![]() So, if the background is darker than the subject, your viewer’s eyes will be irresistibly drawn to the subject. When our eyes roam around an image they will constantly be pulled back to the light areas from the dark areas. In an image of light and dark areas, our eyes will first go to the light areas. There are many types of contrast that we use in photography composition. So using a shallow depth of field to make the background and foreground blurry, helps the viewer go straight to the in-focus subject.įurther reading: Using depth of field for gorgeous photography compositionīecause we scan for differences to help us separate parts of an image, contrast is a powerful tool to use. Our eyes are drawn to the in-focus part of an image first. The subject is in sharp focus and the background is out of focus, because I used a shallow depth of field to establish the figure ground relationship. ![]() Photographers have a few tools to help separate the subject from the background and guide the viewer’s eye. This is where Gestalt theory in photography becomes more familiar. How to create a stable figure to ground relationship It can also be viewed as a black vase against a white background, which happens to form to faces. Rubin’s vase shows two faces in white with the black background forming a vase shape. However, nobody can see both at the same time. Some people will see two faces, others will see the vase. When the difference is unclear, the figure-ground relationship is unstable.Ī perfect example of an unstable figure-ground relationship is Rubin’s vase. When we can easily determine the subject and the background, the figure-ground relationship is stable. Our eyes should go to the figure (subject) first and then the background and or foreground (ground).įurther reading: Secrets of great focal point composition The reason this relationship is important is because our eyes automatically try to work out which is the figure and which is the ground. ![]() The figure (aka focal point or subject) must stand out from the rest of the image. So the figure to ground relationship is simply about how those two parts, the figure and the ground, form an image. The figure is the subject and the ground is the background and or foreground of the image, i.e. An image has two parts – the figure and the ground. If you’ve ever wondered why a blurry background is the goal of so many portrait photographers, it’s because of the figure to ground relationship. In a nutshell: differentiate the subject from the backgroundīefore applying any other Gestalt principles you must first understand the figure ground relationship. Not too much, mind, because that’s what this is all about – making it easy for the viewer to figure out the image.īut if the viewer has to work a little to fill in the gaps of what they see, they’re more engaged in the image.Ī man and his granddaughter are the clear subjects of this image, because they stand out against a busy background full of people. Humans are actually more interested in an image if they have to work a little. Principles of Gestalt theory in photography include:Īs we go through these principles, remember that when we view an image we’re not at all lazy. Gestalt principles, also called Gestalt laws, make up Gestalt theory. What are the Gestalt principles in photography? Which Gestalt principles are being used in this image? Read on to find out. According to Gestalt psychologist Kurt Koffka, this is summarised as “the whole is other than the sum of the parts”.Īs a photographer, when you compose a well organized image, you help your viewers to see the image as a whole, which makes your message easier to understand. It groups together parts of an image instead of treating at it as a series of unconnected elements. Gestalt theory in photography is based on the idea that our brains automatically try to find structure and patterns to simplify and organize a complex image made of many elements. You’ll find this cheatsheet of Gestalt principles handy… How does Gestalt theory in photography work? When we understand why something works, it’s so much easier to put it into practice. Gestalt theory in photography explains why certain rules of composition work. Why use Gestalt theory in photography?Īs photographers, if we can understand how our minds work, we can create compelling images that draw in and hold the viewer. The theory was devised by a group of German psychologists in the 1920s to explore how we perceive the world around us. Also, it doesn’t apply to just photography, but to all aspects of art and design. ![]() Gestalt theory in photography is where photography meets psychology, but it’s not nearly as complicated as it sounds.
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