Hi Tim you not only posed a question you also made a strong statement that you **have to** crop your shots even when using a 500mm lens. That's why you got those answers IMHO.
Brutally said, I start thinking that your where simply not patient enough for that kind of bird photography yet. greetings Markus >>-----Original Message----- >>From: Tim Øsleby [mailto:[EMAIL PROTECTED] >>Sent: Tuesday, April 11, 2006 1:39 PM >>To: pentax-discuss@pdml.net >>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. >> >> >>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: pentax-discuss@pdml.net >>> 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) >>> >>> >>> >> >> >> >>
