Who knows the visual language elements of photography structure?

The Function of Lines in Photographic Composition

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The formation of visual picture is composed of concrete visual image, and visual image itself is composed of lines that constitute the basic elements of vision. Abstract lines make up concrete images. The concrete objective world exists in people's subjective feelings, because the visual image is composed of people's psychological balance and physiological balance.

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Lines existing in nature are different from imaginary lines. Nature has only volume. In art, volume is described by contours. For photographers, lines are a tool of description, which can objectively describe objects, and can also subjectively imply emotional conditions and reactions. The line structure in hieroglyphics and letters is used as the basic means of communication. But artists use lines in a wider range of communication.

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Lines play an important role in photographic composition. First of all, as the skeleton of the structural picture, it not only has the function of forming specific images, but also has the function of expressing specific images. It not only has concrete and intuitive expressive force, but also has abstract hints and symbolic functional performance. For example, to shoot a resolute and powerful male image, it is necessary not only to accurately show the specific image characteristics of the characters, but also to emphasize the contours of their faces and bodies through some specific technical means (such as light and color). We often see some male models appearing in some cigarette advertisements, which can often give people this feeling. Here, the function of lines is obvious. It has brought significance in expressing image, organizing space, structural form, stimulating feelings and even portraying characters' personalities. The line structure of a painting is closely related to its expression or emotional content.

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The function of lines in the picture is also to make the picture have a sense of visual balance. Through the arrangement, organization and division of lines, the photographic composition meets the psychological needs of human visual balance; Through the aggregation and dispersion of lines, people's vision is guided to see the painted subject, and the picture itself has a certain sense of order.

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It is also a function of lines in photographic composition, which creates a dynamic and rhythmic photographic composition. In this respect, modernist painters wassily kandinsky and Pierre mondriaan will inspire us. The arrangement and combination of lines of various shapes will produce colorful visual psychological feelings. The organization of lines will also create a very clear form. At this point, world-famous architects and architects also make full use of this function of lines.

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The function of lines in photographic composition not only has the physical function of determining the shape and characteristics of the subject, but also has the visual psychological function of stimulating less specific feelings. Generally speaking, it must conform to people's visual and physiological habits. This is the function of line as a visual language element in photographic composition. In high-tech advertising photography, the function and function of lines must be realized by the photographer's superb technical means. It must effectively serve the theme of the photo. The way of composition should serve the theme that can capture the audience. A simple sense of form is meaningless in advertising. Of course, the line itself can also play several functions at the same time. The use of wide lines includes the creation of R light and shadow and texture. This shows that it is difficult to distinguish the elements of art composition.

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Second, the role of form and modeling in photographic composition

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Schools of psychology, which originated in Germany in the early 20th century, had a great influence on the field of visual arts. Schools of psychology, known as Gestalt (also known as Gestalt Psychology School), has made a theoretical discussion on form and modeling. Gestalt is a transliteration of the word "Gestalt" in German. It refers to a form, shape or a separate whole. This school emphasizes the importance of gestalt phenomenon. This school believes that every psychological phenomenon is a gestalt and a separated whole, and the whole is not equal to the sum of its parts. On the contrary, the whole exists before the part, which restricts the nature and significance of the part.

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The most important insight of gestalt theory lies in its relationship between graphics and substrate. From the moment we look at a scene or a picture, we instinctively choose an object as a graph, and the rest becomes the basis. It takes only1100 seconds to make this choice.

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The difference between the chart and the foundation is determined by the following factors:

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(l) The pattern must be clearly separated from the substrate;

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(2) Generally, the smaller area in the figure is regarded as a figure, and the larger area is regarded as a cardinal number;

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(3) The graphics and the substrate cannot be perceived at the same time;

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(4) combining adjacent similar visual components into a graph;

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(5) Symmetrical and relatively closed shapes usually tend to be regarded as figures.

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The basic condition for obtaining a sense of form in photographic composition is a good relationship between the graphics in the center of the picture and the substrate. At the same time, photographic composition itself also has specific requirements for modeling itself:

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First of all, composition should grasp the essence of things through shapes. We know everything is three-dimensional. In the form of composition, we can only see the two-dimensional state of things, and sometimes it can't reflect the essence of things. This requires photographers to reveal the essence of books in the form of composition.

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Secondly, choose a prominent symbol or feature from complex things. This requires photographers to have special visual judgment. We know that complex decorative patterns are actually changed from very simple symbol patterns. Any complicated book has its symbols or characteristics. Only through in-depth observation and understanding can photographers extract these symbols from complex things.

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A good photographic work should not only delete those unnecessary details, but also select those features that can explain the problem. In other words, it must be able to convey the most important information to the eyes in time and clearly. To do this, it is necessary to simplify the form of photographic composition. In gestalt psychology, simplification is described as follows: simplification forms order, and the rich meanings and diverse forms in the picture are organized into a unified structure. In this structure, all the details are not only in place, but also have their own division of labor.

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There are usually the following situations that lead to simplification:

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(1) The trend of the brain field to the simplest structure can make the perceived object look as simple as possible; (2) Simplifying stimulation to arouse perceptual experience;

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(3) simplification of the meaning conveyed by perceptual objects;

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(4) the relationship between the perceived object and the meaning it conveys;

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(5) It depends on the mental state of the examiner.

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Stimulation is a pattern projected on the retina of the eye. It is an objective physical thing, arousing people's subjective experience and producing visual stimulation. The subjective reinforcement of this stimulus is the requirement of simplified form of visual picture. Secondly, it is the influence of the meaning conveyed by the perceptual object on the perceptual experience. The essence of all art forms is to convey a certain meaning, and any form must convey a meaning far beyond the form itself. Simplifying the structure of the required meaning is consistent with the stylistic structure that presents this meaning. This consistency is called "isomorphism" by Gestalt psychologists.

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This tendency of simplification in perception is a tendency of organization (or construction) that needs form. Whenever the graphics in the field of vision are imperfect or even defective, the need to organize them is greatly increased. When the graphics in the field of vision are symmetrical, regular or perfect, this need is met.

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Because the grasp of "shape" is related to the stimulating "organization" activities in the process of perception, the grasp of shape is bound to be accompanied by various complex psychological feelings, such as tension, relaxation, comfort, depression, smoothness and pleasure. When the incomplete shape is presented in front of us, it will cause a strong tendency to pursue completeness, symmetry, balance, harmony and simplicity visually. In other words, it will cause a kind of visual tension, which will "supplement" it or restore it to an appropriate "complete" state. Thereby greatly improving the excitement of perception.

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In artistic creation, how to create a clearer sense of form and visual stimulation through incomplete modeling is an important embodiment of the artist's creative ability. The truly infectious incomplete modeling does not seem ambiguous, but highlights other key parts by omitting some parts, further making these prominent parts contain a kind of pressure or tension to "move" to a certain character. Every shape is a manifestation of tension and exists in a certain "force field".