Film directors have their own frame viewers to try out different
camera placements. Easier to move around.
To get some ideas of tones, I squint til it gets very dark.
Tom
On Saturday, July 14, 2001 at 22:42, John A. Lind <olympus@xxxxxxxxxxxxxxx>
wrote on:"Re: [OM] Ralph Gibson-seeing..." saying
> At 13:28 7/10/01, John Pendley wrote:
> >Fred Picker used to tout this practice highly, with one twist. He had some
> >kind of plastic (filter?) mounted in the slide frame. He said it gave a
> >very good idea of the shades of gray that would appear in a B&W print.
> >Maybe somebody remembers or can find out what his gizmo was. I can't find
> >my copy of The Zone VI Workshop.
> >JP
>
> Ansel Adams recommended the use of a Wratten #90 viewing filter to
> approximate the monochromatic relationships of colors as rendered
> by B/W. He further recommended _no_ ND be used with it, and
> observes that with subjects of high color saturation its effect
> (utility) is reduced. Most effective use is to look through it
> for only a few seconds before the eye-brain has an opportunity to
> compensate, then to remove it and wait a few seconds before using
> it again . . . to keep the eye from becoming accustomed to it.
>
> Adams also uses a frame of the same aspect ratio as the film (an
> empty slide frame works). As someone else has already posted,
> farther from the eye represents a longer lens and closer
> represents a shorter lens. Helps to train the eye to visualize an
> image sliced out of everything that's there in the environment.
>
> Last (but not least), is "John's" approach to composition: Painters
> begin with a blank canvas and _add_ image to it by applying paint
> from a pallette. Painting an image is therefore an "additive"
> task. OTOH, photography is the opposite; it is a "subtractive"
> process. The photographer _subtracts_ elements of reality to
> isolate, draw attention to, and enhance the intended subject and
> the desirable aspects of the subject for an image. An example is
> using selective focus, or DOF control to rid oneself (or at least
> reduce the prominence) of a cluttered background. Another method
> is to make the subject high key and the background low key,
> thereby reducing its prominence. My "abstract" TOPE was an
> exercise in very deliberate extreme subtraction to leave only the
> colors of the object to celebrate them alone, without anything
> else in the image to detract from them.
>
> Just some random thoughts on it all . . .
> -- John
>
>
> < This message was delivered via the Olympus Mailing List >
> < For questions, mailto:owner-olympus@xxxxxxxxxxxxxxx >
> < Web Page: http://Zuiko.sls.bc.ca/swright/olympuslist.html >
>
------- http://members.home.net/tomatrottier
TomATrottier@xxxxxxxx ICQ:57647974
+1 613 291-1168 fax:+1 613 594-5412
415-400 Slater St. Ottawa ON Canada K1R 7S7
,__o Much Madness is divinest Sense
_-\_<, To a discerning Eye
(*)/'(*) Much Sense--the starkest Madness.
-Emily Dickinson, poet (1830-1886)
< This message was delivered via the Olympus Mailing List >
< For questions, mailto:owner-olympus@xxxxxxxxxxxxxxx >
< Web Page: http://Zuiko.sls.bc.ca/swright/olympuslist.html >
|