The Perceptual Basis of Some Rules of Thumb in Photography
We communicate increasingly with visual imagery such as realistic pictures (e.g., photographs, computer graphic images, perspective drawings and paintings). People are readily able to interpret pictures, but the means by which they do so is poorly understood. Photographers utilize many guidelines fo...
| Main Author: | |
|---|---|
| Format: | Article |
| Language: | English |
| Published: |
SAGE Publishing
2011-05-01
|
| Series: | i-Perception |
| Online Access: | https://doi.org/10.1068/ic294 |
| _version_ | 1828774615010246656 |
|---|---|
| author | Martin S. Banks |
| author_facet | Martin S. Banks |
| author_sort | Martin S. Banks |
| collection | DOAJ |
| description | We communicate increasingly with visual imagery such as realistic pictures (e.g., photographs, computer graphic images, perspective drawings and paintings). People are readily able to interpret pictures, but the means by which they do so is poorly understood. Photographers utilize many guidelines for creating natural-looking pictures. One guideline concerns the lens focal length required to produce pictures that are not spatially distorted. Photography texts recommend choosing a focal length of 50mm. There are two phenomena related to this guideline. One is perceived spatial distortions in wide-angle (short focal length) pictures. I will argue that the perceived distortions are caused by the perceptual mechanisms people employ to take into account oblique viewing positions. The second phenomenon is perceived depth in pictures taken with different focal lengths. The textbooks argue that pictures taken with short focal lengths expand perceived depth and those taken with long focal lengths compress it. I will argue that these effects are due to a combination of the viewing geometry and peoples' viewing. Another guideline concerns the camera aperture and depth-of-field blur. Photography textbooks do not describe a quantitative rule and treat the magnitude of depth-of-field blur as arbitrary. I examine apertures, lenses, and image formation. From that examination, I argue that there is a natural relationship between depth-of-field blur and the 3D layout of the photographed scene. Human viewers are sensitive to this relationship. In particular, depicted scenes are perceived differently depending on the relationship between blur and 3D layout. Understanding the perceptual basis of these guidelines provides insight into how to construct photographs, perspective paintings, and computer graphic images for more effective visual communication. |
| first_indexed | 2024-12-11T15:25:25Z |
| format | Article |
| id | doaj.art-0008c963c582432e825f5ed85a4ae6c7 |
| institution | Directory Open Access Journal |
| issn | 2041-6695 |
| language | English |
| last_indexed | 2024-12-11T15:25:25Z |
| publishDate | 2011-05-01 |
| publisher | SAGE Publishing |
| record_format | Article |
| series | i-Perception |
| spelling | doaj.art-0008c963c582432e825f5ed85a4ae6c72022-12-22T01:00:14ZengSAGE Publishingi-Perception2041-66952011-05-01210.1068/ic29410.1068_ic294The Perceptual Basis of Some Rules of Thumb in PhotographyMartin S. Banks0School of Optometry, University of California, BerkeleyWe communicate increasingly with visual imagery such as realistic pictures (e.g., photographs, computer graphic images, perspective drawings and paintings). People are readily able to interpret pictures, but the means by which they do so is poorly understood. Photographers utilize many guidelines for creating natural-looking pictures. One guideline concerns the lens focal length required to produce pictures that are not spatially distorted. Photography texts recommend choosing a focal length of 50mm. There are two phenomena related to this guideline. One is perceived spatial distortions in wide-angle (short focal length) pictures. I will argue that the perceived distortions are caused by the perceptual mechanisms people employ to take into account oblique viewing positions. The second phenomenon is perceived depth in pictures taken with different focal lengths. The textbooks argue that pictures taken with short focal lengths expand perceived depth and those taken with long focal lengths compress it. I will argue that these effects are due to a combination of the viewing geometry and peoples' viewing. Another guideline concerns the camera aperture and depth-of-field blur. Photography textbooks do not describe a quantitative rule and treat the magnitude of depth-of-field blur as arbitrary. I examine apertures, lenses, and image formation. From that examination, I argue that there is a natural relationship between depth-of-field blur and the 3D layout of the photographed scene. Human viewers are sensitive to this relationship. In particular, depicted scenes are perceived differently depending on the relationship between blur and 3D layout. Understanding the perceptual basis of these guidelines provides insight into how to construct photographs, perspective paintings, and computer graphic images for more effective visual communication.https://doi.org/10.1068/ic294 |
| spellingShingle | Martin S. Banks The Perceptual Basis of Some Rules of Thumb in Photography i-Perception |
| title | The Perceptual Basis of Some Rules of Thumb in Photography |
| title_full | The Perceptual Basis of Some Rules of Thumb in Photography |
| title_fullStr | The Perceptual Basis of Some Rules of Thumb in Photography |
| title_full_unstemmed | The Perceptual Basis of Some Rules of Thumb in Photography |
| title_short | The Perceptual Basis of Some Rules of Thumb in Photography |
| title_sort | perceptual basis of some rules of thumb in photography |
| url | https://doi.org/10.1068/ic294 |
| work_keys_str_mv | AT martinsbanks theperceptualbasisofsomerulesofthumbinphotography AT martinsbanks perceptualbasisofsomerulesofthumbinphotography |