What is Formalism?

Formalist photography is when the design, composition and lighting are dominant over subject matter. The photographer becomes a visual designer whenever a frame is captured. Camera cropping concentrates on the desired subject while eliminating everything else. Formalism in photography is an approach that emphasizes the visual elements of an image rather than its content or narrative. This style focuses on the composition, shapes, lines, colors, textures, and overall design of a photograph.

Line

Line is the most fundamental of the seven basic elements of photographic art, in almost all photographic art there will most likely always be some element of lines. Lines are considered to be “A straight or curved geometric element that is generated by a moving point and that has extension only along the path of point” There are many different types of lines, they can be solid, dashed, intterupted, implied or physcological. The horizion is an example of an implied line. Lines are everywhere in photographs. Lines surround us, and every photograph contains lines.Lines in photographs often connect points inside the image.

Shape

The Merriam-Webster definition of “shape” that we are concerned with as photographic artists is:

1 a : the visible makeup characteristic of a particular item or kind of item

1 b (1) : spatial form or contour

1 b (2) : a standard or universally recognized spatial form.

Shapes are two-dimensional. Sometimes a familiar shape can transform into an unfamiliar or unrecognizable shape based on the viewpoint of the photographer Different shapes, when they intersect and overlap, can combine to create a new shape. Shapes can also surround an area to create another shape. In a photograph, a silhouette is the purest essence of a shape—no form, texture, or colour. There are two basic types of shapes: geometric (or regular) and organic. Shapes can be as simple as a triangle or infinitely complex.

Form

What separates form from shape? Form takes shape from the two-dimensional and brings it into the three-dimensional.”the shape and structure of something as distinguished from its material” Form is three-dimensional. Form has overall height, width, and depth.Just as with shapes, there are two basic types of form—geometric (or regular) and organic.Like shapes, forms can be simple or infinitely complex.A photograph captures all the forms in the field of view of the lens.Three-dimensional forms are rendered in two dimensions by the photograph. Whether on the print or on the screen, the final image does not have depth. 

Texture

In photography, texture can be felt with both the fingers (the print) and virtually (with the viewer’s eye). “the visual or tactile surface characteristics and appearance of something”

Texture in “real life” can be, basically, smooth or rough. We can use other descriptors as well: slimy, wet, hard, soft, bumpy, shiny, etc. Texture in the photograph is similar to form in that it is revealed by variations in tonality and presented in two dimensions. In a photograph, smooth objects might have reflections or specular highlights. Rough objects might have aggressive areas of light and shadow without reflections. Texture can be elusive in a photograph, depending on the subject, the lighting, and the forms in the image. A lack of visual texture might mean that the object is smooth. It could mean that it is too far away from the camera and the texture cannot be resolved. A photograph of a full moon does not show much in the way of surface texture, but the oblique lighting of a crescent or gibbous moon, viewed through a telephoto lens with sufficient resolution, will show incredible texture on the surface.

Colour

” a phenomenon of light (such as red, brown, pink, or grey) or visual perception that enables one to differentiate otherwise identical objects” Light itself has no perceived colour. But, send light through a prism or a drop of water and we can see that it is comprised of a literal rainbow of colours. Colour has three properties: hue, value, and saturation: Hue is simply the description of the colour (e.g., blue, red, yellow, etc.). Value is the relative brightness or darkness of a colour. Saturation is the intensity or purity of a colour. The purest colour is a hue with no white, black, or grey added to it. Bold and bright colours are known for grabbing our eye. Harmonic colours are colours that complement each other—serve to create distinct feelings in photographs. Mainstream colour film was not available until the 1930s—around 100 years after photography was invented. A key to approaching colour in photography is to recognize the colours in a scene, and evaluate your composition based on including or excluding the range of colours in your field of view. Frame your image to highlight the colours you think will enhance your subject and best convey the mood of your image.

Size

“physical magnitude, extent, or bulk : relative or proportionate dimensions” Size in a photograph is relative and can be an illusion. When a familiar object appears in the frame of a photograph (car, basketball, streetlamp, etc.) we immediately get a feel for the scope of the entire scene. The camera, lens, and print can render large objects small, or small objects large. Even objects familiar to our eyes can be rendered relatively large in a photograph, while things we know to be enormous are rendered small. With a casual snapshot, size might not be something one even considers when composing the image. The size of common objects in the photograph gives the scene a sense of scale. But a single object in space might not accomplish this since there is no means for comparison. If you want to emphasize the size of an object in the photograph in relation to its surroundings, you should get closer to that object. Overlap is another way to render a scene virtually in three dimensions, and overlap can also give hints to size.

Depth

“the direct linear measurement from front to back” Naturally, even in a casual snapshot, we are given a sense of depth due to various visual cues. This perception of three-dimensional space is what our eyes experience whenever they are open, and that is what our eyes try to experience when looking at a photograph. How well the depth is rendered is dependent on the objects in the frame, your choice of composition, and your perspective in relation to the objects in the frame. Most images have a foreground, middle ground, and background. The stronger the delineation between those successive “grounds,” the stronger the sense of depth in your image. We have all seen the photographs of the highway heading toward the horizon or the train tracks narrowing as they become more distant (do not take photos on train tracks!). This convergence of lines is called linear perspective. Where you place an object in a frame also offers clues toward depth. The higher an object is in the frame relative to the horizon (seen or implied), the greater is the perceived distance to that object. This is called upward dislocation.

Evaluation Of Images –

Evaluating formalist images involves analyzing various visual elements and how they contribute to the overall impact of the photograph. Here are some key aspects to consider:

1. Composition: Assess how the photographer arranges elements within the frame. Look for balance, symmetry, and the use of space. Consider whether the composition guides the viewer’s eye effectively.
2. Use of Lines: Examine the lines in the image—are they straight, curved, or leading? Lines can create movement and direct attention to focal points, contributing to the overall dynamism of the image.
3. Color Palette: Analyze the color choices and their relationships. Are the colors harmonious or contrasting? Consider how color influences the mood and emotional response of the viewer.
4. Light and Shadow: Observe how light is used to shape forms and create depth. Look for highlights and shadows that enhance texture and add dimension to the composition.
5. Texture and Detail: Pay attention to the textures captured in the image. Is there a rich detail that draws the viewer in? Textural elements can create a tactile quality that adds interest.
6. Abstraction: Consider the level of abstraction in the image. Does the photograph transform ordinary subjects into something more visually compelling? Evaluate how effectively it communicates form over function.
7. Mood and Atmosphere: Reflect on the emotional response elicited by the image. Does the formal composition create a specific atmosphere or feeling?
8. Minimalism: If the image employs minimalism, assess how effectively it conveys meaning through simplicity. Does it succeed in highlighting essential forms without distractions?
9. Conceptual Depth: Even though formalism emphasizes form over content, think about any underlying concepts or ideas that emerge from the composition. What might the photographer be communicating through the arrangement of visual elements?

By focusing on these aspects, you can gain a deeper understanding of how formalist images operate and appreciate their artistic value. This evaluation encourages an engagement with photography that prioritizes visual language and aesthetics.