Visual design in abstract photography can be very individualistic. In traditional photography one is reluctant to show a house upside down or a dog as green. Lacking the familiar, abstract photography is much more receptive to imagination and creativity. What do we mean when we say “abstract”? Here is one definition: “An abstract is characterized by non-representational designs depicting no recognizable thing, only geometric figures of color and form.”
While abstracts may appear to be different from other photographs, the same design needs apply. One might argue they are even more important given the absence of the familiar. In addition to lines, shapes, texture, and perspective, other factors that should be considered are color, tone, harmony, rhythm, and balance. In abstract photography, the careful and thoughtful photographer (there should be no other kind) may want to consider the following:
- distribute dark tones uniformly throughout the picture space
- distribute light tones uniformly throughout the picture space
- balance dark tones with light tones
- balance color and/or tone throughout the picture space
- balance color and/or tone in the corners
- use lines as in all photography — that is, horizontal lines suggest rest and stability, vertical lines suggest power and strength, oblique lines suggest action and movement
- introduce secondary motif lines to support the message of the primary line
- create repeating themes to enforce the primary theme
- use repetition — patterns, colors, tones, shapes, etc.
- seek color harmony and balance
- seek tonal harmony and balance
- strive for compositional balance — but be mindful that sometimes imbalance can be very powerful
- avoid the temptation to include an apparent “center of interest” which may alter the entire mood of the image
- remember that exposure changes will likely change the mood of the image
- remember that even though the image may not be recognizable, all parts of the picture space should make a positive contribution
Frequently abstract photography is more effective when there is an illusion of texture in the image. Abstract photography, which can be wonderful with or without an illusion of texture, often is misunderstood because there is no “subject”. Indeed, the mood and effect of many abstracts would be destroyed if there were a center of interest.
There is an excellent training exercise to learn to see elements in an abstract. Gently crumple a piece of aluminum foil so as to produce random patterns of lines and shapes. Use colored lights, gels, reflectors, etc. to project light onto the crumpled aluminum foil. Slightly move the aluminum foil or your camera to change the placement of colors, tones and shapes in the viewfinder. Ask yourself why you like or don’t like the different images. Why are some more pleasing and some less pleasing to your eye? When you can verbalize your responses, you are on our way to become an abstract photographer.
Photographers often ask where one can find abstracts. That is a valid question and fortunately the answer can be given in one word: everywhere. The key to finding abstracts is to abstract — that is, isolate, isolate, isolate. Generally, macro lenses and telephoto lenses isolate best. Wide angle lenses, because of their broad coverage, usually include too much peripheral information.
For whatever reasons, abstracts are not understood by many photographers, and indeed, by many judges. Yet abstracts have long been an important part of the art world. From such diverse styles as Wassily Kandinsky to Georgia O’Keeffe, artists have painted abstracts. Much of today’s “Modern Art” would have to be called abstracts.
While abstracts often are not appreciated at the camera club level, many master photographers have produced outstanding abstracts. Think of Edward Weston’s peppers or his shells. Harry Callahan and Man Ray were pioneers in creating abstract designs. Among contemporary photographers, Freeman Patterson’s abstract landscapes are true works of art.
Don’t be discouraged that abstracts are not well accepted in camera club competitions which are bound by traditional dogma such as the rule of thirds, a believed need for a center of interest, etc. In abstract photography talented photographers can elevate the camera from that of a recording instrument to one that creates art.
— Joseph Miller