Re: HDR Tangential
very interesting...as a teacher, i am somewhat tethered to standards and
objectives (i agree, a bore) and have learned to respect rhythms and
practices, or work flow if you will (anyone have curves saved and
recipes written down for their processes?), that helps to build a
foundation designed to grow in new directions (connectivist learning
theory, really)...you ask why bother...if for nothing else, to show
people what you see...perhaps pretentious, but such is art, especially
if you're going to put a price tag on it (i am aware that this bloated
opinion of mine is likely unpopular in this circle)...why else create
images other than to explore experience and communicate?
i simply cannot fathom approaching production with a dowser's
wand...it's like a poet who finds meaning in his work after it's
written...how's that for a mixed metaphor?
Judy Seigel wrote:
On Sat, 19 Sep 2009, Trevor Cunningham wrote:
Thanks for reminding me....
I do find one point here a little irksome, and maybe it was touched upon
in other responses. Adams, before he even grabbed a plate, saw (or
visualized) his image in his head, and worked to produce that image.
When I first came into photography, I tried to compensate for my
total ignorance by reading every bit of current literature, as well as
past, especially the "Bible" (or bibles), Ansel Adams on the print,
the negative, the something or other of zone system, & whatever else
by or about valorizing, glorifying, sanctifying, joy from the heaven
of .... what was it, Carmel by the Sea? The system consisted of two
parts: first, arithmetic in Roman Numerals and second "previsualizing"
the photograph. No, more likely vice versa (first previsualize then
arithmetic). Either way, when that sank in: The End.
I knew I was not up for arithmetic in Roman Numerals, but that
pre-visualizing stuff really stumped me. If you know what it's going
to look like, why bother ?
Unless you're on assignment.
I'd been an illustrator -- in all the annuals (Graphis, Art Directors,
etc. etc.), I mention not merely to boast, but to substantiate my
point: Every assignment was a 3-day migraine. I hated carrying out
other people's "ideas" and vowed, as soon as possible, to unhook my
livlihood from my art... ie., NOT work toward a previsualized image. I
mean if you already know what it's going to look like, why bother?
Whether it's a client's, an art director's, or mine, that's no fun
(admittedly good money... tho perhaps not as good as other forms of
I think it was Gary Winogrand who said, "I photograph to see what
something looks like photographed." Perfectly put, IMO.
I also admit (since I live safely out of range... who ever heard of
this little berg-by-the-sea?), I thought Adams's images mostly a
bore... and the 1000s of others following in his footsteps ???
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