Artifice is another aspect of figure-ground where techniques like object blending, hiding, and visual deceptions work to conceal, or fool the eyes of the viewer. John Pfahl is a well-known practitioner of artifice photography in the form of visual camouflage, is most known for his “Altered Landscapes” series. In his images, we see an exploration of creating ambiguity of space and scale within the two dimensional space of the image.
Jerry Uelsmann practices a form of psychological artifice with his masterful blending of portions of different, unrelated negatives into prints of extraordinary beauty and mystical content. His work has led to a whole genre of digitally manipulated photographic images. Partly because of his masterful technique, but mostly due to the surrealistically logical imagery in the scenes, most of his images are immediately readable.
Artifice occasionally influences my own work, probably due to looking at too much Minor White over time. I find it can come in two forms visual and emotional.
Visual artifice, like the scene below, tricks the brain into seeing something other than the object photographed. In this instance, the effect is strengthened by the title. The title: “Control of the Oceans – A View of Iron Bottom Sound”, suggests a logical framework for the brain prior to looking at the image.
Emotional artifice comes in the form of strong emotional reactions to images. Anytime empathy for, or personification of an object occurs, a form of artifice takes place. The image below is strongly reacted to by most viewers. Part of a series of images taken over the period of a year and a half, this image evokes differing emotional responses ranging from pity to anger.
Formal aesthetic analysis of any creative work usually begins by mapping the visual structure of the image. This is an analysis of the lines, shapes, tones, contrasts etc, found in the image. This analysis is informed by the Principals of Art and the Elements of Design. These in turn are influenced by the Gestalt elements found in the image.
To illustrate lets look again at the image above. What makes this composition work?
Looking at it formally, there are three vertical elements: the wooden upright, the plexiglass rectangle and the rectangular compartment on the left. Each is supported by strong horizontals top and bottom. These verticals, anchored by the horizontals, create a sense of repose and solidity. The verticals are further reinforced by the fluting of the cardboard backing of the right compartment.
If it contained a plain background in the compartment on the left, this composition would have appeared heavy and overly imbalanced to the right. With the broad “barber pole” like diagonals, the image seems comfortably positioned and in balance. The image below illustrates how the space is divided by the horizontal, vertical and diagonal elements.
An implied triangle running from the top of the larger dolls head down to both sides to just above the horizontal base of the right compartment shown below left. This triangle strengthens the composition and adds gravity, anchoring it within the visual space. There is also a similarity of the rounded shapes described by the bodies of a both dolls creating an implied circular shape within the frame shown below right.
Other Gestalt elements found in the image include similarity in the shapes of the doll heads, and the rectangular forms of the left and right vertical compartments.
All of these steadying components then fall counter to the tension created by the emotional desire to personify the doll on the right as a deceased infant, contrasted with the laughing figure of the impish character on the left .
Keep in mind that these elements were not analyzed as the exposure was being made. There was though, a decision to include what is currently in the frame. A second composition was made by shooting closer, excluding the left hand compartment. Since I always try to compose to the whole frame (no cropping) the 2:3 format cut into the upper portion of the right compartment in the second framing. Visually, it was unsatisfying and the image felt imbalanced to the eye. I also almost removed the small figure on the left prior to exposure but in the end I left it in. Removing it would have resulted in a weaker overall image, deleting a key component of the emotional artifice.
Again, most of the design influences in framing the shot were not conscious decisions made prior to exposure. But being subconsciously aware of the Principals of Art and Elements of Design would have influenced the overall approach when framing the shot.
Next Time: Grouping
Lens, Light and Composition is presented in a structured form with occasional asides. It is not a semi-random presentation of information. To get the greatest benefit from this blog it is advised that you start at the beginning of the table of contents, and work your way down from there. Thanks for reading.