Photography Composition and Visual Design Flashcards

24 sample cards from the Composition and Visual Design deck

Sampled from the end of the deck, so these are different cards from the ones shown on the syllabus page.

1. What psychological effect does a low camera angle create?

   Shooting from below the subject looking up makes it appear larger, taller, more powerful, dominant, or heroic; it also exaggerates height and can simplify the background against the sky.

2. What psychological effect does a high camera angle create?

   Shooting from above the subject looking down makes it appear smaller, weaker, more vulnerable, or childlike, and reveals the layout of the scene beneath the camera.

3. Distinguish bird's-eye view from worm's-eye view.

   Bird's-eye view: shot directly (or nearly directly) from overhead, flattening the scene into graphic patterns and maps — common in drone photography. Worm's-eye view: shot from ground level looking straight up, exaggerating height and convergence of vertical lines (e.g., skyscrapers, trees).

4. What is a Dutch angle (Dutch tilt) and when is it used?

   Deliberately tilting the camera so the horizon runs diagonally across the frame. It creates unease, tension, disorientation, or dynamic energy — used expressively, since an unintentional tilt just looks like an error.

5. Name five techniques for creating a sense of depth in a two-dimensional photograph.

   1) Include foreground, midground, and background layers; 2) Use leading lines and linear perspective; 3) Overlap elements so nearer objects partially hide farther ones; 4) Atmospheric perspective (haze lightening distant objects); 5) Diminishing scale of repeated objects (also: shallow depth of field, side lighting).

6. What is atmospheric (aerial) perspective?

   The effect of haze, dust, and air scattering light so that distant objects appear progressively lighter, lower in contrast, and cooler/bluer than near objects. Layered mountains at dawn are the classic example; it is a powerful natural depth cue.

7. What is linear perspective in photography?

   The depth cue in which parallel lines (roads, rails, hallways) appear to converge toward a vanishing point as they recede, and objects of equal size appear smaller with distance — exaggerated by wide-angle lenses, compressed by telephoto lenses.

8. How does a photographer convey scale, and why does it matter?

   By including a familiar reference object of known size (a person, car, or animal) next to the subject. Without a reference, the viewer cannot judge how large a mountain, wave, or building really is; with one, the true size becomes dramatic and readable.

9. What is forced perspective?

   A technique that exploits the camera's monocular view: positioning objects at different distances so they appear to be at the same distance, making them seem larger, smaller, or interacting impossibly — e.g., a tourist 'holding up' the Leaning Tower of Pisa.

10. Define proportion in visual design and its role in composition.

    Proportion is the relative size relationship between elements within the frame (and between elements and the frame itself). Harmonious proportions — such as golden-ratio divisions like $1 : 1.618$ — feel balanced, while deliberately distorted proportions create emphasis, drama, or humor.

11. On the traditional (RYB) artist's color wheel, what are the primary and secondary colors?

    Primary: red, yellow, blue — colors that cannot be mixed from others. Secondary: orange (red+yellow), green (yellow+blue), and violet/purple (blue+red), each mixed from two primaries and sitting between them on the wheel.

12. What are complementary colors? Give two classic pairs used in photography.

    Colors positioned directly opposite each other on the color wheel; placed together they intensify each other and create maximum color contrast. Classic pairs: blue–orange (the teal-and-orange look) and red–green; also yellow–violet.

13. What is an analogous color scheme and what mood does it create?

    A scheme using colors that sit next to each other on the color wheel (e.g., yellow–orange–red of a sunset, or blue–teal–green of the sea). Because the hues are related, the image feels harmonious, unified, and calm rather than high-contrast.

14. How do warm and cool colors differ in the moods they evoke?

    Warm colors (red, orange, yellow) evoke energy, passion, comfort, and warmth, and appear to advance toward the viewer. Cool colors (blue, green, violet) evoke calm, distance, melancholy, or cold, and appear to recede — so a warm subject on a cool background pops forward.

15. What is a triadic color scheme?

    A harmony using three colors evenly spaced around the color wheel, $120^{\circ}$ apart (e.g., red–yellow–blue or orange–green–violet). It is vibrant and balanced; typically one color dominates while the other two act as accents.

16. What is a monochromatic color scheme in photography?

    A composition built from variations (tints, shades, and saturations) of a single hue — e.g., an all-blue misty seascape. It creates strong unity and mood, forcing tone, shape, and texture to carry the composition.

17. Define the three properties of color: hue, saturation, and value.

    Hue: the color's identity on the wheel (red, blue, green). Saturation: the intensity or purity of the hue, from vivid to gray. Value (brightness/luminance): how light or dark the color is, from near-white tints to near-black shades.

18. What is tonal contrast, and why is it critical in black-and-white photography?

    Tonal contrast is the difference in brightness (luminance) between areas of an image — deep shadows versus bright highlights. In black and white there is no color to separate elements, so subjects are distinguished purely by differences in tone; without tonal contrast a B&W image looks flat and muddy.

19. Why does converting an image to black and white change what the composition emphasizes?

    Removing color eliminates color-based attraction and distraction, so the eye responds instead to tone, contrast, line, shape, form, texture, and pattern. Scenes with strong graphic structure or distracting/clashing colors often work better in B&W.

20. Distinguish high-key from low-key images.

    High-key: dominated by bright tones and whites with minimal shadows — feels light, airy, clean, optimistic. Low-key: dominated by dark tones and shadows with selective highlights — feels dramatic, moody, mysterious. Both are deliberate tonal strategies, not exposure errors.

21. What is 'the decisive moment,' and who coined the concept?

    Henri Cartier-Bresson's principle (from his 1952 book) that in every unfolding event there is one fleeting instant when the action, expression, and formal composition of all elements align perfectly — the photographer must anticipate, compose, and release the shutter in exactly that fraction of a second.

22. List the main compositional devices for guiding the viewer's eye through a photograph.

    Leading lines and implied lines (including gaze direction of people in the frame), light-versus-dark contrast (the eye goes to the brightest, sharpest, highest-contrast area first), selective focus, color accents, framing, vignetting, and placement of elements in a visual path from entry point to focal point.

23. What is juxtaposition in photography?

    Deliberately placing two contrasting or unexpected elements side by side in the same frame — old/new, rich/poor, large/small, natural/artificial — so the contrast creates meaning, irony, humor, or social commentary beyond what either element conveys alone.

24. How does context change the meaning of a photographed subject?

    The surroundings included in (or excluded from) the frame determine how the subject is read: an isolated tight crop removes storytelling information, while including environment (a worker's tools, a city behind a portrait) situates the subject and tells a story. Choosing what context to keep is itself a compositional decision.

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