The aesthetics of composition in static and moving image between the subjectivity and objectivity | ||||
| International Design Journal | ||||
| Article 28, Volume 9, Issue 1 - Serial Number 29, January 2019, Page 333-342 PDF (812.7 K) | ||||
| Document Type: Original Article | ||||
| DOI: 10.21608/idj.2019.107591 | ||||
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| Author | ||||
| Eman Mustafa Abdel Hameed | ||||
| A. Professor, Photography, Cinematography and TV Department , Faculty of Applied Arts, Helwan University. | ||||
| Abstract | ||||
| background and problem: There are many opinions that differ in their contents in the expression of composition as a concept, but they combine in their content and the convergence of their views as an idea. Where composition in the near real analysis is a question of personal taste: what someone might consider a good composition can be considered by another a subject of criticism. However, each one may be right according to his/her own criteria. When we refer to the composition in the picture as an extensive study, we must stand for it for a long time to give this important subject its right that in the field of image formation, if it is fixed or moving, it must be said that the rules should not be consistent and strict or to consider any individual comments on the subject an absolute standard. Problem can be summarized in the questions: What is meant by training in both static and moving images? Are there any differences between the composition and its rules and aesthetics between both types and how can we verify the aesthetics of the composition in both? Whether the objective neutral or self-holding the point of view of the maker? To what extent can be relied on the characteristics of the tools of production in obtaining a successful composition in the image, whether fixed or mobile and to what extent can be relied on these characteristics in achieving the aesthetics of the composition? Objective: to shed light on the importance of composition and its role in translation of active person And to contribute to the attempt to learn the composition of the visual elements through the study of how the human eye response to the formation of a resident and then how to deal with the composition of any mobile configuration in the case of movement. Research Methodology: The research follows the analytical descriptive method. Results: The aesthetics of the image is determined by its artistic, expressive and aesthetic characteristics. Therefore, the criterion of judging its aesthetics lies in the communication of the idea or the significance it refers to, the apparent and hidden content it contains, and the function the photographer wants the image to perform or to convey to the viewer and the psychological reaction that it causes. Only the photographer realizes the world and makes us realize it with him, and this realization comes from the freedom of the arts in terms of adaptation to phenomena. There are common things between literature and arts, especially between writing and photography through (portrait, sketching, landscape, description, narration, photography). Thus, all of them evoke in us a visual thinking associated with the image and the movement which is everything at the moment of the embodiment of the visual scene, and the art of photography according to this perception, can be considered as an attempt to contribute to the formation of reality by documenting its details, as are the rest of the arts and literature. | ||||
| Keywords | ||||
| Aesthetics of Composition; Static and Moving Image; Subjectivity; Objectivity | ||||
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