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Conceptual photography is often used interchangeably with fine-art photography, and there has been some dispute about whether there is a difference between the two. However, the central school of thought is that conceptual photography is a type of fine-art photography. [4] Fine art photography is inclusive of conceptual photography.
Shape and form (visual arts) Silhouette; Simplicity (photography) Skypan; Slit-scan photography; Soft focus; Solarization (photography) Spirit photography; Spotting (photography) Sprocket hole photography; Star trail; Stopping down; Street photography; Strip aerial photography; Strip photography; Sunny 16 rule
Shape — areas defined by edges within the piece, whether geometric or organic; Color — hues with their various values and intensities; Texture — surface qualities which translate into tactile illusions; Value — Shading used to emphasize form; Form — 3-D length, width, or depth; Space — the space taken up by (positive) or in between ...
Abstract photography, sometimes called non-objective, experimental or conceptual photography, is a means of depicting a visual image that does not have an immediate association with the object world and that has been created through the use of photographic equipment, processes or materials.
Mar. 3—From the color blasts of a mid-century road trip to a serene portrait by the legendary Alfred Stieglitz, the New Mexico Museum of Art is showcasing a collage of photography. "Ways of ...
Pictorialism is an international style and aesthetic movement that dominated photography during the later 19th and early 20th centuries. There is no standard definition of the term, but in general it refers to a style in which the photographer has somehow manipulated what would otherwise be a straightforward photograph as a means of creating an image rather than simply recording it.
In the visual arts, shape is a flat, enclosed area of an artwork created through lines, textures, or colours, or an area enclosed by other shapes, such as triangles, circles, and squares. [1] Likewise, a form can refer to a three-dimensional composition or object within a three-dimensional composition. [2]
Once Gaines unlocked his system, he began to apply it to more explicitly social subject matter: In 1992, he juxtaposed mugshots and photos of crime scenes with images of the night sky.