When you look at an image, what do you see, think, and feel? How do you want your audience to react when they view your work? For over 30 years the late Richard Zakia helped photographers enrich their creative vision through his classic book, Perception and Imaging. Now he is joined by co-author John Suler who extensively studied and worked with images throughout his career as a clinical psychologist. Together they present their insights into the principles of perception, memory, color, time, space, shapes, illusion, subliminals, rhetoric, personality style, and photo critique. Unlike any other book, Perception and Imaging will give you an extensive understanding of how photography relates to art, design, advertising, psychology, and philosophy, as well as what makes photography unique among the image-making disciplines. Whether you are a beginner or a professional, this information will help you appreciate photography not simply as a mastering of technique and composition, but as a way of truly seeing, especially now in the digital age.
– New sections about photo sharing in social media and online groups devoted to photography critique
– Includes inspirational images from some of the world’s most well-known photographers, including Henri Cartier-Bresson, Man Ray, and Ansel Adams
– A comprehensive discussion of the ""decisive moment"" photo, its vital ingredients, and why some consider it the essence of photography
– New sections about body language in photographs, camera angles, aspect ratios, self portraits and selfies, and how memory and personality affect photography
By:
Richard D. Zakia,
John Suler (Rider University,
USA)
Imprint: Routledge
Country of Publication: United Kingdom
Edition: 5th edition
Dimensions:
Height: 246mm,
Width: 174mm,
Weight: 1.170kg
ISBN: 9781138212190
ISBN 10: 1138212199
Pages: 442
Publication Date: 21 November 2017
Audience:
College/higher education
,
Professional and scholarly
,
A / AS level
,
Undergraduate
Format: Paperback
Publisher's Status: Active
Contents Preface to the Fifth Edition Acknowledgments 1 Selection Ganzfeld Figure–Ground Figure–Ground Boundary Graphic Symbols Similar Concepts to Figure-Ground Graininess and Noise Resolution Figure–Ground Enhancement The Bigger Picture of Figure-Ground Notan Visual Search Camouflage Negative Space Noticing Negative Space The Role of the Frame Strategies for Using Negative Space Viewpoint and Camera Angles Key Words Notes 2 Gestalt Grouping Field Theory and the Gestalt Laws Proximity Proximity, Area, and Contrast Side-by-Side Images Temporal Proximity Proximity and Learning Similarity Similarity of Shape Similarity and Repetition Similarity and Proximity Symmetry and Asymmetry Symmetry and Redundancy Symmetry in Graphic Symbols Continuity Continuity in Typography Continuity in Sequences Closure Closure and Nonclosure Closed Areas The Zeigarnik Effect People as Participants Gestalt Critique Words of Caution Captions, Copy, Gestalt Pragnanz Pragnanz as an Overarching Principle Order and Complexity A Summary of Gestalt Principles Key Words Notes 3 Memory and Association Types of Memory From STM to LTM Body/Somatic Memory Verbal Memory Visual Memory Color Memory Unconscious Memory Association Equivalents Associations in Advertisements Props (Signifiers) Associations to Color Synesthesia Rebuses and Pictograms Onomatopoeia and Simile Metaphors Semiotics Iconic, Indexical and Symbolic Representation Semiotics in Analyzing and Designing Ads Semiotic Operations Conceptual Photography Is Conceptual Photography Art? The Concept in Conceptual Photography What Does It Mean, and to Whom? The Sender, Channel, and Receiver Concept Difficulty Creating Titles and Descriptions Symbolism, Metaphors, Similes, and Anthropomorphism Composition and Post-Processing Techniques The Pretty and Ugly Factors Forward and Reverse Engineering Educational Applications Conceptual Advertisements Key Words Notes 4 Space, Time, and Movement Space The Perception of Depth Anisotropicity Rule of Thirds Golden Section and Fibonacci Numbers Aspect Ratio and Cropping Convexity/Concavity Transparency Time and Movement Eye Movement in Composition The Rhythm of Repeating Elements Gradation Blur Multiple Exposures Motion in Stillness The Decisive Moment Capturing the Unique Fleeting Instant Candid Shots of People in Real Life Visual Coalescence Figure/Ground Relationships The Gap and Anticipating Closure The One Hit Wonder Creating and Losing Oneself The Hour Leading to the Decisive Moment The Myth and Reality of the Decisive Moment Photo Key Words 5 Color Color Notation Systems Munsell System Pantone® CIE System CIE Chromaticity Diagram Luminance (Value or Brightness) Naming Colors within the CIE Map Color Gamuts (Color Space) Color Perception The Visual Field Flare Desaturates Colors Color Test Chart Color Reproduction Subtractive Color Additive Color Complementary Colors Color Is a Chameleon Constancy Metamerism Simultaneous Contrast and Assimilation Color Dependency Phosphors and Pointillism Color Modality Color Temperature Color Names Color and Synesthesia Synesthesia and Photography Color Connotations Color versus Color Neutral Colors Black and White Photography B&W as the Origin of Photography The Absence of Color B&W Photography in the Digital Age Selective Color Key Words Notes 6 Contours Common Contour Playing with Depth Perception Activating an Image Subjective Contour Mach Bands Visual Vibrations Photographic Edge Effects Acutance Film and Digital Sharpness Cornsweet Effect Development The Psychology of Being Sharp The Beauty of Blur Key Words Notes 7 Illusion and Ambiguity Trompe l’Oeil Space, Time, and Color Illusions Geometric Illusions Reversibles Time (Movement) Illusions Depth Cues and Movement The Pulfrich Effect The Waterfall Effect Color Illusions Size–Distance Tradeoffs Dutch Cabinets Size–Size Dependency Shrinking Size, Increasing Distance Emmert’s Law Size–Distance Reversal Ambiguity Ambiguity in Language Ambiguity in Images Illusion in the Digital Age Key Words Notes 8 Morphics Animism Biomorphic Isomorphic Anthropomorphic Zoomorphic Theriomorphic Mechanomorphic Anamorphic Geometric and Organic Shapes Geometric or Man-made Patterns Organic or Natural Patterns Mixing Geometric and Organic Patterns Key Words Notes 9 Subliminals How the Eye Sees The Retina Photopic/Scotopic Vision Luminance Factor Ambient Light Eye Movements When Reading Pictures Embeds Secondary or Latent Images Hidden Faces Archetypes Kilroy Body Language Microexpressions The Pupils Body Language Patterns The Hands Body Language in Groups Interpersonal Space Key Words Notes 10 Rhetoric Using the Rhetorical Matrix Where to Begin Horse and Truck Intuition First Addition Identity Similarity Difference Opposition False Homology Suppression Identity Similarity Difference Opposition False Homology: Ambiguity False Homology: Paradox Substitution Identity Similarity Difference Opposition False Homology: Ambiguity False Homology: Paradox Exchange Identity Similarity Difference Opposition False Homology: Ambiguity False Homology: Paradox Words, Sounds, and Rhetoric A Summary of Rhetorical Techniques The Four Basic Rhetorical Operations The Five Relationships Between Elements Addition Suppression Substitution Exchange Key Words Notes 11 Personality Leveling and Sharpening Field Dependency Projection The Word Association Test The Thematic Apperception Test The Rorschach The Walker Visuals Mindfulness What Mindfulness is Not Simply and Truly Seeing The Beginner’s Mind Letting Go The Balance of Concentration and Noticing The Qualities of Mindfulness How to Cultivate Mindfulness Personality Types Jung’s Psychological Types How Many Traits Are There? Types Based on Body and Brain Psychodynamics Primary and Secondary Process Multiplicity (Clone) Images From Self-Portraits to Selfies Objective and Subjective Self-Portraits The Bigger Picture of Identity Self-Portrait as Self-Awareness Other People’s Perceptions The Spontaneous or Carefully Composed Self The Superficially Narcissistic Selfie The March of Selfies The Creative Personality Synectics is Seeing Connections Being Connected to All Things Key Words Notes 12 Photo Sharing and Critique Critique as Evaluation Validity Variability The Role of Context Johari’s Window Use Your Words Critique without words The Clustering Technique Relationships Direction Nostalgia Composition Location Word Clouds The Semantic Differential Technique Critique Using Group Dynamics Group Dynamics During and Exhibition Online Photosharing Settling into and Exploring a Community Getting to Know You Becoming a Good Citizen Titles for Images Descriptions for Images Commenting on Images The Meaning of Likes Popularity and the Ratings Game Image Categories, Streams, and Series Sensory / Cognitive Overload Computers and Critique The Illusion of Digital Permanency Photosharing as Therapeutic All photography can be therapeutic Key Words Notes
Dr. John Suler is Professor of Psychology in the Science and Technology Center at Rider University. He has published widely on images in creativity, personal identity, psychotherapy, and interpersonal perception. As a longstanding member of online photo sharing groups, a founder of the new discipline known as cyberpsychology, and author of the groundbreaking book Psychology of the Digital Age, he specializes in research on the experience of images in social media. Dr. Richard Zakia, Ed.D., Professor Emeritus at the Rochester Institute of Technology, taught in many areas of photography and served as chair of the Fine Art Photography Department and Graduate Program in Imaging Arts. He was recipient of the Eisenhart Outstanding Teaching Award and author of twelve books on photography. Dr. Zakia passed away in 2012 and has been greatly missed by many, especially the Focal staff.
