{"product_id":"perception-and-imaging-9781138212190","title":"Perception and Imaging","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eWhen you look at an image, what do you see, think, and feel? How do you want your audience to react when they view your work? For over 30 years the late Richard Zakia helped photographers enrich their creative vision through his classic book, \u003ci\u003ePerception and Imaging\u003c\/i\u003e. Now he is joined by co-author John Suler who extensively studied and worked with images throughout his career as a clinical psychologist. Together they present their insights into the principles of perception, memory, color, time, space, shapes, illusion, subliminals, rhetoric, personality style, and photo critique. Unlike any other book, \u003ci\u003ePerception and Imaging \u003c\/i\u003ewill give you an extensive understanding of how photography relates to art, design, advertising, psychology, and philosophy, as well as what makes photography unique among the image-making disciplines. Whether you are a beginner or a professional, this information will help you appreciate photography not simply as a mastering of technique and composition, but as a way of truly seeing, especially now in the digital age. \u003c\/p\u003e\u003cp\u003eâ New sections about photo sharing in social media and online groups devoted to photography critique\u003c\/p\u003e\u003cp\u003eâ Includes inspirational images from some of the worldâs most well-known photographers, including Henri Cartier-Bresson, Man Ray, and Ansel Adams\u003c\/p\u003e\u003cp\u003eâ A comprehensive discussion of the decisive moment photo, its vital ingredients, and why some consider it the essence of photography\u003c\/p\u003e\u003cp\u003eâ New sections about body language in photographs, camera angles, aspect ratios, self portraits and selfies, and how memory and personality affect photography \u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eContents\u003c\/p\u003e\u003cp\u003ePreface to the Fifth Edition \u003c\/p\u003e\u003cp\u003eAcknowledgments \u003c\/p\u003e\u003cp\u003e1 Selection \u003c\/p\u003e\u003cp\u003eGanzfeld \u003c\/p\u003e\u003cp\u003eFigure–Ground \u003c\/p\u003e\u003cp\u003eFigure–Ground Boundary \u003c\/p\u003e\u003cp\u003eGraphic Symbols \u003c\/p\u003e\u003cp\u003eSimilar Concepts to Figure-Ground \u003c\/p\u003e\u003cp\u003eGraininess and Noise \u003c\/p\u003e\u003cp\u003eResolution \u003c\/p\u003e\u003cp\u003eFigure–Ground Enhancement \u003c\/p\u003e\u003cp\u003eThe Bigger Picture of Figure-Ground \u003c\/p\u003e\u003cp\u003eNotan \u003c\/p\u003e\u003cp\u003eVisual Search\u003c\/p\u003e\u003cp\u003eCamouflage \u003c\/p\u003e\u003cp\u003eNegative Space\u003c\/p\u003e\u003cp\u003eNoticing Negative Space\u003c\/p\u003e\u003cp\u003eThe Role of the Frame\u003c\/p\u003e\u003cp\u003eStrategies for Using Negative Space\u003c\/p\u003e\u003cp\u003eViewpoint and Camera Angles \u003c\/p\u003e\u003cp\u003eKey Words \u003c\/p\u003e\u003cp\u003eNotes \u003c\/p\u003e\u003cp\u003e2 Gestalt Grouping \u003c\/p\u003e\u003cp\u003eField Theory and the Gestalt Laws \u003c\/p\u003e\u003cp\u003eProximity\u003c\/p\u003e\u003cp\u003eProximity, Area, and Contrast \u003c\/p\u003e\u003cp\u003eSide-by-Side Images \u003c\/p\u003e\u003cp\u003eTemporal Proximity \u003c\/p\u003e\u003cp\u003eProximity and Learning \u003c\/p\u003e\u003cp\u003eSimilarity\u003c\/p\u003e\u003cp\u003eSimilarity of Shape\u003c\/p\u003e\u003cp\u003eSimilarity and Repetition\u003c\/p\u003e\u003cp\u003eSimilarity and Proximity\u003c\/p\u003e\u003cp\u003eSymmetry and Asymmetry\u003c\/p\u003e\u003cp\u003eSymmetry and Redundancy\u003c\/p\u003e\u003cp\u003eSymmetry in Graphic Symbols\u003c\/p\u003e\u003cp\u003eContinuity\u003c\/p\u003e\u003cp\u003eContinuity in Typography\u003c\/p\u003e\u003cp\u003eContinuity in Sequences\u003c\/p\u003e\u003cp\u003eClosure\u003c\/p\u003e\u003cp\u003eClosure and Nonclosure\u003c\/p\u003e\u003cp\u003eClosed Areas\u003c\/p\u003e\u003cp\u003eThe Zeigarnik Effect\u003c\/p\u003e\u003cp\u003ePeople as Participants \u003c\/p\u003e\u003cp\u003eGestalt Critique \u003c\/p\u003e\u003cp\u003eWords of Caution \u003c\/p\u003e\u003cp\u003eCaptions, Copy, Gestalt\u003c\/p\u003e\u003cp\u003ePragnanz \u003c\/p\u003e\u003cp\u003ePragnanz as an Overarching Principle \u003c\/p\u003e\u003cp\u003eOrder and Complexity\u003c\/p\u003e\u003cp\u003eA Summary of Gestalt Principles \u003c\/p\u003e\u003cp\u003eKey Words \u003c\/p\u003e\u003cp\u003eNotes \u003c\/p\u003e\u003cp\u003e3 Memory and Association \u003c\/p\u003e\u003cp\u003eTypes of Memory \u003c\/p\u003e\u003cp\u003eFrom STM to LTM \u003c\/p\u003e\u003cp\u003eBody\/Somatic Memory\u003c\/p\u003e\u003cp\u003eVerbal Memory\u003c\/p\u003e\u003cp\u003eVisual Memory\u003c\/p\u003e\u003cp\u003eColor Memory\u003c\/p\u003e\u003cp\u003eUnconscious Memory \u003c\/p\u003e\u003cp\u003eAssociation \u003c\/p\u003e\u003cp\u003eEquivalents \u003c\/p\u003e\u003cp\u003eAssociations in Advertisements \u003c\/p\u003e\u003cp\u003eProps (Signifiers) \u003c\/p\u003e\u003cp\u003eAssociations to Color \u003c\/p\u003e\u003cp\u003eSynesthesia\u003c\/p\u003e\u003cp\u003eRebuses and Pictograms \u003c\/p\u003e\u003cp\u003eOnomatopoeia and Simile\u003c\/p\u003e\u003cp\u003eMetaphors\u003c\/p\u003e\u003cp\u003eSemiotics\u003c\/p\u003e\u003cp\u003e\u003ci\u003eIconic, Indexical and Symbolic Representation\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003eSemiotics in Analyzing and Designing Ads\u003c\/p\u003e\u003cp\u003eSemiotic Operations\u003c\/p\u003e\u003cp\u003eConceptual Photography \u003c\/p\u003e\u003cp\u003eIs Conceptual Photography Art? \u003c\/p\u003e\u003cp\u003eThe Concept in Conceptual Photography \u003c\/p\u003e\u003cp\u003eWhat Does It Mean, and to Whom?\u003c\/p\u003e\u003cp\u003eThe Sender, Channel, and Receiver\u003c\/p\u003e\u003cp\u003eConcept Difficulty\u003c\/p\u003e\u003cp\u003eCreating Titles and Descriptions\u003c\/p\u003e\u003cp\u003e\u003ci\u003eSymbolism, Metaphors, Similes, and Anthropomorphism\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003eComposition and Post-Processing Techniques\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003eThe Pretty and Ugly Factors\u003c\/p\u003e\u003cp\u003eForward and Reverse Engineering\u003c\/p\u003e\u003cp\u003eEducational Applications\u003c\/p\u003e\u003cp\u003eConceptual Advertisements\u003c\/p\u003e\u003cp\u003eKey Words \u003c\/p\u003e\u003cp\u003eNotes \u003c\/p\u003e\u003cp\u003e4 Space, Time, and Movement \u003c\/p\u003e\u003cp\u003eSpace \u003c\/p\u003e\u003cp\u003eThe Perception of Depth \u003c\/p\u003e\u003cp\u003eAnisotropicity \u003c\/p\u003e\u003cp\u003eRule of Thirds \u003c\/p\u003e\u003cp\u003eGolden Section and Fibonacci Numbers\u003c\/p\u003e\u003cp\u003eAspect Ratio and Cropping \u003c\/p\u003e\u003cp\u003eConvexity\/Concavity \u003c\/p\u003e\u003cp\u003eTransparency \u003c\/p\u003e\u003cp\u003eTime and Movement \u003c\/p\u003e\u003cp\u003eEye Movement in Composition\u003c\/p\u003e\u003cp\u003eThe Rhythm of Repeating Elements\u003c\/p\u003e\u003cp\u003eGradation\u003c\/p\u003e\u003cp\u003eBlur\u003c\/p\u003e\u003cp\u003eMultiple Exposures\u003c\/p\u003e\u003cp\u003eMotion in Stillness \u003c\/p\u003e\u003cp\u003eThe Decisive Moment\u003c\/p\u003e\u003cp\u003e\u003ci\u003eCapturing the Unique Fleeting Instant\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003eCandid Shots of People in Real Life\u003c\/p\u003e\u003cp\u003eVisual Coalescence\u003c\/p\u003e\u003cp\u003eFigure\/Ground Relationships\u003c\/p\u003e\u003cp\u003eThe Gap and Anticipating Closure\u003c\/p\u003e\u003cp\u003eThe One Hit Wonder\u003c\/p\u003e\u003cp\u003eCreating and Losing Oneself\u003c\/p\u003e\u003cp\u003eThe Hour Leading to the Decisive Moment\u003c\/p\u003e\u003cp\u003eThe Myth and Reality of the Decisive Moment Photo\u003c\/p\u003e\u003cp\u003eKey Words\u003c\/p\u003e\u003cp\u003e5 Color \u003c\/p\u003e\u003cp\u003eColor Notation Systems \u003c\/p\u003e\u003cp\u003eMunsell System \u003c\/p\u003e\u003cp\u003ePantone® \u003c\/p\u003e\u003cp\u003eCIE System \u003c\/p\u003e\u003cp\u003eCIE Chromaticity Diagram \u003c\/p\u003e\u003cp\u003eLuminance (Value or Brightness) \u003c\/p\u003e\u003cp\u003eNaming Colors within the CIE Map \u003c\/p\u003e\u003cp\u003eColor Gamuts (Color Space)\u003c\/p\u003e\u003cp\u003eColor Perception \u003c\/p\u003e\u003cp\u003eThe Visual Field \u003c\/p\u003e\u003cp\u003eFlare Desaturates Colors \u003c\/p\u003e\u003cp\u003eColor Test Chart \u003c\/p\u003e\u003cp\u003eColor Reproduction \u003c\/p\u003e\u003cp\u003eSubtractive Color \u003c\/p\u003e\u003cp\u003eAdditive Color\u003c\/p\u003e\u003cp\u003eComplementary Colors \u003c\/p\u003e\u003cp\u003eColor Is a Chameleon \u003c\/p\u003e\u003cp\u003eConstancy \u003c\/p\u003e\u003cp\u003eMetamerism \u003c\/p\u003e\u003cp\u003eSimultaneous Contrast and Assimilation \u003c\/p\u003e\u003cp\u003eColor Dependency \u003c\/p\u003e\u003cp\u003ePhosphors and Pointillism \u003c\/p\u003e\u003cp\u003eColor Modality \u003c\/p\u003e\u003cp\u003eColor Temperature \u003c\/p\u003e\u003cp\u003eColor Names \u003c\/p\u003e\u003cp\u003eColor and Synesthesia \u003c\/p\u003e\u003cp\u003eSynesthesia and Photography \u003c\/p\u003e\u003cp\u003eColor Connotations \u003c\/p\u003e\u003cp\u003eColor versus Color\u003c\/p\u003e\u003cp\u003eNeutral Colors\u003c\/p\u003e\u003cp\u003eBlack and White Photography\u003c\/p\u003e\u003cp\u003e\u003ci\u003eB\u0026amp;W as the Origin of Photography\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003eThe Absence of Color\u003c\/p\u003e\u003cp\u003eB\u0026amp;W Photography in the Digital Age\u003c\/p\u003e\u003cp\u003eSelective Color\u003c\/p\u003e\u003cp\u003eKey Words \u003c\/p\u003e\u003cp\u003eNotes \u003c\/p\u003e\u003cp\u003e6 Contours \u003c\/p\u003e\u003cp\u003eCommon Contour \u003c\/p\u003e\u003cp\u003ePlaying with Depth Perception\u003c\/p\u003e\u003cp\u003eActivating an Image \u003c\/p\u003e\u003cp\u003eSubjective Contour \u003c\/p\u003e\u003cp\u003eMach Bands \u003c\/p\u003e\u003cp\u003eVisual Vibrations \u003c\/p\u003e\u003cp\u003ePhotographic Edge Effects \u003c\/p\u003e\u003cp\u003eAcutance \u003c\/p\u003e\u003cp\u003eFilm and Digital Sharpness \u003c\/p\u003e\u003cp\u003eCornsweet Effect \u003c\/p\u003e\u003cp\u003eDevelopment\u003c\/p\u003e\u003cp\u003eThe Psychology of Being Sharp\u003c\/p\u003e\u003cp\u003eThe Beauty of Blur \u003c\/p\u003e\u003cp\u003eKey Words \u003c\/p\u003e\u003cp\u003eNotes \u003c\/p\u003e\u003cp\u003e7 Illusion and Ambiguity \u003c\/p\u003e\u003cp\u003eTrompe l’Oeil \u003c\/p\u003e\u003cp\u003eSpace, Time, and Color Illusions \u003c\/p\u003e\u003cp\u003eGeometric Illusions \u003c\/p\u003e\u003cp\u003eReversibles \u003c\/p\u003e\u003cp\u003eTime (Movement) Illusions \u003c\/p\u003e\u003cp\u003eDepth Cues and Movement \u003c\/p\u003e\u003cp\u003eThe Pulfrich Effect \u003c\/p\u003e\u003cp\u003eThe Waterfall Effect \u003c\/p\u003e\u003cp\u003eColor Illusions \u003c\/p\u003e\u003cp\u003eSize–Distance Tradeoffs \u003c\/p\u003e\u003cp\u003eDutch Cabinets \u003c\/p\u003e\u003cp\u003eSize–Size Dependency \u003c\/p\u003e\u003cp\u003eShrinking Size, Increasing Distance \u003c\/p\u003e\u003cp\u003eEmmert’s Law \u003c\/p\u003e\u003cp\u003eSize–Distance Reversal \u003c\/p\u003e\u003cp\u003eAmbiguity\u003c\/p\u003e\u003cp\u003eAmbiguity in Language\u003c\/p\u003e\u003cp\u003eAmbiguity in Images\u003c\/p\u003e\u003cp\u003eIllusion in the Digital Age\u003ci\u003e \u003c\/i\u003e\u003c\/p\u003e\u003cp\u003eKey Words \u003c\/p\u003e\u003cp\u003eNotes \u003c\/p\u003e\u003cp\u003e8 Morphics \u003c\/p\u003e\u003cp\u003eAnimism\u003c\/p\u003e\u003cp\u003eBiomorphic \u003c\/p\u003e\u003cp\u003eIsomorphic \u003c\/p\u003e\u003cp\u003eAnthropomorphic \u003c\/p\u003e\u003cp\u003eZoomorphic \u003c\/p\u003e\u003cp\u003eTheriomorphic \u003c\/p\u003e\u003cp\u003eMechanomorphic \u003c\/p\u003e\u003cp\u003eAnamorphic\u003c\/p\u003e\u003cp\u003eGeometric and Organic Shapes\u003c\/p\u003e\u003cp\u003eGeometric or Man-made Patterns\u003c\/p\u003e\u003cp\u003eOrganic or Natural Patterns\u003c\/p\u003e\u003cp\u003eMixing Geometric and Organic Patterns \u003c\/p\u003e\u003cp\u003eKey Words \u003c\/p\u003e\u003cp\u003eNotes \u003c\/p\u003e\u003cp\u003e9 Subliminals \u003c\/p\u003e\u003cp\u003eHow the Eye Sees\u003c\/p\u003e\u003cp\u003eThe Retina \u003c\/p\u003e\u003cp\u003ePhotopic\/Scotopic Vision \u003c\/p\u003e\u003cp\u003eLuminance Factor \u003c\/p\u003e\u003cp\u003eAmbient Light \u003c\/p\u003e\u003cp\u003eEye Movements When Reading Pictures \u003c\/p\u003e\u003cp\u003eEmbeds \u003c\/p\u003e\u003cp\u003eSecondary or Latent Images \u003c\/p\u003e\u003cp\u003eHidden Faces\u003c\/p\u003e\u003cp\u003eArchetypes\u003c\/p\u003e\u003cp\u003eKilroy \u003c\/p\u003e\u003cp\u003eBody Language\u003c\/p\u003e\u003cp\u003eMicroexpressions\u003c\/p\u003e\u003cp\u003eThe Pupils\u003c\/p\u003e\u003cp\u003eBody Language Patterns\u003c\/p\u003e\u003cp\u003eThe Hands\u003c\/p\u003e\u003cp\u003eBody Language in Groups\u003c\/p\u003e\u003cp\u003eInterpersonal Space \u003c\/p\u003e\u003cp\u003eKey Words \u003c\/p\u003e\u003cp\u003eNotes \u003c\/p\u003e\u003cp\u003e10 Rhetoric \u003c\/p\u003e\u003cp\u003eUsing the Rhetorical Matrix \u003c\/p\u003e\u003cp\u003eWhere to Begin \u003c\/p\u003e\u003cp\u003eHorse and Truck \u003c\/p\u003e\u003cp\u003eIntuition First \u003c\/p\u003e\u003cp\u003eAddition \u003c\/p\u003e\u003cp\u003eIdentity \u003c\/p\u003e\u003cp\u003eSimilarity \u003c\/p\u003e\u003cp\u003eDifference \u003c\/p\u003e\u003cp\u003eOpposition \u003c\/p\u003e\u003cp\u003eFalse Homology \u003c\/p\u003e\u003cp\u003eSuppression \u003c\/p\u003e\u003cp\u003eIdentity \u003c\/p\u003e\u003cp\u003eSimilarity \u003c\/p\u003e\u003cp\u003eDifference \u003c\/p\u003e\u003cp\u003eOpposition \u003c\/p\u003e\u003cp\u003eFalse Homology: Ambiguity \u003c\/p\u003e\u003cp\u003eFalse Homology: Paradox \u003c\/p\u003e\u003cp\u003eSubstitution \u003c\/p\u003e\u003cp\u003eIdentity \u003c\/p\u003e\u003cp\u003eSimilarity \u003c\/p\u003e\u003cp\u003eDifference \u003c\/p\u003e\u003cp\u003eOpposition \u003c\/p\u003e\u003cp\u003eFalse Homology: Ambiguity \u003c\/p\u003e\u003cp\u003eFalse Homology: Paradox \u003c\/p\u003e\u003cp\u003eExchange \u003c\/p\u003e\u003cp\u003eIdentity \u003c\/p\u003e\u003cp\u003eSimilarity \u003c\/p\u003e\u003cp\u003eDifference \u003c\/p\u003e\u003cp\u003eOpposition \u003c\/p\u003e\u003cp\u003eFalse Homology: Ambiguity \u003c\/p\u003e\u003cp\u003eFalse Homology: Paradox \u003c\/p\u003e\u003cp\u003eWords, Sounds, and Rhetoric \u003c\/p\u003e\u003cp\u003eA Summary of Rhetorical Techniques\u003c\/p\u003e\u003cp\u003eThe Four Basic Rhetorical Operations\u003c\/p\u003e\u003cp\u003eThe Five Relationships Between Elements\u003c\/p\u003e\u003cp\u003eAddition\u003c\/p\u003e\u003cp\u003eSuppression\u003c\/p\u003e\u003cp\u003eSubstitution\u003c\/p\u003e\u003cp\u003eExchange \u003c\/p\u003e\u003cp\u003eKey Words \u003c\/p\u003e\u003cp\u003eNotes\u003c\/p\u003e\u003cp\u003e11 Personality \u003c\/p\u003e\u003cp\u003eLeveling and Sharpening\u003c\/p\u003e\u003cp\u003eField Dependency\u003c\/p\u003e\u003cp\u003eProjection\u003c\/p\u003e\u003cp\u003eThe Word Association Test\u003c\/p\u003e\u003cp\u003eThe Thematic Apperception Test\u003c\/p\u003e\u003cp\u003eThe Rorschach\u003c\/p\u003e\u003cp\u003eThe Walker Visuals \u003c\/p\u003e\u003cp\u003eMindfulness\u003c\/p\u003e\u003cp\u003e\u003ci\u003eWhat Mindfulness is Not\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003eSimply and Truly Seeing\u003c\/p\u003e\u003cp\u003eThe Beginner’s Mind\u003c\/p\u003e\u003cp\u003eLetting Go\u003c\/p\u003e\u003cp\u003eThe Balance of Concentration and Noticing\u003c\/p\u003e\u003cp\u003eThe Qualities of Mindfulness\u003c\/p\u003e\u003cp\u003eHow to Cultivate Mindfulness\u003c\/p\u003e\u003cp\u003ePersonality Types\u003c\/p\u003e\u003cp\u003eJung’s Psychological Types\u003c\/p\u003e\u003cp\u003eHow Many Traits Are There?\u003c\/p\u003e\u003cp\u003eTypes Based on Body and Brain \u003c\/p\u003e\u003cp\u003ePsychodynamics\u003c\/p\u003e\u003cp\u003e\u003ci\u003ePrimary and Secondary Process\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003eMultiplicity (Clone) Images\u003c\/p\u003e\u003cp\u003eFrom Self-Portraits to Selfies\u003c\/p\u003e\u003cp\u003eObjective and Subjective Self-Portraits\u003c\/p\u003e\u003cp\u003eThe Bigger Picture of Identity\u003c\/p\u003e\u003cp\u003eSelf-Portrait as Self-Awareness\u003c\/p\u003e\u003cp\u003eOther People’s Perceptions\u003c\/p\u003e\u003cp\u003eThe Spontaneous or Carefully Composed Self\u003c\/p\u003e\u003cp\u003eThe Superficially Narcissistic Selfie\u003c\/p\u003e\u003cp\u003eThe March of Selfies\u003c\/p\u003e\u003cp\u003eThe Creative Personality\u003c\/p\u003e\u003cp\u003eSynectics is Seeing Connections\u003c\/p\u003e\u003cp\u003eBeing Connected to All Things\u003c\/p\u003e\u003cp\u003eKey Words \u003c\/p\u003e\u003cp\u003eNotes\u003c\/p\u003e\u003cp\u003e12 Photo Sharing and Critique \u003c\/p\u003e\u003cp\u003eCritique as Evaluation \u003c\/p\u003e\u003cp\u003e\u003ci\u003eValidity \u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003eVariability\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003eThe Role of Context \u003c\/p\u003e\u003cp\u003eJohari’s Window \u003c\/p\u003e\u003cp\u003eUse Your Words\u003c\/p\u003e\u003cp\u003e\u003ci\u003eCritique without words \u003c\/i\u003e\u003c\/p\u003e\u003cp\u003eThe Clustering Technique \u003c\/p\u003e\u003cp\u003eRelationships \u003c\/p\u003e\u003cp\u003eDirection \u003c\/p\u003e\u003cp\u003eNostalgia \u003c\/p\u003e\u003cp\u003eComposition \u003c\/p\u003e\u003cp\u003eLocation\u003c\/p\u003e\u003cp\u003eWord Clouds \u003c\/p\u003e\u003cp\u003eThe Semantic Differential Technique \u003c\/p\u003e\u003cp\u003eCritique Using Group Dynamics\u003c\/p\u003e\u003cp\u003e\u003ci\u003eGroup Dynamics During and Exhibition\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003eOnline Photosharing\u003c\/p\u003e\u003cp\u003eSettling into and Exploring a Community\u003c\/p\u003e\u003cp\u003eGetting to Know You\u003c\/p\u003e\u003cp\u003eBecoming a Good Citizen\u003c\/p\u003e\u003cp\u003eTitles for Images\u003c\/p\u003e\u003cp\u003eDescriptions for Images\u003c\/p\u003e\u003cp\u003eCommenting on Images\u003c\/p\u003e\u003cp\u003eThe Meaning of Likes\u003c\/p\u003e\u003cp\u003ePopularity and the Ratings Game\u003c\/p\u003e\u003cp\u003eImage Categories, Streams, and Series\u003c\/p\u003e\u003cp\u003eSensory \/ Cognitive Overload\u003c\/p\u003e\u003cp\u003eComputers and Critique\u003c\/p\u003e\u003cp\u003eThe Illusion of Digital Permanency\u003c\/p\u003e\u003cp\u003ePhotosharing as Therapeutic\u003c\/p\u003e\u003cp\u003eAll photography can be therapeutic \u003c\/p\u003e\u003cp\u003eKey Words \u003c\/p\u003e\u003cp\u003eNotes \u003c\/p\u003e","brand":"Taylor \u0026 Francis Ltd","offers":[{"title":"Default Title","offer_id":49407215894871,"sku":"9781138212190","price":52.24,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781138212190.jpg?v=1730498597","url":"https:\/\/bookcurl.com\/products\/perception-and-imaging-9781138212190","provider":"Book Curl","version":"1.0","type":"link"}