> > From: Tim Øsleby <[EMAIL PROTECTED]> > Date: 2006/04/11 Tue AM 11:39:05 GMT > To: <[email protected]> > Subject: RE: Composing on screen vs. in viewfinder. > > List. You are not responding to my question, you are simply burping gas. > Helicopter is out of the question ;-) > > My question was something like this. How do I become better at cropping at > computer? I tried to analyze the situation a bit, but the question was as > simple as that.
The general answer seems to be "Do the very best you can in-camera before you think about "phixing"". There is plenty of room for improvement. Which is meant as encouragement, not insult. > > > Tim > Mostly harmless (just plain Norwegian) > > Never underestimate the power of stupidity in large crowds > (Very freely after Arthur C. Clarke, or some other clever guy) > > > -----Original Message----- > > From: Tim Øsleby [mailto:[EMAIL PROTECTED] > > Sent: 10. april 2006 23:53 > > To: [email protected] > > Subject: Composing on screen vs. in viewfinder. > > > > Those of you reading the list lately may have noticed that I have a > > project > > going on, that forces me to explore some new land (read learn new > > techniques). > > How a beeeep should you avoid noticing that? With my endless ranting > > questions ;-) > > > > I have been talking about using longer lenses, building hides and so on. > > This has been great fun, and I am learning a lot about photography and > > birds. My longest glass that is usable is 500mm (with converter it tends > > to > > be too soft), so I have to crop the pictures to make them interesting. > > > > This has made me realise that I am a lot better at composing in viewfinder > > then I am with composing on computer screen. I have been thinking about > > this. I have some ideas about why. > > > > First: > > It is that in the field I compose more on instinct. I am there, and I have > > emotions about the motifs. My heart is involved, and I believe that it is > > my > > heart that makes the composing decisions. Back at home, the motifs are > > more > > distant to me, so there I compose by brain (and as you know, that's not > > much > > of a brain). > > > > The second reason has to do with the decisive moment: > > When I shot slides my mind was in "capture mode" (sorry Shel, I know you > > don't like that word). When pushing the button I knew that what is in > > frame, > > stays in frame, and what is out of frame, stays out. (Everybody who has > > tried masking slides in glassless frames, knows that you do everything you > > can to avoid that activity later). > > > > Now, when shooting digitally, being forced to crop later something happens > > with my mindset. There is no decisive moment in post processing on > > computer. > > There is always possible to go back. > > > > What I'm saying is that I think I need the decisive moment to make a good > > composition. I also need to be emotionally connected with the motif in > > some > > way. > > > > But what do I do about this? Practise is one obvious answer. And I will > > practise. But, I also have a strong belief in the power and wisdom of this > > list. I would really surprise me if it doesn't burp up some good ideas and > > advise. > > > > > > Tim > > Mostly harmless (just plain Norwegian) > > > > Never underestimate the power of stupidity in large crowds > > (Very freely after Arthur C. Clarke, or some other clever guy) > > > > > > > > > > > ----------------------------------------- Email sent from www.ntlworld.com Virus-checked using McAfee(R) Software Visit www.ntlworld.com/security for more information
