INTERNAL FRAMES ¯
-EYEROWITZ *OEL
INTUITION
3
4
:
INTUITION
-INIMALISM
REPERTOIRE ¯
SACCADES
TELEPHOTO LENS ¯
:EN
)NVARIANCE PRINCIPLE OF
-ODERNISM
STYLE ¯
3ANDER !UGUST
TEMPERATURE COLOR
ZIG ZAG LINES
)TTEN *OHANNES
MOMENT DECISIVE ¯
PHOTOGRAPHS TOGETHER ¯
3ARTRE *EAN 0AUL
TENSION
ZOOM LENS
MOTION BLUR ¯
PHOTOJOURNALISM
SATURATION COLOR ¯
DIAGONAL
*
MOVEMENT
HUNTING FOR A PHOTOGRAPH
±SCALE CONSTANCY²
DYNAMIC ¯
JUXTAPOSITION ¯
CURVES
OBVIOUS IMAGES
SCANPATHS ¯
TEXTURE PATTERN ¯
DIAGONAL LINES
WIDE ANGLE LENS
SECONDARY COLORS
TILT LENS ¯
+
MOMENT AND ¯
SEE ALSO STREET PHOTOGRAPHY
3EGREGATION ,AW OF
TIME LAPSE ¯
+ANDINSKY 7ASSILY
MOTION BLUR ¯
0HOTO 3ECESSION
SEQUENCES OF PHOTOGRAPHS
TIMING DECISIVE MOMENT
+ANISZA TRIANGLE
VECTORS ¯
0HOTOSHOP
3EURAT 'EORGES
TONAL PERSPECTIVE
+ERTmSZ !NDRm
-ULTISTABILITY PRINCIPLE OF
0ICASSO 0ABLO
SHAPES
TONE CONTRASTS ¯
KEY TONAL ¯
MUSIC COLOR AND
0ICTORIALISM
CIRCLES AND RECTANGLES ¯
4RI 8
KINETICS ¯
PICTURE STORIES ¯
TRIANGLES ¯
TRIANGLES ¯
+LEE 0AUL
.
0ILES 2OGER DE
SHARPNESS
INVERTED
+ODACHROME ¯
.EUE 3ACHLICHKEIT .EW /BJECTIVITY
PLACEMENT
FOCUS ¯
.EWMAN !RNOLD
PHOTOGRAPHS TOGETHER ¯
PERSPECTIVE
5 UNCONVENTIONAL COMPOSITION ¯
,
WITHIN THE FRAME ¯ ¯
3HORE 3TEPHEN
,ANGE $OROTHEA
/
PLANNED COMPOSITION ¯
SILHOUETTE
LENSES
OPTICS LENSES ¯
POINTS
3IMILARITY ,AW OF
6
CHOICE OF ¯
OPTIMIZATION
SEVERAL ¯
SIMPLICITY
VECTORS ¯
FISH EYE LENS
ORANGE COLOR
SINGLE ¯
COMPOSITION ¯
6ELVIA FILM
TELEPHOTO LENS ¯
ORDER SEARCH FOR ¯
POST MODERN NEW REALISM
,AW OF
VERTICAL FRAME
TILT LENS ¯
ORIGINALITY ¯
POST PRODUCTION DIGITAL PHOTOGRAPHY
3MITH 7 %UGENE
VERTICAL LINES ¯
VARYING VIEWPOINTS ¯
/´3ULLIVAN 4IMOTHY
¯
±SNAPSHOT AESTHETIC²
VIEWER INVOLVEMENT OF ¯
WIDE ANGLE LENS ¯
PREPARATION
3OMMER &REDERICK
VIEWFINDER
LIGHTING NATURAL
0
PRIMARY COLORS ¯
SPIRALS ¯
EXPLORING WITH
LINEAR PERSPECTIVE ¯
PANORAMAS ¯
PROCESS OF PHOTOGRAPHY
SQUARE FRAME ¯
AS FRAME
LINES
PATTERN ¯
PROPORTIONS COLOR
STILL LIFE ¯
VIEWPOINT VARYING ¯
CURVES ¯
PERCEPTION
0ROXIMITY ,AW OF
STITCHING ¯
VIGNETTING
DIAGONAL ¯
'ESTALT THEORY ¯
3TRAIGHT PHOTOGRAPHY
VIOLET COLOR
EYE LINES ¯
PSYCHOLOGY OF
2
3TRAND 0AUL
VISUAL WEIGHT ¯
HORIZONTAL ¯
PERSPECTIVE
2AW FORMAT
STREET PHOTOGRAPHY
VERTICAL ¯
AERIAL
REACTIVE PHOTOGRAPHY ¯
SEE ALSO PHOTOJOURNALISM
7
,INKED 2ING
COLOR
¯
STYLE PHOTOGRAPHER´S INTENT ¯
7ESTON %DWARD
LOOKING
DEPTH AND ¯
RECTANGLES ¯
SUBJECT ±HIDING² OF ¯
WIDE ANGLE LENS ¯
EYE LINES ¯
DIAGONAL LINES ¯
RED COLOR
SURPRISE IN COMPOSITION ¯
7INOGRAND 'ARRY ¯
SCANPATHS ¯
DIMINISHING
2EIFICATION PRINCIPLE OF
SURREALISM
WRITING VISUAL WEIGHT
LINEAR ¯
REPERTOIRE ¯
3UZUKI $AISETZ
-
SHARPNESS
REPETITION RHYTHM ¯
SYMMETRY
9
MAGAZINES PICTURE STORIES ¯
TONAL
REPORTAGE
BALANCE ¯
9ARBUS ! ,
MANIPULATION POST PRODUCTION ¯
WIDE ANGLE LENS
RETURN VISITS ¯
BILATERAL
YELLOW COLOR
-AN 2AY
±PHI PHENOMENON²
RHYTHM ¯
SQUARE FRAME ¯
MANY PATTERN OF ¯
PHOTOGRAPHERS
2ODGER 'EORGE
SYNTAX ¯
-ETZKER 2AY
INTENT
2OWELL 'ALEN ¯
3ZARKOWSKI *OHN
190
4( % 0(/4/'2!0( %2´3 %9%
).$%8
191