Well said. In the practical world of the working photographer, it is most
important to get the picture anyhow....anyway. Photographs represent a moment
in time...often a fleeting moment. If only we lived in a theoretical world we
would have two hours, two weeks or two months to set up each picture, but we
don't.
For those of us who grew up along with photography over the past 40-50
years, our job was only half done when I "snapped the picture." My wife
always said I did my best work in a dark room ;-) You TAKE the picture in the
field. You MAKE the picture in the dark room.
After 10 years in photography, I went to work for Eric Wagman in South Orange,
NJ. I thought I was pretty good in the processing end when I went to work
there. It was a humbling experience. I worked there three weeks before he
accepted a full set of proofs that I printed. He was actually more concerned
with the proofs than the final print. Why, because that is what he sold from.
I guess this cropping in the camera discussion seems trivial to me, because I
deal with action photography. Whether it is a Tim Duncan slam dunk or a bird
dog slamming into a hard point on a covey of quail or a cutting horse working a
cow away from the herd, you don't get time to compose in the camera. I don't
worry about it though because I know my job is only half done.
On Sun, 04 Mar 2001, you wrote:
> Eduardo Carone Costa J�nior wrote:
> It just depends...in some situations, it's acceptable to just get the
> damned shot. In other situations you would want to get the shot from a
> tripod on slow, 4x5 fine-grained film.
--
Kenneth Archer + San Antonio, Texas
[EMAIL PROTECTED] ICQ #24980801
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