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Perception and imaging : photography - a way of seeing /

How do you experience a photograph? What do you want a viewer to feel when they look at your image? Perception and Imaging explains how we see and what we don't see. Relevant psychological principles will help you predict your viewer's emotional reaction to your photographic images, giving...

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Detalles Bibliográficos
Clasificación:Libro Electrónico
Autor principal: Zakia, Richard D. (Autor)
Formato: Electrónico eBook
Idioma:Inglés
Publicado: Burlington, MA : Focal Press, 2013.
Edición:Fourth edition.
Temas:
Acceso en línea:Texto completo (Requiere registro previo con correo institucional)

MARC

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100 1 |a Zakia, Richard D.,  |e author. 
245 1 0 |a Perception and imaging :  |b photography - a way of seeing /  |c Richard D. Zakia. 
250 |a Fourth edition. 
264 1 |a Burlington, MA :  |b Focal Press,  |c 2013. 
264 4 |c ©2013 
300 |a 1 online resource (xx, 400 pages) 
336 |a text  |b txt  |2 rdacontent 
337 |a computer  |b c  |2 rdamedia 
338 |a online resource  |b cr  |2 rdacarrier 
504 |a Includes bibliographical references and index. 
505 0 |a Front Cover; Perception and Imaging; Copyright Page; Contents; Preface to the Third Edition; Preface to the Fourth Edition; Acknowledgments; 1. Selection; Ganzfeld; Figure-Ground; Figure-Ground Boundary; Graphic Symbols; What's in a Name?; Graininess and Noise; Resolution; Digital Resolution; Figure-Ground Enhancement; Nonvisual Figure-Ground; Notan; Visual Search; Camouflage; Negative Space by John Suler; Key Words; Notes; 2. Gestalt Grouping; Gestalt; Field Theory and Gestalt; Gestalt Laws; Proximity; Similarity; Continuity; Closure; Closure and Nonclosure; Gestalt Critique. 
505 8 |a Man as ParticipantGestalt Laws as a Means; A Word of Caution; Pragnanz; Seeing; Order and Complexity; Symmetry; Captions, Copy, Gestalt; Key Words; Notes; 3. Memory and Association; Short-Term Memory/Long-Term Memory; From STM to LTM; Body as Memory; Mnemonics; Visual Memory/Color Memory; Sequencing; Association; Advertisements; Props (Signifiers); Colors; Equivalents; Synesthesia; Onomatopoeia; Metaphors in Photography by John Fergus-Jean; Conceptual Photography by John Suler; Conceptual Advertisements; Rebuses and Pictograms; Acronyms; Key Words; Notes; 4. Space, Time, and Color; Space. 
505 8 |a Camera as a Space VehicleAnisotropicity; Rule of Thirds; Golden Section and Fibonacci Numbers; Convexity/Concavity; Transparency; Time (Movement); Implied Motion; Disappearance; Color; Color Notation; Munsell System; Pantone®; CIE System; CIE Chromaticity Diagram; Luminance (Value or Brightness); Naming Colors within the CIE Map; Color Gamuts (Color Space); The Visual Field; Flare Desaturates Colors; Color Test Chart; Color Reproduction; Subtractive Systems; Additive Systems; Color Is a Chameleon; Constancy; Metamerism; Simultaneous Contrast and Assimilation; Color Dependency. 
505 8 |a Phosphors and PointillismColor Modality; Complementary Colors; Color Temperature; Color Names; Color and Synesthesia; Synesthesia and Photography; Color Connotations; Color versus Color; Key Words; Notes; 5. Contours; Common Contour; A Frog and a Squirrel; Subjective Contour; Mach Bands; Visual Vibrations; Acutance; Digital Sharpness; Cornsweet Effect; Development; Key Words; Notes; 6. Illusion and Ambiguity; Trompe l'Oeil; Space, Time, and Color Illusions; Geometric Illusions; Reversibles; Time (Movement) Illusions; Computer Graphics and Animation; The Pulfrich Effect; The Waterfall Effect. 
505 8 |a Color IllusionsSize-Distance Tradeoffs; Dutch Cabinets; Size-Size Dependency; Shrinking Size, Increasing Distance; Emmert's Law; Size-Distance Reversal; Ambiguity; Key Words; Notes; 7. The Morphics; Biomorphic; Isomorphic; Anthropomorphic; Zoomorphic; Theriomorphic; Mechanomorphic; Anamorphic; Key Words; Notes; 8. Personality; Projection, Introjection, and Confluence; Projection; Introjection; Confluence; Personality Types; Inside the Psyche by John Suler; Right Brain and Left Brain; Personal Space; Children; Field Dependency; Leveling and Sharpening; Mindfulness in Photography by John Suler. 
520 |a How do you experience a photograph? What do you want a viewer to feel when they look at your image? Perception and Imaging explains how we see and what we don't see. Relevant psychological principles will help you predict your viewer's emotional reaction to your photographic images, giving you more power, control, and tools for communicating your desired message. Knowing how our minds work helps photographers, graphic designers, videographers, animators, and visual communicators both create and critique sophisticated works of visual art. Benefit from this insigh. 
588 0 |a Online resource; title from digital title page (viewed on December 31, 2018). 
590 |a O'Reilly  |b O'Reilly Online Learning: Academic/Public Library Edition 
650 0 |a Composition (Photography) 
650 0 |a Visual perception. 
650 0 |a Gestalt psychology. 
650 2 |a Visual Perception 
650 6 |a Composition (Photographie) 
650 6 |a Perception visuelle. 
650 6 |a Gestaltpsychologie. 
650 7 |a visual perception.  |2 aat 
650 7 |a COMPUTERS  |x Digital Media  |x Photography.  |2 bisacsh 
650 7 |a PHOTOGRAPHY  |x Reference.  |2 bisacsh 
650 7 |a TECHNOLOGY & ENGINEERING  |x Imaging Systems.  |2 bisacsh 
650 7 |a Composition (Photography)  |2 fast 
650 7 |a Gestalt psychology  |2 fast 
650 7 |a Visual perception  |2 fast 
776 0 8 |i Print version:  |a Zakia, Richard D.  |t Perception and imaging.  |b 4th ed.  |d New York : Focal Press, [2013]  |z 9780240824536  |w (DLC) 2012048302  |w (OCoLC)827722852 
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