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Orio
Joined: 24 Feb 2007 Posts: 29545 Location: West Emilia
Expire: 2012-12-04
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Posted: Mon Feb 23, 2009 1:05 pm Post subject: Carnevale 2009 third Sunday |
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Orio wrote:
5D with Distagon 1.4/35
50D with Sonnar 2.8/135 (except for last photo which is Planar 1.4/85)
http://www.oriofoto.net/temp/carn2009c/index.html
Enjoy and thanks for viewing
- _________________ Orio, Administrator
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NE CEDE MALIS AUDENTIOR ITO
Ferrania film is reborn! http://www.filmferrania.it/
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poilu
Joined: 26 Aug 2007 Posts: 10472 Location: Greece
Expire: 2019-08-29
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Posted: Mon Feb 23, 2009 1:28 pm Post subject: |
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poilu wrote:
impressive series! great Carnevale!
the 135:2.8 rock on the 50D |
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Mal1905
Joined: 30 Oct 2008 Posts: 1705 Location: Dublin, Ireland
Expire: 2011-11-18
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Posted: Mon Feb 23, 2009 2:09 pm Post subject: |
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Mal1905 wrote:
Oh wow, there are some really gorgeous shots here Orio - and it's not all down to the wonderful glass either _________________
Canon EOS 5D / EOS 40D
Carl Zeiss Jena: Flektogon 2.8/20, 2.4/35, 2.8/35, Pancolar 2/50, MC 1.8/50, MC 1.8/80, Triotar 4/135, Tessar 2.8/50, S 4/135 1Q, S 3.5/135, Sonnar 3.5/135 MC, 2.8/180, Biotar 2/5,8cm, 2/58, 1.5/75
Carl Zeiss: Distagon 2/28 T*, 1.4/35 T*, Ultron 1.8/50, Tessar 2.8/50, Planar 1.4/50 T* MM, 1.7/50 T* MM, 1.4/85 T* AEG, Sonnar 2.8/135 T*
Asahi Optical Co.: Super-Multi-Coated Takumar 4.5/20, 3.5/24, 3.5/28, 2/35, 3.5/35, 1.4/50, 1.8/55, 1.8/85, 2.8/105, 2.8/120, 2.5/135 I & II, 3.5/135, 4/150, 4/200, 4/300, 5.6/400, 4/45-125, 4.5/85-210, Super-Takumar 4.5/20, 3.5/24, 3.5/28, 2/35, 3.5/35, 1.4/50, 1.8/55, 2/55, 2.8/105, 3.5/135, 4/150, 4/200, 4.5/70-150, Fish-Eye-Takumar 4/17, Macro-Takumar 4/50, Super-Macro Takumar 4/50, Super-Multi-Coated Macro-Takumar 4/50, 4/100, Bellows-Takumar 4/100, Asahi-Kogaku Takumar 3.5/50, 2.4/58, 3.5/100, Asahi-Kogaku Tele-Takumar 3.5/135, Auto-Takumar 2.3/35, 3.5/35, 1.8/55, 1.8/55 (Zebra), 2/55, 2.2/55, 1.8/85, 2.8/105, 3.5/135, Takumar 4/35, 2.2/55, 2/58, 2.8/105, 3.5/135, 3.5/200, 5.6/200, Tele-Takumar 5.6/200, 6.3/300, SMC Takumar 1.4/50, 1.8/55, 2/55, SMC-M 1.4/50, 1.7/50, 2/50
Tomioka: Tominon 2/5cm, Auto-Chinon 3.5/21, 1.4/55, Auto-Yashinon DS-M 1.2/55 |
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trifox
Joined: 14 May 2008 Posts: 3614 Location: UK
Expire: 2014-05-29
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Posted: Mon Feb 23, 2009 3:30 pm Post subject: |
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trifox wrote:
wow! -- I have togo there!!!
Amazing //
Two lenses only ?? That's a superb !!
tf _________________ Flickr.com |
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LucisPictor
Joined: 26 Feb 2007 Posts: 17633 Location: Oberhessen, Germany / Maidstone ('95-'96)
Expire: 2013-12-03
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Posted: Mon Feb 23, 2009 3:57 pm Post subject: |
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LucisPictor wrote:
Again, so many good shots.
But this one is outstanding: http://www.oriofoto.net/temp/carn2009c/slides/c2009c_25_50D_IMG_4831.html
And this one is a masterpiece: http://www.oriofoto.net/temp/carn2009c/slides/c2009c_15_50D_IMG_4820.html
WOW! _________________ Personal forum activity on pause every now and again (due to job obligations)!
Carsten, former Moderator
Things ON SALE
Carsten = "KAPCTEH" = "Karusutenu" | T-shirt?.........................My photos from Emilia: http://www.schouler.net/emilia/emilia2011.html
My gear: http://retrocameracs.wordpress.com/ausrustung/
Old list: http://forum.mflenses.com/viewtopic.php?t=65 (Not up-to-date, sorry!) | http://www.lucispictor.de | http://www.alensaweek.wordpress.com |
http://www.retrocamera.de |
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patrickh
Joined: 23 Aug 2007 Posts: 8551 Location: Oregon
Expire: 2011-11-18
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Posted: Mon Feb 23, 2009 5:49 pm Post subject: |
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patrickh wrote:
Orio
You never cease to amaze - that is a stunning series. One can easily imagine being there and you really capture the "smell" of the event. I agree with Carsten on favourites. But all are magnificent.
patrickh _________________ DSLR: Nikon D300 Nikon D200 Nex 5N
MF Zooms: Kiron 28-85/3.5, 28-105/3.2, 75-150/3.5, Nikkor 50-135/3.5 AIS // MF Primes: Nikkor 20/4 AI, 24/2 AI, 28/2 AI, 28/2.8 AIS, 28/3.5 AI, 35/1.4 AIS, 35/2 AIS, 35/2.8 PC, 45/2.8 P, 50/1.4 AIS, 50/1.8 AIS, 50/2 AI, 55/2.8 AIS micro, 55/3.5 AI micro, 85/2 AI, 100/2,8 E, 105/1,8 AIS, 105/2,5 AIS, 135/2 AIS, 135/2.8 AIS, 200/4 AI, 200/4 AIS micro, 300/4.5 AI, 300/4.5 AI ED, Arsat 50/1.4, Kiron 28/2, Vivitar 28/2.5, Panagor 135/2.8, Tamron 28/2.5, Tamron 90/2.5 macro, Vivitar 90/2.5 macro (Tokina) Voigtlander 90/3.5 Vivitar 105/2.5 macro (Kiron) Kaleinar 100/2.8 AI Tamron 135/2.5, Vivitar 135/2.8CF, 200/3.5, Tokina 400/5,6
M42: Vivitar 28/2.5, Tamron 28/2.5, Formula5 28/2.8, Mamiya 28/2.8, Pentacon 29/2.8, Flektogon 35/2.4, Flektogon 35/2.8, Takumar 35/3.5, Curtagon 35/4, Takumar 50/1.4, Volna-6 50/2.8 macro, Mamiya 50/1.4, CZJ Pancolar 50/1,8, Oreston 50/1.8, Takumar 50/2, Industar 50/3.5, Sears 55/1.4, Helios 58/2, Jupiter 85/2, Helios 85/1.5, Takumar 105/2.8, Steinheil macro 105/4.5, Tamron 135/2.5, Jupiter 135/4, CZ 135/4, Steinheil Culminar 135/4,5, Jupiter 135/3.5, Takumar 135/3.5, Tair 135/2.8, Pentacon 135/2.8, CZ 135/2.8, Taika 135/3.5, Takumar 150/4, Jupiter 200/4, Takumar 200/4
Exakta: Topcon 100/2.8(M42), 35/2.8, 58/1.8, 135/2.8, 135/2.8 (M42), Kyoei Acall 135/3.5
C/Y: Yashica 28/2.8, 50/1.7, 135/2.8, Zeiss Planar 50/1.4, Distagon 25/2.8
Hexanon: 28/3.5, 35/2.8, 40/1.8, 50/1.7, 52/1.8, 135/3.2, 135/3.5, 35-70/3.5, 200/3.5
P6 : Mir 38 65/3.5, Biometar 80/2.8, Kaleinar 150/2.8, Sonnar 180/2.8
Minolta SR: 28/2.8, 28/3.5, 35/2.8, 45/2, 50/2, 58/1.4, 50/1.7, 135/2.8, 200/3.5
RF: Industar 53/2.8, Jupiter 8 50/2
Enlarg: Rodagon 50/5,6, 80/5,6, 105/5.6, Vario 44-52/4, 150/5.6 180/5.6 El Nikkor 50/2,8,63/2.8,75/4, 80/5,6, 105/5.6, 135/5.6 Schneider 60/5.6, 80/5.6, 80/4S,100/5.6S,105/5.6,135/5.6, 135/5.6S, 150/5.6S, Leica 95/4 |
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Schnauzer
Joined: 09 Apr 2008 Posts: 2155 Location: Maine, USA
Expire: 2012-03-08
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Posted: Mon Feb 23, 2009 8:23 pm Post subject: |
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Schnauzer wrote:
Wow!! What a nice series. Very enjoyable.
Is the Nun really a Nun or dressed as a Nun? _________________ Ron |
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Katastrofo
Joined: 26 Feb 2007 Posts: 10405 Location: USA
Expire: 2013-11-19
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Posted: Mon Feb 23, 2009 9:25 pm Post subject: |
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Katastrofo wrote:
Yes, stunning series indeed! The one pic that leaps out from all others on
the page is 27, but I also like 31, 54 (for content, lol) and 55, simply
excellent work, Orio!
Also, agree with Carsten about 15, truly marvelous shot! |
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Orio
Joined: 24 Feb 2007 Posts: 29545 Location: West Emilia
Expire: 2012-12-04
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Posted: Tue Feb 24, 2009 12:31 am Post subject: |
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Orio wrote:
Thank you everyone!
This might have been the last from this year, because the weather forecast for Sunday is not good
It is always very interesting for me to learn which pictures you prefer from a series of many. This helps me to see my work from a perspective that is different from mine. This is also the reason why I always indicate my preferences about the pictures of other people, thinking they might be interested the same.
Sometimes it happens that my preferred ones are also yours, but more often, it happens differently. In this case for instance, many seem to have a preference for the photos with the masks. Understandeably, because they are beautiful pieces of craftsman work. From my personal point of view, I am only partially happy with them. I feel they are OK, but I would have liked them to be more than that (more personal, more unseen). Unfortunately I did not have the time to experiment on them - you can not stop a parade to search for the best shooting angle or light. So they are captured as snaps, but I feel they would deserve to be photographed as still life - if you know what I mean.
On the other side, the pictures that I personally prefer were not mentioned, like the first two pictures, which I think are an incredibly lucky situation, because you have this allegorical character in the middle, and on the left, you have an old woman, and on the right, a grotesque mask which looks nearly identical in the features to the old woman, and they are doing exactly the same pose, in the first one they are posing as profile, in the second picture they are posing in front, and they are the two faces of the one reality, the old age, with the real on the one side and the grotesque on the other, and the tragic touch is that the real face looks possibly even more grotesque than the mask. Which makes for a very bitter reflection about the aging, placed in the funniest context of the carnival - this is a contrast that I really love.
Another picture that I like is the third one: the running man is not a mask, in the morning there was a marathon (real marathon, 42 dot something kilometers) which started from my hometown and ended in Busseto. The person is a late runner, who arrived when the carnival was already started. So a masqueraded guy started to run along with him, making him look in turn like if it was a masked character himself. That was really strange and also somehow cruel and even a bit crude looking I think - but that's life, we don't always have to show the bright side of things, don't we?
Finally another picture that I like is #12 - this shows something that I see very often with the majorettes and I always find fascinating, that is, girls that are not really pretty as we mean that, but they want to be majorettes anyway, they don't care and do their best in spite of the fact that they are inevitably compared with other girls that are really beautiful - with no other merit than being what mother nature gave them. I really admire the girls like picture #12 because they don't accept that and want to work hard on their skills, and are not afraid to take part to the parade where, they are also exposed to possible negative comments by some idiot people (although 99,9% of the people who take part to the carnival, are all very kind, there is always the possibility of some idiot now and then).
Thinking about it, with the majorettes most of the time I notice that those who are really beautiful, seem to be shy about that, while those that are not, seem to find more courage also in the performance - by looking at the thousands faces of a carnival, there is always some human histories to be read between the lines. This is what I find so fascinating about this event. I will miss it a lot until next year.
@ Ron: the nun is a fake, everyone in the carnival becomes someone else - and in doing that, in playing a role, they can take outside a part of themselves that they have to hide during the normal life. This does not always happen, but when it does, it is really interesting to watch.
@ Bill: I was also very interested in the content of #54 Unfortunately, the poor girl from Manaus (it was a band of dancers and drummers coming from Manaus, in the Amazones) was always surrounded by a swarm of leecherous photograpers and overexcited spectators, which made the task of photographing her almost impossible: this is the only one photo that I could grab of her, and of another similarly "equipped" dancer, I could not take even one!
- _________________ Orio, Administrator
T*
NE CEDE MALIS AUDENTIOR ITO
Ferrania film is reborn! http://www.filmferrania.it/
Support the Ornano film chemicals company and help them survive!
http://forum.mflenses.com/ornano-chemical-products-t55525.html |
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Katastrofo
Joined: 26 Feb 2007 Posts: 10405 Location: USA
Expire: 2013-11-19
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Posted: Tue Feb 24, 2009 4:54 am Post subject: |
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Katastrofo wrote:
Orio, are all these excellent photos going into some publication, book? |
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LucisPictor
Joined: 26 Feb 2007 Posts: 17633 Location: Oberhessen, Germany / Maidstone ('95-'96)
Expire: 2013-12-03
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Posted: Tue Feb 24, 2009 8:05 am Post subject: |
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LucisPictor wrote:
Orio wrote: |
It is always very interesting for me to learn which pictures you prefer from a series of many. This helps me to see my work from a perspective that is different from mine. This is also the reason why I always indicate my preferences about the pictures of other people, thinking they might be interested the same.
Sometimes it happens that my preferred ones are also yours, but more often, it happens differently. - |
This shows again that beatuy (and art) is in the eye of the beholder. And that's a good thing! _________________ Personal forum activity on pause every now and again (due to job obligations)!
Carsten, former Moderator
Things ON SALE
Carsten = "KAPCTEH" = "Karusutenu" | T-shirt?.........................My photos from Emilia: http://www.schouler.net/emilia/emilia2011.html
My gear: http://retrocameracs.wordpress.com/ausrustung/
Old list: http://forum.mflenses.com/viewtopic.php?t=65 (Not up-to-date, sorry!) | http://www.lucispictor.de | http://www.alensaweek.wordpress.com |
http://www.retrocamera.de |
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Orio
Joined: 24 Feb 2007 Posts: 29545 Location: West Emilia
Expire: 2012-12-04
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Posted: Tue Feb 24, 2009 8:22 am Post subject: |
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Orio wrote:
Katastrofo wrote: |
Orio, are all these excellent photos going into some publication, book? |
Hardly so. It's difficult to find financing for books, unfortunately. _________________ Orio, Administrator
T*
NE CEDE MALIS AUDENTIOR ITO
Ferrania film is reborn! http://www.filmferrania.it/
Support the Ornano film chemicals company and help them survive!
http://forum.mflenses.com/ornano-chemical-products-t55525.html |
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Carlsson
Joined: 26 Jul 2008 Posts: 793 Location: Portugal
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Posted: Tue Feb 24, 2009 11:50 am Post subject: |
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Carlsson wrote:
Hi Orio, I see great pictures and since I have managed my first carnevale here in portugal, I know how difficult it is to capture what you like and to bring the atmosphere to the audience. To fight "against" the crowd and egoistic "professional" photographers with their 1meter L-lenses.
You did a very very good job on this.
Orio wrote: |
I feel they are OK, but I would have liked them to be more than that (more personal, more unseen). |
Could you please explain the "more unseen" to me? _________________
Contax III, Zeiss Ikon ZM, Contax AX, EOS 5D, R-D1
https://mariaeero.com/contax/ |
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Orio
Joined: 24 Feb 2007 Posts: 29545 Location: West Emilia
Expire: 2012-12-04
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Posted: Tue Feb 24, 2009 11:58 am Post subject: |
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Orio wrote:
Carlsson wrote: |
Hi Orio, I see great pictures and since I have managed my first carnevale here in portugal, I know how difficult it is to capture what you like and to bring the atmosphere to the audience. To fight "against" the crowd and egoistic "professional" photographers with their 1meter L-lenses.
You did a very very good job on this. |
thank you!
Carlsson wrote: |
Orio wrote: |
I feel they are OK, but I would have liked them to be more than that (more personal, more unseen). |
Could you please explain the "more unseen" to me? |
Sorry, I perhaps used words badly. I mean, shoot them in a way that is not commonly seen for this subject (because they are a very common subject in carnevale pictures). I wish for more original approach.
- _________________ Orio, Administrator
T*
NE CEDE MALIS AUDENTIOR ITO
Ferrania film is reborn! http://www.filmferrania.it/
Support the Ornano film chemicals company and help them survive!
http://forum.mflenses.com/ornano-chemical-products-t55525.html |
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Carlsson
Joined: 26 Jul 2008 Posts: 793 Location: Portugal
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Posted: Tue Feb 24, 2009 12:34 pm Post subject: |
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Carlsson wrote:
Ok, then I got it right.
Yes I agree, but in my opinion you already did that in a lot of your pictures.
Since sunday I know how difficult it is. To see the image you are looking for, to focus it manual, the procession is moving without a rest, there are people in your shooting line and you are restricted to a position, pushed by people behind you
I know what you mean, most of my pictures I liked were not mentioned as favourites by my friends. When the hear carnavale they have already some pictures in mind, looking for colors and skin. _________________
Contax III, Zeiss Ikon ZM, Contax AX, EOS 5D, R-D1
https://mariaeero.com/contax/ |
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Orio
Joined: 24 Feb 2007 Posts: 29545 Location: West Emilia
Expire: 2012-12-04
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Posted: Tue Feb 24, 2009 1:15 pm Post subject: |
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Orio wrote:
Carlsson wrote: |
Ok, then I got it right.
Yes I agree, but in my opinion you already did that in a lot of your pictures.
Since sunday I know how difficult it is. To see the image you are looking for, to focus it manual, the procession is moving without a rest, there are people in your shooting line and you are restricted to a position, pushed by people behind you |
yes, very accurate description!
Carlsson wrote: |
I know what you mean, most of my pictures I liked were not mentioned as favourites by my friends. When the hear carnavale they have already some pictures in mind, looking for colors and skin. |
Yes, that is what commonly is about. For instance take any carnevale gallery on the online newspapers, they give you this (costumes, naked skin).
I am more after the human emotions, the thoughts, the contrasts. The symbolic situations. This is my carnevale.
An example of situations that I like to catch is picture #34
You have this girl, which is not in costume except for the rabbit ears. But she shows her teeth which look like rabbit teeth. I found this very funny. Plus she looks sad. In the background you can see another pair of rabbit ears and they're standing upright. But her rabbit ears are floppy and that's fantastic for me because she looks sad. So she really looks like a cartoon character, a sad cartoon bunny, with sad face, floppy ears, and her gaze lost into somewhere else place.
I always look for situations like this, for this type of contrasts and of curious "empathy" between the people feelings and the characters. I like them even if there is no colours or naked skin in the picture. So I guess this is not the most popular of possible carnevale photoreports, but that is my way. That's how I look at things.
- _________________ Orio, Administrator
T*
NE CEDE MALIS AUDENTIOR ITO
Ferrania film is reborn! http://www.filmferrania.it/
Support the Ornano film chemicals company and help them survive!
http://forum.mflenses.com/ornano-chemical-products-t55525.html |
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Carlsson
Joined: 26 Jul 2008 Posts: 793 Location: Portugal
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Posted: Tue Feb 24, 2009 2:13 pm Post subject: |
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Carlsson wrote:
I agree, this I would call our main advantage, we don't need to take pictures for a wide audience, to sell it to the newspapers.
You can seek for the personal emotions, happy and tragic moments.
#34 for example is an inspiring image to me, you are absolutely right, her floppy rabbit ears (in contrast to the upright others) , her teeth and her sad look. But it takes time to see all the details, to combine them, I can "dive" into the image. Then I ask myself, why is she sad or perhaps bored, everyone is smiling, she's not, so why? Where is she with her mind? A big contrast to expected carneval pictures.
You saw it, pictured it, during the processing time you've learned to love it, for the details, message, contrast. Perhaps this is why our favourites are not the audience favourites.
I would bet that average joe (newspaper audience) will pass the complete gallery in 30 seconds. Not able to see what you had in mind when you took the image, not able to see the contrast. Not to mention the publisher who would have discarded the image, because it does not match the "carnevale", containing too much contrast. But fortunately you don't have to sell it and you can delevop your own style and vision of carnevale.
And perhaps I wrote too much _________________
Contax III, Zeiss Ikon ZM, Contax AX, EOS 5D, R-D1
https://mariaeero.com/contax/ |
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Orio
Joined: 24 Feb 2007 Posts: 29545 Location: West Emilia
Expire: 2012-12-04
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Posted: Tue Feb 24, 2009 2:50 pm Post subject: |
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Orio wrote:
I don't think you write too much, only time when one writes too much is when he writes stupid things, which is not your case.
I think you are right when you write about the privilege of being able to photograph for yourself instead of for a job. Only a few very lucky ones can photograph what they like without restrictions and have their work published. In most cases, published photographers receive assignments and a task and that is what they have to deliver, with more or less margins of freedom but rarely with complete freedom.
Photographing following your instinct and culture has not only the advantage of freedom, but also the other advantage that you can work faster because you don't have to rationalize about things. I shoot very instinctively, and if I get to obtain photos like #1 and #2 is because my mind is naturally on that wavelenght (meaning I perceive these visual associations instinctively), I don't have to "construct" such I photograph, I just see it and take it (when it's there, of course).
This is what constitutes my vision and might be completely innatural for another person, who would have to think about it, construct the image rationally, and in most cases, miss the moment.
This is why I am a believer in instinctual photography - everyone of us has an instictual vision, that comes from his history, culture, education - it speaks of us. And that is what makes us personal, and different from all others.
Rationally contructed images, instead, speak more of a concept that might come from history, art currents, philosophy, or whatever, but indirectly. Which tends to make the images look impersonal (regardless of their technical qualities).
Of course this does not mean that every image that is taken instinctually, must be conserved. A critical examination phase must come afterwards, that leads to a selection. First the instinct, then the reason. Gauguin said that about the art of painting in the end of 19th century, i think it is a very true and valid assessment also for photography.
This is what I do, except for a few cases (for instance, the "ambience shots", where I photograph the spaces in order to allow the viewers to build an idea of the space the actions take place in to), my shooting happens on the instinctual level. It's only afterwards when I come back to the shots, that I evaluate the degree of success of each photos, what to keep and what to delete, how to frame, et c.
I choose this approach because it allows to keep being true to myself instead of planning my work based on expectations, or other people's aesthetical canons, et c.
- _________________ Orio, Administrator
T*
NE CEDE MALIS AUDENTIOR ITO
Ferrania film is reborn! http://www.filmferrania.it/
Support the Ornano film chemicals company and help them survive!
http://forum.mflenses.com/ornano-chemical-products-t55525.html |
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Orio
Joined: 24 Feb 2007 Posts: 29545 Location: West Emilia
Expire: 2012-12-04
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Posted: Tue Feb 24, 2009 2:54 pm Post subject: |
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Orio wrote:
Keith G wrote: |
even in Orio's splendid set there are duplicates, starting with the first two frames! |
Well, I published both intentionally. I don't see them as duplicates. The first one shows the characters in profile, the second one shows them in front. I felt that both were essential to show the incredible likeness. Also like I said, I have been incredibly lucky, because it looks like they're posing for me (see first image, they pose symmetrically). Which of course they were not, but they really look like theatre to me. The set of two looks like pantomime to me, a very ancient art, even more ancient than the carnevale itself.
One thing I should do, perhaps, is to edit out the white in the background of the old woman in the first image. I normally don't do this type of editing, but I see now that it's really distracting. _________________ Orio, Administrator
T*
NE CEDE MALIS AUDENTIOR ITO
Ferrania film is reborn! http://www.filmferrania.it/
Support the Ornano film chemicals company and help them survive!
http://forum.mflenses.com/ornano-chemical-products-t55525.html |
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Orio
Joined: 24 Feb 2007 Posts: 29545 Location: West Emilia
Expire: 2012-12-04
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Posted: Tue Feb 24, 2009 4:02 pm Post subject: |
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Orio wrote:
Keith G wrote: |
Orio, I was responding to Carlsson's remark about Joe Sixpack passing the whole gallery in 30 seconds. Here is different and most people would examine the shots individually, but for public purposes I would say there are at least a dozen duplicates - they are easily seen at lightbox level (the 'index') where minor differences don't show as much!! (Every once in a while I have a clearout of my dupes and sometimes it's hard to do when I like them all - thinning out crap is easy! ) |
Maybe we have different concepts of what are redundant shots...
I think that if a selection has to be made using representativity as a criterium, a selection could easily be made of not more than a dozen picture for any event, or even less. But that would be a sterile chronicle, liophilized. Good for newspaper, but it would not tell a story, it would just reassess the stereotypes of an event.
I assemble my series differently, in a series I have my 5, 6,7, maybe 10 preferred shots, those that I think are strong, but to work at best, for me, they need a context. So the rest is not there as a mere filler, it sets the coordinates and the mood. It's like an opera, you have the main themes (arie) and you have the passages. You can surely make a concert only of main themes (like the three tenors did), but in the original concept, those arie lived in a context which is that of the whole opera. I can surely enjoy un bel dì vedremo as a stand alone piece, but I definitely prefer to taste it within the full Madame Butterly opera.
I know the point of your observation, I agree about the level of attention in the contemporary audience, and the contemporary audience's short attention span, and all that ... but I am a great enemy of that When it comes to arts I am very rétro and conservative
Keith G wrote: |
Editing out white bits? Yes, this is difficult - I don't where I stand on this: One side says don't edit/process too much (or at all - the 'HCB' method); the other side says anything that makes the final image is OK! (??? ) |
I normally leave shots as they are, as my "philosophical" choice (if you like). However, where there are very disturbing accidents in what I feel is a very special photo, I make exceptions - but I never alter key elements in a photograph. Only minor background or noise problems.
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