Stage magicians and sleight-of-hand artists have something in common with photographers: both deal in perception and use visual clues to lead the audience to certain ends. In the case of the magician, that end might be a sense of wonder created by illusion. In the case of the photographer, it might be an emotion or thought created by the content of an image and the way that image was composed. Either way, both depend on directing the eye of the audience, and the best of them do it without the audience feeling led, manipulated, or aware of the device.
To make full use of this, we first need to understand what people look at. Returning to the magician for a moment, he understands that people see large movements before small movements. So a larger movement on stage might direct attention away from the smaller movement of secreting an object or pulling a hidden object from its hiding place. It’s often called “misdirection,” but calling it so is a misnomer that implies something has gone wrong. “Redirection” and perhaps “attention management” would be better terms. The magician studies human behavior and—knowing that we are generally predisposed to look at big movements before small ones, or to relax our attention when we laugh—uses that to his advantage. So it is with photographers.
Canon 5D, 20mm, 1/125 @ f/22, ISO 200
The strong, implied line created by the progression from left to right of large elements to small elements guides the eye along the primary diagonal of the image—from left to right, top to bottom—straight to the man on the camel. The fact that the image is predominantly cool, while the man and his camel are sitting on a patch of warm sand, also pulls the eyes. Finally, a human element always has greater visual mass than big piles of rock. All this adds up to create an image with built-in attention management.
So what do we look at? What is the eye drawn to, and how can that be used to more intentionally direct the eye through the frame? Generally, we notice areas of light before areas of dark, and large elements before smaller one. We look to warm colors before the cooler ones. Here’s a short list of elements that draw our eye:
- Large elements before small elements
- Light elements before dark elements
- Warm colors before cool colors
- Focused elements before blurred elements
- Elements in perspective before flat elements
- Isolated elements before cluttered elements
- High contrast before low contrast
- Oblique lines before straight lines
- Recognizable elements before ambiguous elements
- Human/alive elements before inanimate elements
Once we become aware of how the viewer’s attention will behave, it’s much easier to gently push and pull the eye around the frame—to say, without a word, “Look here,” or, “This is less important.” Important elements might be lighter, larger, warmer, or sharper than less important elements. Elements that have no relevance at all should probably be cropped right out as you shoot, but hierarchies of importance exist in a visual story, and less important elements are still necessary. Think of it in terms of primary elements and secondary elements.
The photograph of the running monk (primary element) has the Thiksey Monastery as its background (secondary element); the visual clues provided by the architecture and color of the monastery building are important so you don’t want to crop them out, but the man is more important. The fact that the young man is wearing a more saturated, warmer color than his surroundings immediately helps set him apart from the cooler tones of the stone, and draws the eye naturally toward the intended center of interest first. Similarly, the panning renders the background less sharp than the monk, and the monk in turn is less sharp than the kettle, giving us different levels of visual mass and a natural progression for the eye to follow. The eye moves from monk to kettle to background, but always returns to the monk because he holds greater visual interest for us. The photograph is about the man and his kettle—so he needs to be clearly identifiable as the primary element—but part of telling a story about this particular man is his context.
Canon 5D, 33mm, 1/30 @ f/22, ISO 100
Some of this might be refined in post-production as well, with the digital equivalent of dodging and burning—making areas of primary importance lighter and areas of secondary importance darker. Subtly vignetting an image by darkening the corners can lead the viewer’s eye to the center and keep it from drifting into the corners. Slightly desaturating or blurring secondary elements can have a similar effect, reducing their visual mass and lessening their pull on the eye.
This is not the only means by which we can lead the eye. There are others—pointing, for example. For the magician, the simple nonverbal gesture of pointing, or even looking at something, makes the audience look there, too. In the photograph, this might be the eye line of someone in the image, creating an implied line in the direction of their gaze that leads your viewer to look that way, too. It might be leading lines in the images that converge in one direction, also pulling the eye there. Strong diagonal lines in a frame already pull the eye and, with a little foresight while shooting, can be used to pull the eye in the direction you want it to go. Changing your shooting position only a little might result in straight lines becoming oblique, making your image more dynamic and, again, providing subtle but important attention management tools for you to more intentionally guide the eye of your viewers.