Smile
The initial attraction for this composition was the two fluffy cumulus clouds floating past above the boat, but I can now visualise a face; the cloud shapes forming the eyes and nostrils, above the red lipstick of a slightly open smiling mouth. This tendency to recognise patterns like faces in inanimate objects is called ‘Pareidolia’, it’s a natural human tendency, and I would wager that it’s especially common among photographers. Pareidolia offers both a visual hook to strengthen the viewer’s engagement by ‘humanising’ the composition, but also a curse, because once you’ve seen the face, you can’t ‘un-see’ it.
The initial attraction for this composition was the two fluffy cumulus clouds floating past above the boat, but I can now visualise a face; the cloud shapes forming the eyes and nostrils, above the red lipstick of a slightly open smiling mouth. This tendency to recognise patterns like faces in inanimate objects is called ‘Pareidolia’, it’s a natural human tendency, and I would wager that it’s especially common among photographers. Pareidolia offers both a visual hook to strengthen the viewer’s engagement by ‘humanising’ the composition, but also a curse, because once you’ve seen the face, you can’t ‘un-see’ it.
The initial attraction for this composition was the two fluffy cumulus clouds floating past above the boat, but I can now visualise a face; the cloud shapes forming the eyes and nostrils, above the red lipstick of a slightly open smiling mouth. This tendency to recognise patterns like faces in inanimate objects is called ‘Pareidolia’, it’s a natural human tendency, and I would wager that it’s especially common among photographers. Pareidolia offers both a visual hook to strengthen the viewer’s engagement by ‘humanising’ the composition, but also a curse, because once you’ve seen the face, you can’t ‘un-see’ it.
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