Gorilla Basketball Illusion

The power of the opposition – you make them feel what you feel

Have you ever traveled two or three hours to get somewhere, took tons of photos, but when you turned down? Somehow it has lost the magic, I feel the same. How do you know the difference between a waterfall is 200 meters high, or very near a stream that flows in some Rock 2 inches tall? In some cases, no. Now, if you do the way, is great. This is called an optical illusion. But. . . if you do by accident, this is called poor photography.

If you've never seen any of the movies King Kong, usually a scene where a man's footsteps the trace of the great Kong. It's a great visual! Even before seeing this giant gorilla your mind begins to understand how big it is. It is also an excellent example of positive space negative. The positive space generally refers to the main objective, which is usually in the foreground, but not always. Negative space is usually not intended to be the main theme, and usually at the bottom, but not always. As for the opposition, the hunter would be the positive space, the trace be negative space.

Use of the opposition in your own photos can be almost as spectacular. Take for example the flowers can be as small as a dime or as large as a basketball. If you take a picture of a flower and a bee hovering over appearance almost double its size, the flowers are large or small? On the other hand, say that a film of a large sunflower, and had to look twice to realize he had a bee in it, this flower is large or small? Believe it or not, not everyone has seen flowers larger than a human head.

Not all shots need this kind of clarification, but this also depends on the experience of your reader. If you had to walk for two or three hours to find a cascade of some, it is likely that most of the movie people to show that you will not know how big is, unless you use to show their skills in a way that always be remembered.

There are times when photographers, including myself, will add some thing a shot. Adding a new element is not "falsify" the shot or deception, but rather to give some kind of original to be compared. This technique is often used in advertising. Why is it when you could have this? In general, the point to add is more dominant than it had before, that helps your mind is moving toward the new "product," whatever.

Here is a photo trick to remember: the difference between an image and a work Art is an emotional reaction. The opposition is a tool that can transform a piece of paper in the drilling of a dramatic emotion leads artwork.

As good and evil, it is difficult to have a great thing if an object is smaller. Often, the opposition is used specifically to draw attention itself. The difference becomes a kind of "Spot" in the image that draws attention to whatever the size, shape or texture. If you can attract attention your reader with the opposition, you can usually sell their products or ideas.

You're probably saying, "But I'm not selling anything." I will Please. It's one of those early starts you separate from the crowd. You become the master craftsman, storyteller. Even those who are visually oriented start to go "Oooo" and "Ahhh" as you look at his work. Using the opposition, you can share what I've seen so they can feel what you felt it.

About the Author

Award winning writer / photographer Tedric Garrison has 30 years experience in photography. As a Graphic Art Major, he has a unique perspective on the Elements of Design and how those elements relate to all aspects of photography. His photo eBook (Your Creative Edge) proves that creativity CAN be taught. Tedric shares his wealth of knowledge with the world, at: Better Photo Tips.com

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The Invisible Gorilla: And Other Ways Our Intuitions Deceive Us $19.95 Tom Vanderbilt Reviews The Invisible Gorilla Tom Vanderbilt writes on design, technology, architecture, science, and many other topics. He is author of Traffic: Why We Drive the Way We Do (and What It Says About Us) published in 2008 by Alfred A. Knopf, and Survival City: Adventures Among the Ruins of Atomic America, published in 2002 by Princeton Architectural Press. He is contributing editor …