ple, a drawing of a porcupine may look prickly, but if you touch the drawing, the
paper is still smooth.
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Understanding Formal Analysis
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Performing Arts in Art
© 2011 J. Paul Getty Trust
Principles of Design
The principles of design describe the ways that artists use the elements of art in a work of art.
Balance is the distribution of the visual weight of objects, colors, texture, and space.
If the design was a scale, these elements should be balanced to make a design feel
stable. In symmetrical balance, the elements used on one side of the design are
similar to those on the other side; in asymmetrical balance, the sides are different
but still look balanced. In radial balance, the elements are arranged around a central
point and may be similar.
Emphasis is the part of the design that catches the viewer’s attention. Usually the
artist will make one area stand out by contrasting it with other areas. The area could
be different in size, color, texture, shape, etc.
Movement is the path the viewer’s eye takes through the work of art, often to focal
areas. Such movement can be directed along lines, edges, shape, and color within the
work of art.
Pattern is the repeating of an object or symbol all over the work of art.
Repetition works with pattern to make the work of art seem active. The repetition
of elements of design creates unity within the work of art.
Proportion is the feeling of unity created when all parts (sizes, amounts, or number)
relate well with each other. When drawing the human figure, proportion can refer
to the size of the head compared to the rest of the body.
Rhythm is created when one or more elements of design are used repeatedly to
create a feeling of organized movement. Rhythm creates a mood like music or
dancing. To keep rhythm exciting and active, variety is essential.
Variety is the use of several elements of design to hold the viewer’s attention and
to guide the viewer’s eye through and around the work of art.
Unity is the feeling of harmony between all parts of the work of art, which creates
a sense of completeness.
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