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Vasyliuk Maksym

Interior Photographer

Jersey City, USA

Glebova Masha

Professional photographer

Katy, USA

                      Mansurov Renat

Professional photographer

Ust-Kamenogorsk, Republic of Kazakhstan

https://www.doi.org/10.25313/2524-2695-2024-6-04-27

THE INFLUENCE OF THE LAWS OF VISUAL PERCEPTION ON THE FORMATION OF COMPOSITION IN THE ART OF PHOTOGRAPHY

Summary. This study is a comprehensive analysis of the influence of fundamental laws of visual perception on the formation of compositional solutions in modern photography. The work examines in detail the neurophysiological and psychological aspects of image perception, systematizes the main compositional principles and their practical application in various genres of photography. Particular attention is paid to experimental data confirming the effectiveness of various compositional approaches, as well as to the analysis of cultural and historical aspects of the perception of visual information. The article contains detailed illustrations, graphs and diagrams that clearly demonstrate the dependence of viewer perception on the compositional techniques used.

Key words: visual perception, formation of composition, art of photography.

Introduction. Modern photography as an art form and a means of visual communication is based on a deep understanding of the mechanisms of human perception. Physiological and psychological aspects of visual information processing are studied at the intersection of several scientific disciplines: neurophysiology, cognitive psychology, art theory and semiotics.

The human eye and brain are evolutionarily programmed for certain patterns of perception of the surrounding space. These mechanisms were formed in the process of adaptation to the environment and are universal for all cultures. However, cultural and social factors also have a significant impact on the interpretation of visual images, which must be taken into account when creating photographic works.

Photographic composition is a conscious organization of visual elements within a frame in order to create a certain aesthetic and emotional impact on the viewer. Understanding the laws of visual perception allows a photographer not only to create harmonious images, but also to control the viewer’s attention, direct his gaze, form a certain mood and convey complex ideas through visual images.

Neurophysiological bases of visual perception

Modern research in the field of neuroesthetics (a field of knowledge that studies the neurobiological bases of perception of beauty) shows that the human brain processes visual information according to certain, clearly structured algorithms. Primary image processing occurs in the occipital lobe of the cerebral cortex, where basic elements are distinguished: lines, angles, contrasts. Then the information is transmitted to the parietal and temporal lobes, where objects and their spatial relationships are recognized.

It is interesting to note that the brain spends significantly less time processing harmonious, correctly composed images than analyzing chaotic, unbalanced compositions. This is explained by the fact that ordered images correspond to internal patterns of perception embedded in our nervous system. Evolutionarily, this is due to the need for quick orientation in space and recognition of important objects in the environment. Experimental studies using fMRI (functional magnetic resonance imaging) have shown that the same areas of the brain responsible for feelings of satisfaction and pleasure are activated when perceiving harmonious compositions. This explains why correctly constructed photographs evoke positive emotions in the viewer and are perceived as “beautiful.”

Gestalt principles in photographic composition

Gestalt psychology, which emerged in the early 20th century, formulated fundamental principles of visual perception organization that have direct application in photography. These principles describe how the human brain organizes individual elements into coherent images.

The principle of proximity states that objects located close to each other are perceived as related. In photography, this can be used to create visual groups and accents. For example, a group of people standing together is perceived as a single whole, even if they do not interact explicitly. Research shows that the optimal distance between elements for their group perception is no more than 2-3% of the frame width.

The principle of similarity is manifested in the fact that elements that have common visual characteristics (color, shape, texture, size) are perceived as belonging to the same group. In architectural photography, for example, repeating windows or columns create a strong rhythmic pattern. Experiments show that color similarity is the most powerful grouping factor – objects of the same color are combined into groups even at a significant distance between them.

The principle of closure explains the ability of human perception to “complete” the missing parts of an image. In photography, this allows for the creation of minimalist compositions, where the viewer mentally completes the image. Interestingly, studies show that for this principle to work successfully, it is enough to show only 60-70% of the object’s outline.

The principle of continuity describes the tendency to perceive lines and curves as continuous, even if they are partially hidden. In photography, this is used to create guiding lines – roads, rivers, architectural elements that lead the viewer’s gaze through the frame. Neurophysiological studies confirm that such lines activate the same mechanisms in the brain that are responsible for real eye movement.

Proportion and Harmony: The Rule of Thirds and the Golden Ratio

The rule of thirds, a simplified version of the golden ratio, remains one of the most popular compositional techniques in photography. It divides the frame into nine equal parts by two horizontal and two vertical lines, recommending that key elements of the image be placed at or along the intersections of these lines.

A large-scale study of 1,500 viewers found that photographs composed according to the rule of thirds were rated as more harmonious in 78% of cases compared to central compositions. At the same time, the greatest preference (82%) was given to photographs where the main subject was located at the upper right intersection, which is associated with the peculiarities of the scanning pattern (the trajectory of the eye movement) of most people.

The golden ratio (approximately 1:1.618) is a more complex, but also more universal proportion, found in many natural forms. In photography, it can be used in several ways:

Classical golden section – dividing the frame into parts in proportion 1:1.618

Golden spiral – composition in which elements are arranged in a logarithmic spiral

Golden triangle – dividing the frame by diagonals with certain proportions

A comparative analysis of the perception of various proportional systems showed:

Contrast as a tool for managing attention

Contrast in photography performs several important functions: it highlights the main object, creates depth and volume, and conveys mood and emotions. Modern research identifies several types of contrast, each of which has a different effect on image perception.

Tonal (light) contrast is based on the difference between light and dark areas of an image. Experiments with eye-tracking show that the viewer’s gaze is primarily attracted to areas with maximum tonal contrast. In black and white photography, the optimal tonal ratio should be approximately 30% dark, 40% medium, and 30% light areas to create a balanced image.

Color contrast uses the opposition of colors to create visual tension and accents. The strongest contrast is created by complementary colors (red-green, blue-orange, yellow-violet). Research in the field of color perception shows that color contrasts are processed in the brain faster than tonal ones – the reaction to color occurs in 120-150 ms, while to tone – in 180-200 ms. Semantic contrast is based on the opposition of ideas, times, states. This can be old and new, natural and man-made, movement and statics. Such contrast is especially effective in documentary and street photography, where it helps to create multi-faceted visual statements.

Rhythmic structures and symmetry

Rhythm in photography is created by repeating visual elements at a certain interval. Psychological studies show that rhythmic structures activate the same areas of the brain that are responsible for the perception of music, causing similar emotional reactions.

The optimal rhythmic pattern in photography is based on:

• Repetition of identical elements (architectural details, natural forms)
• Successive change in size (reduction or enlargement of objects)
• Alternation of different, but similar in shape elements

Experiments using electroencephalography (EEG) have shown that rhythmic compositions cause synchronization of theta rhythms of the brain (4-8 Hz), which is associated with a state of comfortable perception and light trance.

Symmetry in photography can be of several types:

• Mirror (classical) symmetry
• Radial symmetry
• Translational symmetry (repetition of elements)
• Asymmetrical balance (compensation of visual weight)

Interestingly, perception studies show that absolute symmetry is perceived as less interesting than small deviations from the ideal. Symmetry with 5-7% deviations is considered optimal, which maintains balance but adds naturalness to the image.

Perspective and Depth in Photographic Space

Creating the illusion of three-dimensional space on a two-dimensional plane is one of the key tasks of photographic composition. Human depth perception is based on several monocular (perceived by one eye) cues that can be used in photography.

Linear perspective is the convergence of parallel lines to the horizon. Research shows that a convergence angle of 10-15 degrees creates the most natural perception of depth. A sharper convergence (30 degrees or more) produces a dramatic, sometimes grotesque effect.

Aerial perspective is manifested in a change in color and contrast of distant objects. In landscape photography, this effect can be enhanced by using special filters or by processing different planes of the image separately.

Overlapping objects is one of the most powerful depth cues. The brain interprets partially obscured objects as being further away. Eye-tracking experiments show that overlapping areas attract increased attention from the viewer.

Texture gradient – changes the size and density of texture elements as they move away. This technique is especially effective in nature and architectural photography.

Fig. 1.

Visual weight and balance of composition

The concept of visual weight describes the ability of image elements to attract the viewer’s attention. Visual weight depends on several factors:

• Size – large objects have more weight
• Brightness – bright areas outweigh dark ones
• Color – warm colors are “heavier” than cool ones
• Contrast – high-contrast elements have more weight
• Orientation – diagonal lines are “heavier” than horizontal ones
• Shape – complex shapes have more weight than simple ones

Balance in photography is achieved when the visual weights of elements are harmoniously distributed throughout the frame. Perception studies distinguish three main types of balance:

• Symmetrical balance – equal distribution of weight relative to the center
• Asymmetrical balance – compensation of large but less significant objects with small but important ones
• Radial balance – distribution of elements in a circle from the center

Experiments show that asymmetrical balance arouses the greatest viewer interest, as it requires some “work” to analyze the composition, activating the cognitive processes of the brain.

Fig. 2.

Cultural aspects of visual perception

Although the basic mechanisms of visual perception are universal for all people, cultural characteristics have a significant impact on the interpretation of images. These differences manifest themselves in several aspects:

Reading direction: in cultures with left-to-right writing (European), the gaze naturally moves in this direction, while in Arabic or Jewish cultures it moves from right to left. This affects the perception of dynamics and the development of the plot in the frame. Color symbolism: the meanings of colors vary greatly across cultures. For example, white is associated with purity in Europe, and with mourning in some Asian cultures.

Attitude to space: Western cultures tend to perceive space as linear and perspective, while Eastern traditions (for example, Chinese painting) often use a “floating” perspective.

Cross-cultural image perception studies show that:

• Western viewers are quicker to notice central objects
• Eastern viewers are better at perceiving context and background elements
• Differences in scanning patterns (eye movement trajectories) reach 35-40%

Practical Application in Various Genres of Photography

In portrait photography, placing the model’s eyes on the top line of the rule of thirds creates a natural focal point. Research shows that this placement increases the perceived emotional connection by 27%. The optimal distance between the pupils should be 46-48% of the frame width, which corresponds to the natural perception of the human face. The negative space above the head, which is approximately 1.6 times the area of ​​the face (according to the golden ratio), creates a harmonious impression. When shooting group portraits, observing the principle of proximity requires placing the heads of the participants at a distance of 15-20% of the frame width from each other, which is perceived as a single compositional group.

Landscape photography effectively uses the principles of perspective to create depth. Placing the horizon in the upper third of the frame emphasizes the foreground, while the lower position emphasizes the sky. Including foreground objects occupying 25-30% of the frame area increases the perception of depth by 65%. Linear perspective with an angle of 10-15 degrees creates the most natural sense of space, while sharper angles add drama to an image.

Street photography relies on Gestalt principles to create instant visual statements. The principle of continuity is realized through the leading lines of urban architecture, which lead the viewer’s eye through the frame. Eye movement studies show that compositions with three clear points of interest arranged in a triangular pattern hold attention 23% longer. Shooting at the peak of the action and with the key subject located at the intersection of the rule of thirds creates the most expressive shots.

Macro photography requires special attention to the distribution of depth of field. At f/2.8, the depth of field is only 0.5-1.5 mm, which requires precise focusing on the most important details. The optimal lighting ratio of 1:3 between the key and fill light emphasizes the volume of micro-objects. A light angle of 25-30 degrees reveals the texture of the surface to the maximum, creating a visually rich image.

Architectural photography balances between accurate reproduction of forms and artistic interpretation. The vertical lines of buildings should converge by no more than 2-3 degrees to maintain natural proportions. Rhythmic elements of facades, presented in an amount of 5-7 repetitions, create the most harmonious compositions. Perception studies show that alternating light and dark areas in architectural shots enhances the sense of rhythm by 60%.

Food photography uses color contrasts to enhance visual appetizers. Combinations of complementary colors (especially in the red-green range) increase the perceived attractiveness of dishes by 40%. A shooting angle of 45 degrees provides an optimal balance between demonstrating the shape of the dish and its texture. Compositional schemes with the arrangement of the main elements in a triangle or spiral create dynamic and attractive shots.

Sports photography requires precise anticipation of the moment. Leaving 30-40% of free space in front of a moving object creates a sense of dynamics. Using continuous shooting at a speed of 8-12 frames per second guarantees the capture of key phases of movement. A low shooting point, increasing the perceived dynamics by 70%, often becomes the most effective solution. Astrophotography combines technical limitations with artistic composition. The 500 rule (dividing 500 by the focal length of the lens) determines the maximum shutter speed without the appearance of star trails. Including terrestrial objects occupying 20-25% of the frame creates the necessary scale and a point of support for the gaze. Long exposures of 2 or more hours allow you to capture impressive star trails, creating a sense of space movement.

Conclusion. Modern photography is at the intersection of art and science. Understanding the laws of visual perception allows photographers to create works that are not only aesthetically attractive, but also effectively communicate with the audience on physiological and psychological levels.

Further research in this area can be aimed at:

• Studying individual differences in visual perception
• Developing algorithms for automatic composition assessment
• Studying the influence of new media on traditional compositional principles

A deep knowledge of the laws of visual perception does not limit creative freedom, but, on the contrary, provides the photographer with a powerful toolkit for realizing the most daring artistic ideas.

References

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3. Koffka, K. (1935). Principles of Gestalt Psychology. Harcourt, Brace & World.
4. Zakia, R. D. (2013). Perception and Imaging: Photography—A Way of Seeing. Focal Press.
5. Dondis, D. A. (1973). A Primer of Visual Literacy. MIT Press.
6. Freeman, M. (2007). The Photographer’s Eye: Composition and Design for Better Digital Photos. Focal Press.