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| p.1 #7 · p.1 #7 · Texture comps. Are you lichen any of these? || |
It's really more of an exercise in the psychology of perception than a photographic one as I see it.
I'm inclined to find this really quite true of most all photographic endeavors, in many regards. Imo, all photographs are a representation intended to invoke a mental perception (mood, message, modeling, memory, etc) via the visual sensory mode. Even if they are "merely" a recording, they serve as a memory to a place and/or point in time. Same goes for all 2D visual mediums @ drawing, painting, etc. if you really think about it. Imo, the "mastery" is to garner a degree of command and control over the medium to yield such perceptions as we intend for our audience (self or others).
I realize we start with a different set of tools, rather than pencils and brushes (pp understood), with our camera & lenses. The more we understand how the viewer perceives the various aspects of an image, the more we can decide how we want to approach those aspects, i.e. sharp/blur, warm/cool, sat/desat, dark/light, compression/foreshortening, leading lines/negative space, neutral/toned etc.
Sometimes I think I'd like to make a "checklist" of all those things to make sure I've considered them all as I work an image. But, I haven't yet so that I don't get too "rigid" in my approach (although my attention to WB is on the cusp of such rigidity at times).
Imo, everything has it's inverse and the two combine to yield a variability in cause & effect for our image making and the subsequent viewer response. Granted, this is also predicated upon the frame of reference our viewer brings at the time of viewing, for which we have no direct control.
However, the universality (latitudes noted) of human psychological perception remains in play all the time. How much credence / difference / effort it warrants infusing into our image is variable to our objectives and our audience. But, whether or not we choose to use or lose them in application, it is good to consider / understand their contribution to our (non-verbal) communicative image making efforts ... similarly to how we choose our words (also relative to their psychological perceptions) in verbal communication.