1. Depth and distance in a photograph
Perspective
Depth and distance in a photograph
Linear, aerial, selective focus & scale

2. …... Is an aspect of our perception of the physical world.
Linear Perspective
…... Is an aspect of our perception of the physical world.
We see it when we look down a highway and see its edges
disappear to a vanishing point in the horizon.
If lines we know to be parallel appear to converge in a photograph,
We interpret this as depth - the lines appear to recede into the distance.
Vertical lines that overlap convey an illusion of depth

3. Notice how the repetition of vertical lines gives a feeling of depth
which is enhanced by leading lines moving toward the horizon.

4. Overlapping vertical lines convey the illusion of depth.

5. The technique is the same as the city and the forest only the scene is not.

6. Converging lines
and vertical lines
enhance the illusion
of depth.

9. Aerial Perspective
This perspective is based on change in tone as distance increases.
It also may be observed in the real world because haze, dust, or
smoke in the atmosphere tend to make distant objects appear
Lighter and less distinct than closer objects.
To enhance the effect of aerial perspective, use framing.
use overhanging branches, the trunk of a tree or other objects to
provide a frame for the object in the distance.

10. Fred Floyd’s views of
New York city give us
some interesting
aerial perspectives.

14. View from the bridge during flooding in the mid west circa 1934.

15. Selective Focus Because the eye can only focus on one plane
at a time, objects at greater or lesser distances
From the plane of focus will appear to be increasing
Out of focus. The illusion of depth can be controlled
By controlling the sharpness of objects in the photo.

16. Note the background!

20. Selective focus
may begin in the
foreground,

21. or selective focus may be in the background.

22. However, selective focus does not have to blur the background completely

23. Scale
To communicate scale of objects in a photo, it is often effective
to include objects of familiar size.
Including such objects as trees,
automobiles, houses, people, animals and such, may serve,
to establish a scale for the viewers judgement of depth.

24. Use familiar objects
to establish size.

27. Notice how the haze effects
the building in the
background, and gives
greater contrast to the low
buildings in the foreground.

28. How large is the moon in comparison to the tree in the foreground?

29. Compositional Lines
• Horizontal lines tend to generate a sense of slow movement.
These lines symbolize restfulness, peace, and inactivity.
• Diagonal lines tend to generate a sense of rapid movement.
The closer a line approaches the diagonal, the more rapid
the movement.
• Zigzag lines that abruptly change direction tend to project
a sense of vigorous even violent motion.
• Curved line such as the S shaped curve, generate a sense of
graceful, flowing movement.
• Vertical lines project a feeling of inaction, immobility, and
hence symbolize strength, dignity and permanence.

30. Horizontal line

32. Note the serenity in this shot by Ansel Adams.

33. Diagonal lines

34. Notice how the curved line of the page gives movement to an open book.

36. Zigzag or opposing
lines givea sense
of violent motion.

38. What kind of lines do you see in this photograph. What is the result?

39. Sense the motion created by the conflicting lines.

40. Vertical lines symbolize strength, immobility and permanence.

41. Tonal Contrast
Tone or contrast is used to demonstrate how tonal contrast
Can be used to emphasize the center of interest and contribute
To the mood or feeling of the photograph.
The are four tonal concepts you need to be aware of:
• Figure ground contrast. This is achieved by putting light objects
against dark backgrounds or dark against light.
• Silhouette. Here the detailed shadow is easily recognized against
a light background.
• High-key photo. This is also easily recognized with white against
white, and very little shadow.
• Low-key photo. This is the reverse of high-key photography.
Unlike the above, this is dark against dark.

42. Figure ground
contrast.
Note the light areas
contrasted against the
heavy shadows.

43. Light against dark….

45. Dark against light.

47. Silhouette

48. Note the heavy, somber mood.

49. Dark against light, but
the hand and globe are
recognizable making this
shot a silhouette .

50. High-key
White against white.

52. Low-key photography
Conveys:
• Serenity
•• Melancholy
• Sadness
• Decadence
• Drama
• Pathos

53. The points of light draw the eye’s attention to the dark against the dark.

54. Color Composition To achieve harmony, you must be aware of
Color composition depends on color harmony or the relationship
among various colors within the photograph.
Color, unlike Black and White, brings with it psychological reactions
to various colors used in conjunction with one another.
To achieve harmony, you must be aware of
the principle of Complementary colors.
Those colors which are analogous tend to blend and create a
harmonious effect, but those which are complementary
or opposites on the color wheel portend contrast or disharmony.
Selection of color is important in photography, and transmits
more than just an image. It can symbolize feelings and meanings

55. What feelings are suggested in this photo? Are the colors harmonious?

56. See how the use of
similar colors creates
a bond between the
sphere and black
space.

57. Are these colors harmonious
or oppositional?
What is the message the
colors symbolize in
relationship to the subject
of the photograph?

58. Compare this photo to the
Previous one.
What differences in feelings
and messages do you sense?

60. Sometimes contrasting
colors work together to
achieve a message that
is both pleasing but at the
same time jarring.
What is the message here?

61. What is your reaction to this photo?
How do you react to the colors and the images ?
What is the message to be found here?
How do the colors enhance the message?
Would the message change, if the colors were changed ?

62. What matters is not so much
Perspective
What matters is not so much
what you are shooting,
but how you shoot it!