CONTRAST
4 he most fundamental overhaul of design
theory in the 20th century took place in
Germany in the 1920s and its focus was the
Bauhaus. Founded in 1919 in Dessau, this school
of art, design, and architecture was a major
influence because of its experimental, questioning
approach to the principles of design. Johannes
Itten ran the Basic Course at the Bauhaus. His
theory of composition was rooted in one simple
concept: contrasts. Contrast between light and
dark (chiaroscuro), between shapes, colors, and
even sensations, was the basis for composing an
image. One of the first exercises that Itten set the
Bauhaus students was to discover and illustrate
the different possibilities of contrast. These
included, among many others, large/small, long/
Itten’s intention was “to awaken a vital feeling
for the subject through a personal observation,”
and his exercise was a vehicle for plunging in
and exploring the nature of design. Here is an
adaptation of his exercises for photography.
The project is in two parts. The first is rather
easier—producing pairs of photographs that
contrast with each other. The easiest way to do this
is to make a selection from pictures you’ve already
taken, choosing those that best show a certain
contrast. More demanding but more valuable is
to go out and look for images that illustrate a pre-
planned type of contrast—executing shots to order.
The second part of the project is to combine
the two poles of the contrast in one photograph,
an exercise that calls for a bit more imagination.
example, it could be contrast in a concept, such as
continuous/intermittent, or something non-visual,
like loud/quiet. The list in the box below is from
Itten’s original Bauhaus exercise.
A passionate educator, Itten wanted his
students to approach these contrasts from three
directions; “they had to experience them with their
senses, objectivize them intellectually, and realize
them synthetically.” That is, each student had first
to try to get a feeling for each contrast without
immediately thinking of it as an image, then list the
ways of putting this sensation across, and finally
make a picture. For example, for “much/little,” one
first impression might be of a large group of things
with one of them standing out because it is in
some way different. On the other hand, it could be
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GESTALT PERCEPTION
' estalt psychology was founded in Austria
and Germany in the early 20th century, and
while some of its ideas (such as that objects seen
form similarly shaped traces in the brain) have
long been abandoned, it has had an important
revival in its approach to visual recognition.
Modern Gestalt theory takes a holistic
“completed” in viewers’ minds and understood
to animate and give balance to an image. One of
the most important and easy-to-grasp laws is that
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of Closure, usually illustrated by the well-known /2'!.):!4)/.
Kanizsa triangle (illustrated opposite). We can (% ,AWOF0ROXIMITY6ISUALELEMENTSAREGROUPED
INTHEMINDACCORDINGTOHOWCLOSETHEYARE
see this principle time and again in photography,
TOEACHOTHER
where certain parts of a composition suggest a
)%,AWOF3IMILARITY%LEMENTSTHATARESIMILAR
approach to perception, on the basic principle
that the whole is greater than the sum of its parts,
and that in viewing an entire scene or image, the
mind takes a sudden leap from recognizing the
individual elements to understanding the scene in
its entirety. These two concepts—appreciating the
shape, and this perceived shape then helps to INSOMEWAYBYFORMORCONTENTTENDTOBE
give structure to the image. In other words, an GROUPED
implied shape tends to strengthen a composition. *%,AWOF#LOSURE%LEMENTSROUGHLYARRANGED
It helps the viewer make sense of it. Triangles TOGETHERARESEENTOCOMPLETEANOUTLINE
SHAPE4HEMINDSEEKSCOMPLETENESS
are among the most potent of “closure-induced”
+%,AWOF3IMPLICITY4HEMINDTENDSTOWARDS
shapes in photography, but the example VISUALEXPLANATIONSTHATARESIMPLESIMPLE
greater meaning of the entire image and grasping
it suddenly and intuitively—may at first seem at
odds with what is known about how we look at
images. (The principle that we build up a picture
from a series of rapid eye movements to points of
illustrated opposite is the somewhat more LINESCURVESANDSHAPESAREPREFERREDASIS
unusual one of a double circle. SYMMETRYANDBALANCE
As we’ll see in more detail when we come to ,%,AWOF#OMMON&ATE'ROUPEDELEMENTS
AREASSUMEDTOMOVETOGETHERANDBEHAVE
the process of shooting (in Chapter 6), creating
ASONE
and reading a photograph heavily involves the
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interest is explored more thoroughly on pages principle of making sense of a scene or an image, ABOVETHISSTATESTHATTHEMINDTENDSTO
80-81.) However, in reality, Gestalt theory has of taking the visual input and attempting to fit CONTINUESHAPESANDLINESBEYONDTHEIR
adapted to experimental research, and, despite it to some hypothesis that explains the way it ENDINGPOINTS
its sometimes vague assertions, offers some looks. Gestalt theory introduces the idea of .% ,AWOF3EGREGATION)NORDERFORAFIGURE
valid explanations about the complex process
GROUNDIMAGESSEE
of perception. Its importance for photography
lies mainly in its laws of organization, which
TOBEPERCEIVEDITMUSTSTANDOUTFROMITS
regrouping and restructuring the visual elements
BACKGROUND&IGURE
so that they make sense as an entire image—also PAGE EXPLOITTHEUNCERTAINTYOF
known as the “phi-phenomenon.” However, DECIDINGWHICHISTHEFIGUREANDWHICH
underpin most of the principles of composing whereas Gestalt theory is used in instructional ISTHEBACKGROUNDFORCREATIVEINTEREST
images, particularly in this and the next chapter. design—for example, to eliminate confusion
The word “Gestalt” has no perfect English
translation, but refers to the way in which
something has been gestellt, that is, “placed”
or “put together,” with obvious relevance
to composition. As a way of understanding
perception, it offers an alternative to the
atomistic, iterative way in which computers
and digital imaging work, step-by-step, and
'ROUPINGPLAYSALARGEPARTIN'ESTALTTHINKING
and speed up recognition (diagrams, keyboards,
ANDTHISISKNOWNAS±CHUNKING²
plans, and so on)— in photography it can play
an equally valuable opposite role. ( *
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As we’ll see when we come to Chapter 6, (% %MERGENCE0ARTSOFANIMAGETHATDONOT
#,/352%4/#)2#,%3
Intent, there are many advantages in slowing CONTAINSUFFICIENTINFORMATIONTOEXPLAIN
4HE'ESTALT,AWOF#LOSUREGOVERNSMANYOFTHE
down the way people view a photograph, so as THEMSUDDENLYPOPOUTASARESULTOFLOOKING
COMPOSITIONALTECHNIQUESTHATHELPGIVESTRUCTURE
LONGENOUGHANDFINALLYGRASPINGTHESENSE
to deliver a surprise or to involve them more TOIMAGES)NTHISPHOTOGRAPHOFCEREMONIALGUARDS
)%2EIFICATION4HEMINDFILLSINASHAPEORAREA
deeply in the image (Gombrich’s “beholder’s ATTHEANNUAL'AREBEGCEREMONYATTHEPALACEOF
DUETOINADEQUATEVISUALINPUT4HISINCLUDES
stresses the value of insight. Another principle share”, page 140). For example, the principle of 9OGYAKARTA*AVATHEEYESEESTWOAPPROXIMATE
CLOSUREABOVE 
CIRCLESLEFTANDRIGHTANDTHISHELPSORDERTHEIMAGE
from Gestalt is “optimization,” favoring clarity Emergence (see box) is valuable in explaining *%-ULTISTABILITY)NSOMEINSTANCESWHENTHERE
9ETTHESEAREENTIRELYNOTIONAL)N;=APPLYING
and simplicity. Allied to this is the concept of how, in a sudden moment, the mind comprehends AREINSUFFICIENTDEPTHCLUESOBJECTSCANBE
AMEDIANFILTERTOSIMPLIFYTHEVIEWTHESHAPES
SEENTOINVERTSPONTANEOUSLY4HISHASBEEN
pragnanz (precision), which states that when something in a photograph that was visually STANDOUTMORE)N;=THEACTUALCURVEDSECTIONS
EXPLOITEDMOREINART-#%SCHER3ALVADOR
understanding takes place as a whole (“grasping “hidden” (pages 144-145, Delay, go into this AREMARKEDANDCANBESEENTOBEVERYFARFROM
$ALI THANINPHOTOGRAPHY
the image”), it involves minimal effort. in more detail). Normally, in presenting +!.)3:!42)!.',% ) COMPLETEDCIRCLESYETASHIGHLIGHTEDIN;=THE
+%)NVARIANCE/BJECTSCANBERECOGNIZED
4HEMOSTWELL
KNOWNDEMONSTRATIONOFCLOSURE IMPLIEDCIRCLESWORKTOCONCENTRATETHEATTENTION
The Gestalt laws of organization, listed in the information, making the viewer’s mind work REGARDLESSOFORIENTATIONROTATIONASPECT
ISTHISDESIGNEDBY)TALIANPSYCHOLOGIST'AETANO ONTHEUNIFORMEDSOLDIERSINSIDETHEM4HISIS
box, go a long way toward explaining the ways harder is not considered a good thing, but in SCALEOROTHERFACTORS
+ANISZAINWHICHTHEONLYSHAPESARETHREECIRCLES ESSENTIALLYTHEMECHANISMDEMONSTRATEDON
in which graphic elements in photographs, such photography and other arts it becomes part of WITHWEDGESCUTOUTOFTHEMYETTHEEYESEES PAGES
WHICHCOVERTHETHEMEOFSHAPES 
as potential lines, points, shapes, and vectors, are the reward for viewing. ATRIANGLE

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