It’s the year 1930. You step into Grand Central Terminal, a timeless monument rising in the heart of New York. Light beams fall on people from large windows above. Looking from here, people have almost turned into little shadows. Some are engrossed in a newspaper, others in lively conversation; some search for something, while others seem lost. You check your ticket, and it’s only a matter of time before your train leaves. Yet, you still want to immortalize this moment, so you take out your camera, and capture all these plays of light and shadow.
I don’t exactly know what kind of moment famous photographer Alfred Stieglitz (Stieglitz, 1930) had, but there’s no doubt he took one of the most beautiful photographs of Grand Central Terminal. The question is: How come a moment could be captured so impressively? Let’s find out the answer in this blog post.
What is Visual Perception?
Everything we experience in this world is part of our psychological experience. Visual perception shapes how we experience the world, transforming raw visual data into coherent scenes and stories. Artists use visual perception to elevate their works by bringing various visual components. Within the realm of photography, this process turns a simple snapshot into an artistic expression. Through the lenses of exceptional photographers such as Alfred Stieglitz, Paul Strand, and Robert Doisneau, we explore what is beyond the lens, including the interplays of light, shadow, form, texture, and color.
“We see things not as they are, but as we are.” (Anaïs Nin)
How are Gestalt Principles Implemented in Photography?
Gestalt in German refers to the term “unified whole” and was suggested by three German psychologists;
Wertheimer, Koffka, and Kohler. Gestalt Principles point out the tendency to organize visual components into unified wholes. Though, there are more than five, here are some Gestalt principles:
- Figure-Ground: Our brain tends to separate figures (the things we focus on) and ground (the background).
- Proximity: Elements that are close to one another are seen as belonging together.
- Similarity: Objects that are similar in shape, color, or texture are grouped in one.
- Continuity: Our eyes tend to extend lines and shapes that flow smoothly.
- Closure: Our mind fills in the missing information to create a full image.
In the art of photography, these principles play a crucial role in influencing the perspective of the artists. In his iconic photograph Wall Street (1915), Paul Strand captures a contrast between the dark figures of pedestrians and the shadowed wall of the building. Strand also uses lines of the buildings to create a sense of continuity and perspective. He approached visual perception with a keen eye for geometry and composition, often turning ordinary scenes into capitative visual works.
“The eye should learn to listen before it looks.” (Robert Frank)
How is Action Perception Illustrated in “The Kiss by the Hôtel de Ville”?
Motion perception refers to the visual system’s ability to understand and interpret movement within a scene. It can be accomplished in photography, using methods that imply movement, such as blurring or capturing subjects in mid-action. Motion perception provides a sense of dynamism and vividness in an image.
In his iconic work The Kiss by the Hôtel de Ville (1950), Robert Doisneau captures a couple kissing in the street while adding a movement with a slight blur of the passersby. He successfully gives the impression that we are witnessing an ongoing, spontaneous scene as if we are part of the passersby. Motion perception is masterfully used in Doisneau’s work, producing a lively image. This artistic approach brings photography to life while enhancing the viewer’s emotional connection to the story.
“To photograph is to hold one’s breath.” (Henri Cartier-Bresson)
As we reach the end, we’ve uncovered the interplays between the eye, the mind, and the lens. Though every artist has a unique approach, their common point is their desire to see what is behind. Grasping this insight, we’re now ready to explore the narratives behind the lens.
References
Anaïs Nin. (1961). Seduction of the Minotaur. Swallow Press.
Cartier-Bresson, H. (1998). The mind’s eye. New York: Aperture Foundation.
Doisneau, R. (1950). The Kiss by the Hôtel de Ville [Photograph].
Stieglitz, A. (1930). Grand Central Terminal [Photograph].
Strand, P. (1915). Wall Street [Photograph].
