Asher Kelman
OPF Owner/Editor-in-Chief
Never before so easy to take pictures of impossible to really discern, high dynamic range scenes, by simply capturing a rapid sequences of bracketed exposures of the same complexly lit scene. One simply aligns the images in software and combines the best parts of each separate shot, to give one image with information that was hidden from the naked eye!
So, this is very different from Bresson's street photography where the picture was framed to be seen, albeit with the help of slaves or assistants in the darkroom, to yield images that have lasted the competition and earned their way into our hearts and common cultural heritage.
Today, when we sit before a computer screen we can discover much that we didn't know of, planned for or even predicted was there! So should we not consider that these are just raw materials and the real beginning of the creative process. So in a way, the taking of the picture is the date. The making of the picture is the marriage, much more demanding but also more risky yet potentially overwhelmingly more rewarding.
Isn't it time that we recognize that we cannot properly compose a high dynamic picture unti we arrive home? A corollary would be that since we cannot be perfect in our framing, it would be wise to take extra adjacent overlapping areas adjacent to the main shot. That's because the needs of the composition only become obvious when the secrets become revealed: that at the edge of a field is a new and important element that could really make the new picture that has been born.
Or am I wrong. Are you so certain of what you want, that you can tackle a complex high dynamic scene and know exactly at the outset, where the borders must be?
Asher
So, this is very different from Bresson's street photography where the picture was framed to be seen, albeit with the help of slaves or assistants in the darkroom, to yield images that have lasted the competition and earned their way into our hearts and common cultural heritage.
Today, when we sit before a computer screen we can discover much that we didn't know of, planned for or even predicted was there! So should we not consider that these are just raw materials and the real beginning of the creative process. So in a way, the taking of the picture is the date. The making of the picture is the marriage, much more demanding but also more risky yet potentially overwhelmingly more rewarding.
Isn't it time that we recognize that we cannot properly compose a high dynamic picture unti we arrive home? A corollary would be that since we cannot be perfect in our framing, it would be wise to take extra adjacent overlapping areas adjacent to the main shot. That's because the needs of the composition only become obvious when the secrets become revealed: that at the edge of a field is a new and important element that could really make the new picture that has been born.
Or am I wrong. Are you so certain of what you want, that you can tackle a complex high dynamic scene and know exactly at the outset, where the borders must be?
Asher