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In the last century photography has been recognized as a media for recording visual stimuli. Photographers such as M. Brady (11), T. O'Sullivan (12), and D. Hill (17) have concentrated on taking pictures of social events or natural phenomenon. More recently such photographers as E. Weston (21), A. Adams (1), and W. Bullock (3) have concentrated their efforts on developing personal insight into visual phenomenon rather than simple factual recording. Presently such photographers as J. Uelsman (19), L. Krims (13), and T. Walker (20) have relied solely upon their rational and feeling states of consciousness for their directions in photography. Generally the Photographers have not mentioned or attempted to analyze the characteristics or attributes of their photographs. A. Stieglitz stated, "Photography begins where thinking ends therefore any explanation of a photograph is impossible" (18). In other words, all of the photographers listed sought to illustrate, rather than verbalize, visual phenomenon. It was hoped that an explanation of why specific criteria in a photograph created different states of consciousness that this study was undertaken. Furthermore, because this writer is a photographer first and a critic second, the information uncovered in this study would be applied towards completing a series of photographic illustrations.