In order for one to communicate a story, the audience’s attention needs to be drawn in the right direction and towards the subject/object within the frame that is suppose to predominate. It is the photographer’s/director’s task to ‘manipulate’ the viewer in the desired direction. This strategy applies especially to motion pictures where the time of each frame is limited. If the viewer ‘s attention ends up in the undesired part of the picture, it could be due to bad directing. Viewer’s gaze is crucial in storytelling and is achieved through various factors. The evident element in the following three pictures is high contrast. This element helps the author navigate the viewer within the picture, directing attention towards the desired theme/themes. “When things are apprehended by senses, the number of them that can be attended to at once is small, ‘Pluribus intentus, minor est ad singula sensus”- James Wiliam
picture # 1
In the case of picture no.1, the viewer is introduced to a high contrast environment. Viewer’s gaze travels from one the left side to the right of the frame. Commonly, one’s gaze starts in the center of the picture, yet due to the lack of detail in this area, the gaze ends up on either side. This contrast and frequent switch of direction of the gaze is forcing the viewer to compare the two subjects. The fact that the subjects are on the sides of the picture adds to the manipulation of the gaze. Furthermore, due to the lack of detail on the left side of the picture, one finds it hard to relate to the image. What adds to value of the left side of the frame is the loop above the shadow which directs back to the shadow, trapping the viewer’s gaze from travelling up. Yet, the eye simply cannot rest here and travels further to the contrasting part of the picture. Here, the eye can to some extend see detail. Due to the position of the sun, the shadows casted on the grave create a 3D effect. The direction of the light causes the shadows to portray a texture of the stone, therefore adding detail. Yet, the image is not stimulating enough for the eye to stay here, causing the eye to travel between two sides. Additionally it is interesting to say that the two subject presented are on an imaginary horizontal line. This implies similar importance of the objects.
picture #2
A similar effect is taking place in picture number 2. The viewer’s gaze lands directly on the desired subjects. This is due to the contrast of the people sitting in front of the light background of the graves. In addition to that, there is the above mentioned element of the center position of the subjects. Yet, the gaze is forced to travel a distance into the depth of field as the objects closes t are in silhouette and no detail is present. The viewer’s gaze is trapped in the center of the frame as all the surrounding objects on the sides of the frame are too dark or too far in the distance(less detail) for the eye to rest on. Furthermore, the viewer is forced to travel between the two personas because of the contrast of their body parts. Their arms stand out forming imaginary lines which point towards each other. In addition to that, their gazes are also directed so that the viewer switches from one to the other. As in the previous picture, the two subjects are on the same level, implying similar importance.
picture #3
In this picture, the viewer’s gaze is directed straight to the center of the frame. The eye primarily sits on the darker object, the shadow, but has a difficult time resting here as little to no detail is present. The gaze’s direction is then switched to the lightest part of the frame, the grave. Another factor that helps to direct one’s attention here is the beam of light (line) pointing towards it. Yet, because of the direct sun light, the area where the viewer is forced to look appears more 2D. The direction of the light causes the object to appear flat because no shadows are present to emphasize the texture of the material. This effect of flatness forces the viewer to switch back to the shadow, constantly switching the gaze and comparing the two objects.
Reference:
Duchowski, A.T. 2003, Eye Tracking Methodology:theory and practice, Springer-Verlang London Limited, London
