"Santa Trinità" by Masaccio, Basilica di Santa Maria Novella, Florence

Photograph Copyright ©2013 Loo Yen Yeo. All Rights Reserved.

Concept: Quadrilaterals (rectangle)

Description: Masaccio's 'Trinity' began the Renaissance, the first time that realism was expressed since classical antiquity. It was composed as a Trompe-l'œil: an illusionary chapel to be viewed specifically from this point - the original entrance to the lower church in Basilica di Santa Maria Novella. The constraining rectangular form with its restricted formal viewing point is essential to the success of Masaccio's use of perspective.

Title: Worshipper's view

Photograph Copyright ©2013 Loo Yen Yeo. All Rights Reserved.

Concept: Quadrilaterals (rectangle); Filling the frame (filling for presence); Frames within frames (enhancing perspective)

Description: (Close-up from the same position using the optical zoom function) Filling the frame to remove Trinity's grey surround increases its impact and enhances Masaccio's intended feeling of believable space.in which the humanity of the Father, Christ, the Virgin Mary and Saint John is portrayed.

Title: Volume

Jean-Michel Folon's 'Partir' (2002), Giardino delle Rose, Oltrarno, Florence

Photograph Copyright ©2013 Loo Yen Yeo. All Rights Reserved.

Concepts: Frames within frames (enhancing perspective); Quadrilaterals (rectangle)

Description: Jean-Michel Folon's 'Partir' (2002) in the Garden of Roses was specifically created to frame a view. But what changes elevates this above cliché, is that we are witnessing the relationship a viewer (the young lady) has with a work of art. The outer frame in portrait orientation creates steep diagonals with the landscape-orientated briefcase and base, giving a stronger feeling of depth. The slightly formal feel to this composition is because there is only one axis along which the installation can be seen as a true rectangle.

Title: It's A Perfect Day

01.07 Frames within frames

The arrangement of elements within the image to form an internal frame around the subject, a frame within a frame, is a predictably successful technique - so much so that it's less-than-well-considered use has established it as a cliché. However, it is nonetheless a powerful and tasteful device in the right hands and creative eye. 'Frames within a frame' works because it does two things: it enhances perspective, and it introduces movement.

Enhancing perspective
Depth of the visual field is emphasised because another intermediary plane is created and pointed out. There are a minimum, therefore, of three planes: the viewfinder/camera's outermost; the internal frame's, intermediate; and the subject's, innermost. The viewer's eye flits dynamically between the boundaries of the camera frame to those of the internal frame; and the visual momentum causes the eye to move deeper into the internal frame to the subject.

Introducing movement
Depending on the shape or design of the internal frame, the viewer's eye can be made to follow along the periphery of the internal frame before being drawn into its interior.