In MR angiography, the signal of stationary tissue is suppressed and the signal of. Warm hues have more visual weight than cool ones. Proton density (PD)-weighted images are similar to T2weighted images. In this example I used the Clarity slider to emphasise the texture of the old car and help draw the eye to it.īright, saturated colours draw the eye. Lightroom’s Clarity slider is an excellent tool for this. Instead of increasing contrast universally across the image, try increasing it more in the areas where you want the viewer’s eye to travel. This is a good principle to apply in post-processing as well as the photo taking stage. High contrast subjects have more visual weight than low contrast ones. The use of negative space also comes into play. Let’s look at the principles of visual weight (or visual mass) that you can use to improve the composition of your photos. The visual weight of the background is reduced because it is no longer sharp, and no longer recognizable. The most obvious example of this is a portrait taken against a strongly blurred background. Once something is identified, it gains significance in the frame compared to those that aren’t. According to gestalt theory, the mind looks for patterns and shapes that helps it make sense of chaotic scenes. Objects that are sharp or easy to recognize pull the eye more than ones that aren’t. The one on the right has the most visual weight because it is the largest of the two. But for objects of similar texture and colour, the larger one has the stronger pull.įor example, the dials in this photo are virtually identical in terms of shape and design. A small splash of red can also pull the eye very strongly. A small human figure, for example, can have much more pull than a large, inanimate object. This principle works in harmony with the others discussed in this section. The larger the element of a photo, the more it pulls the viewer’s eye. The inclusion of the human figures helps give the scene scale, and emphasizes the size of the mountain behind them. The people in the photo below are small, yet the eye goes straight to them. It works because our eyes go straight to those figures, as long as they stand out from the background ( gestalt theory in action). This explains why you can use people, small in the frame, to give scale and context. Recognixable faces exert a stronger pull, while the eyes (the window to the soul) have the strongest visual weight of all. Our eye goes straight to any human figure that is present in a photo. Curiosity about other people is part of the human condition. When things look alike, it’s naturally hard for us to differentiate them.
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