THE IMPORTANCE OF FRAMING AND LIGHT IN CAPTURING PHOTOGRAPHIC EMOTIONS
DOI:
https://doi.org/10.56238/levv16n50-104Keywords:
Photography, Framing, Light, Emotions, AestheticsAbstract
This article investigates the importance of framing and light in capturing photographic emotions, analyzing how these elements, when articulated, enhance the expressiveness of images and transform technical records into aesthetic narratives capable of touching the viewer. The research was conducted through a bibliographic review of articles, dissertations, and recent studies, aiming to understand the foundations that support photography as a symbolic and communicative language. Framing, by selecting and organizing the visual space, reveals creative intentions and guides the gaze, establishing hierarchies that shape the interpretation of the scene. Light, in turn, organizes volumes, intensifies contrasts, provides emotional tones, and creates atmospheres that go beyond its technical function, assuming the role of affective language. The analysis showed that the interaction between framing and lighting is a decisive process in photography, since each aesthetic choice directly influences the audience’s reception, which interprets the image based on memory, experience, and sensitivity. Therefore, it is concluded that photography is more than a recording technique; it is also a field of artistic and cultural creation, where framing and light act as indispensable mediators in the communication of emotions. This study contributes to strengthening academic reflection on photography as an interdisciplinary language, offering support for future research and for pedagogical practices aimed at developing critical and sensitive perspectives.
Downloads
References
AFONSO, L. et al. Fotografia. Arte. Natureza. Perspetiva Magazine, n. 20, abr./jun. 2025.
AMARAL, J. M. C. A fotografia e a câmera digital no cotidiano da educação infantil. Belo Horizonte: Universidade Federal de Minas Gerais, 2013.
AMARAL, J.; GONÇALVES, A. Elementos da linguagem fotográfica: uma proposta de categorização. Revista Pesquisa e Debate em Educação, v. 11, n. 2, p. 1-18, 2021. DOI: https://doi.org/10.5151/cidicongic2021-120-354788-CIDI-Teoria.pdf
APOLINÁRIO, M. Fotografia e sentidos estéticos: enquadramento e composição. Revista Brasileira de Estudos Visuais, v. 3, n. 1, p. 45-62, 2015.
DOBAL, S. M.; SÁ, A. C. R. M. Luz, sombra, penumbra e a criação de sentidos em A erva do rato. Galáxia, São Paulo, n. 45, p. 93-109, 2020. DOI: https://doi.org/10.1590/1982-25532020346771
GIL, A. C. Métodos e técnicas de pesquisa social. 6. ed. São Paulo: Atlas, 2008.
LAKATOS, E. M.; MARCONI, M. A. Fundamentos de metodologia científica. 6. ed. São Paulo: Atlas, 2003.
LIMA, I. V.; SILVA, H. T.; FERREIRA, H. M. O trabalho com fotografias em sala de aula: uma análise multisssemiótica. Revista Educação em Foco, v. 19, n. 2, p. 12-28, 2024. DOI: https://doi.org/10.1590/1980531410073
MATTOS, L. K.; OLIVEIRA, F. R.; CARVALHO, D. A fotografia como linguagem expressiva: luz, enquadramento e narrativa. Revista Fractal: Revista de Psicologia, v. 26, n. 3, p. 563-578, 2014. DOI: https://doi.org/10.1590/1984-0292/895
PIRES, M. C. F.; SILVA, J. R. Fotografia e aderência simbólica: “aura”, engajamento e representação. Revista Comunicação e Cultura, v. 12, n. 2, p. 77-89, 2016.