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| Underexposed |
When a photographic image becomes uniformly black and lacking in detail. Caused by focusing to capture a light image against a very dark background. |
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| Overexposed |
When a photographic image becomes bleached out and lacking in detail. Caused by focusing to capture a dark image against a very light background. |
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| Tenebrism |
Technique of painting that involves a small amount of light areas and a lot of dark areas. Used by Caravaggio. |
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| Sfumato |
From Italian meaning "smoke." Transition of value from light to dark so gradual that distinct boundaries cannot be perceived. Used by Leonardo da Vinci. |
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| Diminution of value |
Diminishing a value into a darker or lighter state. |
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| Chiaroscuro |
From Italian words chiaro, meaning "clear or light" and obscuro, meaning "obscure or dark". Balanced contrast between darks and lights in a composition that creates the illusion of depth. Used by Caravaggio and Rembrandt. |
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| Reflected light |
Portion of light deflected from a surface. |
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| Cast shadow |
Dark part of a composition caused by a perceived shadow cast onto the background by an object. |
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| Core shadow |
Dark part of an object that is not directly illuminated. Attached to the object or space. |
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| Highlight |
Part of an object that, from a viewer's perspective, receives the most amount of light. Always the lightest area of the composition. |
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| Light source |
Direction from which light travels and hits a form in a composition. |
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| Achromatic grays |
Grays made by just mixing black and white together (no colors). |
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| Achromatic |
Absence of hue and saturation (black, white and grays). |
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| High-key values |
A value from middle-gray to white. |
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| Low-key values |
A value from middle-gray to black. |
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| Simultaneous Contrast and Value |
Value behaves relatively to what is around it. |
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| Minimum Value Contrast |
Two values very close together are placed next to each other, creating a softer edge and expansive feel. |
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| Maximum Value Contrast |
Two completely contrasting values on a scale are placed next to each other, creating a hard line and linear quality. |
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| Value contrast |
Value relationship between adjacent areas of light and dark. |
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| Optical value |
A value is created by use of lines, dots and marks because the mind creates them if they are close enough together. Texture and amount of elements adds to perceived value. |
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| Value assimilation |
Two values that are close to one another look similar if placed far away/a contrasting value separates them. |
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| Value pattern |
Shapes that an arrangement of light and dark values creates in a composition. |
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| Local value |
Value of object seen free from the effects of light and shadow. |
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| Value emphasis |
Value contrast is used to create a focal point in a composition. |
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| Gradation |
Progression of shades and tints in a chromatic or achromatic scale from lightest to darkest. Involves same amount of change from one element to the next. |
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| Mid-tones |
Values in the center of a chromatic or achromatic scale. |
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| White |
Totality of light in which all rays are reflected; subtractive |
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| Black |
Absence of light in which all rays are absorbed; subtractive |
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| Middle gray |
Visually representing 50% shade, 50% tint. Considered neutral. |
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| Tint |
Addition of white. |
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| Shade |
Addition of black. |
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| Value scale |
Degree of lightness or darkness on a scale of grays running from light gray to dark gray, or from black to white. It involves shades, tints and middle grays. |
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| Value |
Quality of lightness or darkness in a line, shape, form or space without the presence of hue. |
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