Placing The Viewer

Our participation as viewer or artist with a painting depends upon the geographic position the viewer occupies.  Geography of viewpoint determines  the level, quality and, type of engagement.  Here are examples of how that process works. First, consider our natural predilection for symmetrical qualities (a contemporary observation by neuropsychologist V.S. Ramachandran) as long as the symmetry is slightly flawed (an observation of Leonardo Da Vinci’s).  With too much symmetry we find the image suspiciously regular (too balanced) and static.  Therefore, a horizon line above or below the middle makes a less static image. It provides a greater feeling of space and builds a more unified design.  Remember, we still need a form of symmetry (no matter how flawed) to help us perceive unity. Reflections serve that need. Interrupted reflections or flawed reflections are a great device for creating Da Vinci’s condition of flawed symmetry. In example 1 observe that there is little symmetry. In example 2 observe that there is too much symmetry with the horizon close to the middle and the reflection of the cliff is too completely presented. In example 3 the horizon is higher which creates deeper space and, the reflection has more competition with imagery on the left. Notice too, that the top edge of the tree line is cropped while a more complete edge appears in the reflection.

Example 1.

Example 2. 

Example 3. 

Example 3 also lowers the viewpoint of the beholder. The camera is only inches above the water surface.  This low view point discovered the mirroring reflection and gave the viewer a more novel and intimate (closer to earth) experience. We all tend to take the easiest pictures we can. It’s our default mode. We hold the camera to our eye while standing and snap. With a little physical and mental effort we can lower the camera or raise it to give the image a more innovative/novel point of view. The more we raise or lower the camera the more dramatic the shift from normal (cliché) to a more imaginative and exciting point of view (novel). Here are examples of that process. In example 4 the path follows a serpentine motion into the setting from a more standard height. In example 5 the camera is lowered to within inches of the path creating a more intimate relationship. It again gives a greater sense of novelty just by lowering the beholder’s point of view.  Here’s where a camera with a flip-out viewscreen can help, especially with your severely bending knees.  In example 6 I moved the image to a wider horizontal format to accommodate an even lower and more intimate point of view. Now the dark mid zone is narrower and the space can  appear deeper. Observe in example 6 how the “V” shape of light cuts into the distant dark mid-zone from above. This keeps the viewer from wandering out of the picture as they might in example  4. In all examples the viewer travels through a sequence of light to dark areas eventually coming to the light.

Example 4. 

Example 5. 

Example 6.