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.

Jess Jones

There are seven basic elements to photographic art known as:

• Line
• Shape
• Form
• Texture
• Colour
• Size
• Depth

LINE:

Definition:  A straight or curved geometric element that is generated by a moving point and that has extension only along the path of the point

Lines can be straight, curved or a combination of both. They can go in any direction such as vertical or horizontal and can become solid, dashed or implied.

Vertical or horizontal lines can convey/suggest a sense of stability or a static feel in a photograph.

Horizontal lines can indicate distance (e.g. a horizon line) whilst vertical lines can indicate height, balance or strength.

Diagonal lines create a more dynamic and dramatic image.

SHAPE:

Definitions:

Sometimes a familiar shape can transform into an unfamiliar or unrecognizable shape based on the viewpoint of the photographer. For example, a lightbulb can have an image taken of it from the top, and appear to be a circle.

The two main types of shapes in an image are:

• Geometric: simple and can be labelled (for example, circles squares or triangles)

• Organic: shapes that can’t be permanently defined. these can be created by fluids for example. This makes the image more complex.

FORM:

Definition: the shape and structure of something as distinguished from its material

Form is three-dimensional. Form has overall height, width, and depth.

Form can be geometric or organic, just like shape.

Form creates positive and negative space. Positive is the space that is occupied by forms, but negative space is the empty part that remains.

It captures tonality changes and cast shadows of an object, the direction and intensity of the light relative to that object can change how we perceive the depth of the object in a photograph.

TEXTURE:

Definition: the visual or tactile surface characteristics and appearance of something

Texture in an image is shown through tone variations. this shows us whether the object would feel smooth, rough, bumpy, shiny, slimy, etc.

• Smooth objects might have reflections or specular highlights.
• Rough objects might have aggressive areas of light and shadow without reflections.

Patterns also indicate texture, and we imply the texture and associate it with the familiar. Depending on the angle of the lighting, the appearance of texture can change.

COLOUR:

Definitions:

•  a phenomenon of light (such as red, brown, pink, or gray) or visual perception that enables one to differentiate otherwise identical objects
•  the aspect of the appearance of objects and light sources that may be described in terms of hue, lightness, and saturation for objects and hue, brightness, and saturation for light.
• a specific combination of hue, saturation, and lightness or brightness
•  a color other than and as contrasted with black, white, or gray

Colour has three properties: hue, value, and saturation.

• Hue is simply the description of the color (e.g., blue, red, yellow, etc.).
• Value is the relative brightness or darkness of a color.
• Saturation is the intensity or purity of a color. The purest color is a hue with no white, black, or gray added to it.

Colours in an image can be bold and bright which are eye-catching and stand out more.

However, muted colours that are dulled down can also make a powerful image because it makes the image seem more sentimental.

Harmonic colours (colours which complement each other) can create distinct feelings that the photographer wants to express.

We live in a world of colour. The light from the sun, and from artificial sources, is absorbed and reflected by different objects, and it is this reflected light that we see as colour.

SIZE:

Definition: 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. Without a familiar object in the image, we struggle to determine the scale shown in the photograph.

The camera, lens, and print can render large objects small, or small objects large. Even objects familiar to our eyes that are usually small can be rendered in a photograph to become huge and show more detail that we don’t usually see, while things we know to be enormous are rendered small.

 With a casual snapshot, size might not be something one even considers in the composition. Paying attention to size can create unique images.

This emphasizes the object in the image.

My image^

DEPTH:

Definition: the direct linear measurement from front to back

Depth is one of the most compelling elements in a photograph.

Unless you are photographing perpendicular to a blank and smooth wall, your image will have depth. Depth is provided by our visual cues.

Leading lines create a linear perspective. this means when lines lead away from the camera, they converge at the end to create depth. An example of this is taking an image of train tracks.

Texture gradient shows depth. For example, if you took an image of a brick road. The closer the bricks are, the more details they will have whereas the ones with less details will give us the sense that they are further away.

Also size diminution. This means the smaller an object is in a photograph, the more distant it appears, assuming the viewer is familiar with the size of the object in question.

  

  

My understanding of the settings used manually is that the aperture (will affect the shutter speed and the depth of field). As the aperture increases the background comes more into focus.

ISO (increasing it makes the camera sensor more sensitive to the light). Enables the photographer to use a faster shutter speed/ higher aperture. In low light you can increase the ISO too make the low light photograph more visible/ good exposure.

Exposure Settings:

The final check before you snap a picture. At a glance the exposure setting will tell you how our picture will turn out (based on the aperture, shutter speed settings and ISO settings. It works as a guide and exposure is a matter of personal preference.