after the rain

Started Nov 15, 2012 | Discussions thread
Vittorio Fracassi
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Re: after the rain
In reply to Bob Tullis, Nov 16, 2012

Bob Tullis wrote:

Vittorio Fracassi wrote:

Hi Bob,

I hoped you would give a second look to the two images, thanks for doing so and for the kind words. And also for giving me the opportunity to mention and to share something which goes on in my mind and that I believe you understand and master well.

It occurs with increasing frequency that when I take a picture it’s because of attraction: by the subject as it is and by what it could be. The could be part, in the case of landscape or landscape with human artifacts, is an imaginary range of variations in time of day, season, perspective depth.

As a consequence the capture I make must be as RAW as possible, not just as a digital format, but because it must allow me to work on it. Creativity is conditioned by age and habits so for me the post processing is limited to painting with various tools mostly to alter locally colour tones, contrast and brightness. So that the final result can be smuggled as what my eyes saw(read: what my mind would have liked to see), rigorously low profile, as if it was straight out of camera and not the result of sometimes hours of work.

Yes. I frame it a little differently in my mind. . . I'm enthused with your conceptualizing of the same impression of what makes one raise EVF to compose. I see a potential, maybe more than one, and the immediate compunction is to expose to draw whatever out of it may be desired later on. Take the memory of the exposure and blend it with the mood of the moment, often enough. Though, I've been 'expressing' in that manner and it often turns a photograph into a rendering (or skirts the boundaries between those forms), I'm trying to be a bit more circumspect in that regard as of late. For some reason it comes easier with a higher quality lens. I read Ansel's books early on, and though I was quite green at the time I felt I understood his notion of exposing for the medium and developing for the print, and pre-visualization.

thanks for the introspection Bob, it helps me in understanding myself.   My approach is similar to yours in the first instants in which I am confronted with the potentially useful scene but it is also accompanied by a physical sensation of elation, whose intensity is a measure of how good it's going to be.  Very useful although addictive.

Which can encompass not only variable PP workflows but when necessary and possible a second visit to the crime scene. For the first one I had the Pan 20/1.7 on tripod and my shoes as you guessed were wet; the second was through the Oly 45/1.8, handheld. No HDR and no filters.

Regards, Vittorio

PS. whilst writing I came across a possible explanation for the extra something that short teles do for landscapes: they add richness. Many details of equal importance crowd the flattened two-dimensional scene. Wides may provide the same image but with a hierarchy of elements, caused by deep perspective, that’s why they tend to be weak and have recourse to dominant single objects in the fore-fore ground to make them interesting.

I wish I could identify attractions to such things to myself like that. I'm curious as to what books or photographers have spoken to your sensibilities.

I read very little on photography, my good friends when they recognised my senile passion presented me with books containing photographs by Adams, Erwitt, Gardin, Basilico, probably with the intent to provide guidelines to the flow of banale images they would have been obliged to view and comment.      But I read every single word in Luminous Landscape and watched all the TV series on art by Philippe Daverio and Vittorio Sgarbi and of my three sons two of them graduated at the IED (Istituto Europeo di Design).      I built a "floodlit board" which stands in my livingroom and on which are displayed my latest efforts, and this provides food for merciless criticism from my family and friends, http://www.zoomview.it/page%20x%20%20fai%20da%20te.html

I've not grokked it in that manner, but I think that might account for why I change what my favorite two lenses would be, periodically. Part learning more about their potential, part to shake up practices and visualizations that start to become routine.

Thanks again Bob, you are one of the more competent, gifted, generous and balanced members of this Forum and it's a pleasure looking at your work and exchanging views with you,

-- hide signature --

...Bob, NYC
http://www.bobtullis.com
/"Well, sometimes the magic works. . . Sometimes, it doesn't."/ - Little Big Man
.

Regards,  Vittorio

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