Notes from DPPA meeting 2-7-2012 “Print Competition, Strategy of Winning"
Where We are Headed
What the PEC evaluates in your print- The Twelve Elements
The request of the work on the viewer- Emotionally drawn into the work, “Take a Longer Look”
Case studies with tidbits
The Twelve Elements
Impact is the “wow” sense of surprise one gets upon viewing an image for the first time.
Technical excellence is the print quality and application of skill as it is presented for viewing.
Creativity is the original, fresh, and external expression of the imagination of the maker.
Style is the repeated, exhibited inclination of the photographer.
Lighting is consideration for light quality, quantity, and direction. Does it contain one of five true light forms?
Subject Matter should be interesting, not a normal treatment, and in keeping with the story.
Technique is how to pose, how to light, how to print, how to prepare the concept, and how to post process.
Story Telling is the ability of the image to speak for itself and present a story.
Composition is subject placement and design flow within the image. 4 Compositional placement theories: Quadrant theory, thirds/fifths/sevenths/ninths/elevenths, Golden Mean, Bakker Saddle,
Presentation is the preparation environment of the photograph’s (or book’s) viewing.
Color Balance is the related issue of color that affect the viewers attention. Is it one of five color schemes? Is it congruent with its interpretation?
Center of Interest – The main thing is that the main thing remains the main thing.
Art is the ability to draw the viewer into the image and want to be a part. The emotional connection allows time for the viewer to maintain involvement in the piece. This connection is through the element of depth.
Take A Longer Look – 4 Philosophies
Mood is represented by the quality of light and the quantity of light used.
A direct main-light statement is the most powerful use of frontal light.
Light separates the subject from the background. There is a strength of lighting placements: back-light (into the light source), side-light, then portrait frontal light.
The eye is drawn to the shadows to enjoy depth and emotion.
The eye is attracted to the area of greatest contrast.
Light defines roundness, shape and translucency.
A direct main light statement is the most powerful accent for impact in lighting.
• Color polarity (vibration) adds depth.
• The use of color relates to everyone, thereby creating interest.
• Color saturation placed against de-saturation will intensify the color in the saturated area.
• The color of subject need to be ”in scheme” with its color environment.
• A planned color palette is preferred to an unplanned mixing of various indiscriminate colors.
• There is a “Hierarchy of Compositional Shapes” Triangle, oval/circle with a diagonal through it, diagonals, vertical-horizontal intersections, curvilinear compositions (oval, circle, heart shapes, S, C, Lazy S, backward c), alphanumeric representations, vertical line, & horizontal line is last.
• When a subject has a recognizable shape, it is lingers in memory retention.
• Balance dictates the composition.
• When the subject is placed in 1 of 4 placement theories it will draw the viewer into the image.
• Diagonal inclinations determine flow (power or grace) motion.
• Eye entrance into the image is usually bottom left third.
• The eye flow pattern should spiral toward the impact point.
• Balance theories-
– Equidistance, when to use the center
– Balance of the Steelyard
– Primary - Secondary relationships
• Eye flow is directed by vertical horizontal intersections.