> The real world does not contain film grain. How can you confuse real
> with plastic? :-)
That doesn't matter. A photographic print is already an interpretative
representation of the real world. The print is NOT real. It is not a
"window" in the wall looking out at those mountains or whatever it is
that is contained in the image. It's like a painting--it's not a
transparent window, it's an object in its own right.
Making a "transparent" window lined by a picture frame may be the
intent of some photographers, but those of us who are guided by the
ideals of traditional art forms, the photograph is intended to be the
tangible object itself.
This is specifically true when we deal with B&W photography. By its
very nature, a B&W photograph is far far away from "real world". As
such, we need to define for the viewer the rules of visual engagement.
For instance, we need to establish reference points of light and dark
to identify the tonal end zones. An image that is strictly all grays
won't fly (except in extremely rare examples and they need to be
matted and framed in hard white/black surrounds). Color images are
another beast, though. In color, a mid-tone must remain mid-tone (as
expected in the real world) and establishing tonal boundaries are not
required.
So, where does grain come in? I think grain is important in several regards.
1. It can be part of the subject
2. It can be part of the composition
3. It can be used to establish mood
4. It can be used to provide a critical point of focus for the eye in
areas where there is nothing that is in focus
5. It can be used to soften the harshness of dominant blacks and whites.
I'm sure there are other factors, but those are ones that come to mind
as I talk out of my hat.
AG
--
Ken Norton
ken@xxxxxxxxxxx
http://www.zone-10.com
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