PHOTOGRAPHY AND THE ART OF SEEING (Page 2): William, your aspen image looks like a fine art painting.It is great that Freeman Patterson, “Photography and the Art of Seeing” gave you a...

PixelStan77 Loc: Vermont/Chicago

camerapapi wrote:

We as photographers and especially now that we use digital cameras are often confronted with a dilemma. Is my old camera ready for an update? Will a modern one with advanced technologies along with a professional lens improve my photography?
If you are not satisfied with the images you are making now a new, more advanced camera will not make a difference. Cameras and lenses are only tools.

Several years ago, when I was still using film I was shooting with a Nikon F100, an excellent professional level camera and several very good quality AF and manual focus lenses and instead I was not happy with my work.
The images were acceptable but not great. They were indeed boring. My frustrations made me put the camera aside and one day I came across a book written by famous Canadian photographer Freeman Patterson, “Photography and the Art of Seeing.” I was curious and I bought the book. It was easy reading and had lots of exercises to teach the student how to see photographically.

In clear terms Mr. Patterson was showing in his book how to achieve discipline, how to be patient. A photographer who wants to see, who wants to make fine images must first recognize the value of the familiar. The book opened up my eyes and I began to apply the principles and exercises described by him. I started to see a dramatic change in the quality of my images and my approach to my subjects. I have been looking but not actually seeing. The new approach was a radical departure of what I have been doing in the past. I was excited about the new images I was about to make.

Although at times I photograph on impulse many more times I am thinking of what I am going to do. Instead of shooting from a selected spot now I move around and I look at the light, its direction and its effect on the subject. I learned how important it is to be patient and how to use discipline to wait for an opportunity which usually presents itself. Now I am beginning to see photographically.

Here are four images that illustrate what I have been saying. The first image was made from aspens growing at the side of the road in Grand Tetons National Park. I moved the camera up and down during the exposure using a small lens opening and a long shutter speed. Now I see those aspens in a different way than I saw them before.

The second shot was a sunset over the Appalachians in mid-October. Instead of shooting the sunset as I originally saw it I began to watch the approaching clouds to my left. I used discipline and just waited with my camera on a tripod till the composition was exactly what I had envisioned. I was rewarded with a beautiful and colorful image.

I was visiting Maine and it was close to midday, the worse time to photograph because the light is too strong with prominent, contrasty shadows. I was looking in this particular maritime store to all of the paraphernalia that was being shown to tourists trying to find something interesting enough for me to photograph till I found these colorful lobster markers with the ornamental fish to the side and made the shot.

The final shot was a flower I saw among many others in the same plant. The plant looked beautiful but it was a visual chaos like it was. A shot of all the flowers would have failed to convey the beauty and feelings of what I saw. I isolated this one from the bunch. The black background brings attention to the flower. Notice that I have not mentioned the cameras or lenses I used. Cameras and lenses are only tools.

Next time you go out to photograph make a pause, relax and take the time to look carefully around you. Open your eyes and take a different approach to seeing. Observe what is going on around you. Your eyes will begin to discover subjects that were so familiar to you that you did not pay attention to them before.

Perhaps the first subject you see is not the best one to capture your emotions or what you had in mind. Perhaps the angle from where you look at it is not the best one. Look at the light and observe what it does to your subject. Observation of the subject should be your first step.
Be patient and think about what you are going to do. Use your intellect and your imagination to capture the beauty of your subject. A tripod is a great tool to improve on the visual design.

Understand this is a totally different approach to what you have been doing in the past. You are beginning the beautiful journey of seeing photographically.

We as photographers and especially now that we use... (show quote)

William, your aspen image looks like a fine art painting.It is great that Freeman Patterson, “Photography and the Art of Seeing” gave you a new vision.

camerapapi Loc: Miami, Fl.

In the first place, thank you ladies and gentlemen for taking the time to read my post and for your very interesting comments. It is a fact that many of us at a time seem to run out of subjects and then we look at our images to realize that they are all practically the same. We look at those images and the true feelings of what we felt is not there. It happened to me and I knew I had to look for something different that would awaken the interest and curiosity of the viewer. If my images did not look interesting to me surely will not arise a response among my viewers.
When this happen our tendency is to become frustrated and in my case I just set the camera aside and forgot completely about it.

Julian, when I began to read "Photography and the Art of Seeing" I was thinking along your same lines. Indeed, I had to read the book twice to begin to understand its contents. I am not talking about good composition here, which is purely a technical aspect of the whole photographic process. Nobody needs excellent composition to make great images. Look at my post carefully again because I am not talking about basic rules and our usual approach to photography. Even better, read the book yourself and then you will be in a better position to understand that photography is not only following the rules.

Thank you Gene 51 for your most interesting comments and for your links. In his book Mr. Patterson talks about emotions and feelings as part of the way we see. During a heavy rain or a snow storm, just to mention two examples our tendency, because of our feelings and emotions are to stay home. It is raining too heavy or everything is gray and ugly and the camera stays behind. Not everybody ventures out in such weather conditions to photograph and some of the most beautiful images I have seen have been made when the weather has not been cooperating. In his book Mr. Patterson describes the "optimistic and pessimistic" photographers. The pessimistic one sees the storm and stay home because he or she is sure there is no way to make a good image out of a storm. The optimistic photographer can stay home and shoot around the house or venture out and come back with some spectacular images.

I have tons of gear that I have bought during the many years I have been photographing. The gear has made my life easier but it has not made me a better photographer. In the forums it is not unusual finding a person that wants the best and the latest. If we do not see what is familiar to us what makes anyone think that we are going to do better when we travel to an exotic place with a professional camera and lens. Use what you have, learn to see photographically and regardless of camera or lens your should see the improvement in your images.

E.L.. Shapiro Loc: Ottawa, Ontario Canada

My all-time favorite Broadway musical and movie is "My Fair Lady" and my favorite song from those productions is "Why Can't the English Teach Their Children How to Speak"? The original rendition by Rex Harrison is delightful! If I had songwriting talent, I would create a parody of that tune called "Why Can't Photography Instructors Teach Their Students How to See"? So...my question is CAN anyone TEACH someone else how to "see"? And...Can anyone learn to "see" things differently than he or she naturally or intrinsically sees things? Folks like "Professor Henry Higgins" can teach people to use correct grammar, elocution, spelling, and punctuation, but can they teach folks to write insightful poetry, drama, or memorable literature? We can teach and learn photography theory, technology and practice but my BIG and sincere question is how the heck to do you teach folks how to ""SEE"!

I am not trying to be a wiseguy or just to write anything antithetical to the Op's valid concept. My own philosophy is you can't teach talent, you can only help folks develop what talent they have and encourage resourcefulness and creativity. I am not pontificating- this is just what I think and feel. I have been at this work for a long time and I am still trying to learn how to "see" better.

Here's my issue. As a commercial photographer and corporate portraitist, I am a HIRED GUN in 75% of my assignments. I oftentimes work with art directors, ad agencies, and customers that have preconceived concepts, exacting layouts, and definite instructions. There are even a few art directors that can draw something in a way that it can actually be photographed. Sometimes I have to be a "mind reader" and try to develop a concept in realistic solutions- that's fun! Many clients come in with oxymoronic or paradoxical requests like "take an "artistic" picture of this washing machine, creative and all that- but make sure it is exactly realistic, centered, and a perfect color match"! Sometimes my corporate subject expect me to look past ther real "character" and make the look pretty, important, sincere, sympathetic, interested, compassionate, aggressive etc,- sometimes the are and sometime they aint!

In commercial photography class, we learned all of the technical stuff, how to shoot glass, chrome, metal, cloth, buildings, furniture, fashion and whatever but nothing much about "artistry"! Portraiture classes got into basic lighting forms, and how to get heavy folks looking thinner, thin folks looking heavier, and long noses look shorter, etc. Nothing much about capturing the "soul" or character? I think that inspiration has to come from within but reading the right books and attending the right workshops can be instructional, encouraging and inspiring.

Enter Freeman Patterson- Living up here in Canada, I got into his books and attended two of his seminars many years ago and it was indeed refreshing and inspiring. Mr. Patterson's higher education started off in theology and I think that background is evident in his work. The good news is that he is still lecturing all over the world and the books are still available- require reading for anyone attempting to build their "seeing" capabilities. If there is talent, these images and classes will trigger your creativity.

My takeaway was, in many cases, "A good photographic image is seen in the Photographer's mind's eye long before it appears on the film (sensor) or paper". In some cases, however, that process all takes place in seconds or split seconds because there is not always sufficient time to act in spontaneous circumstances. If however, you do have the luxury of time, some of the most important decision makings that go into an image happen just a few seconds before you release the shutter and see if everything- the light, the composition, and the technical stuff is "right"!

My grandmother taught me "think before you speak and look before you leap". In photography sometimes, you need to think before you shoot, or think as you shoot, or think and shoot simultaneously- or shoot first and ask questions later. There is no set rule for every circumstance or job at hand.

Some decades ago, I took in a 2-day workshop with Bill Stockwell, a prominent wedding photography specialist and teacher from Oklahoma. Perhaps little known nowadays, this man revolutionized wedding photography back in the late 1960s. Bill was significantly hyperbolic and kinda poetic in his teaching and was ridiculed for this teaching style. He started off each seminar saying that "The wedding shooter plods along the bridle path picking up all the pebbles, sand and stones leaving the beautiful flowers behind"! He meant to say that the photographers were too preoccupied with formality and technical stuff and negated thereby the romance. Nowadays, many photographers are still so preoccupied with the latest complexities that have no time or space to "SEE". Sometimes all the bells, whistles, gadgets, histograms, and worries about lens performance just get in the way and obscure the vision!

I am pleased that Mr. Patterson, a CANADIAN master photographer has been mentioned. We do have a heck of a history and talent pool up here in the cold country. There was William Notman, Yosef, and Malak Karsh, Al Gilbert, and many more in many fields - Oh Canada!

angler Loc: StHelens England

Excellent and interesting post William.

camerapapi Loc: Miami, Fl.

Mr. Shapiro, I want to thank you for your interesting comments. Unless photographing for his or her own enjoyment I do not expect a commercial photographer to be artistic. You are paid to do your job and your client determines how the product will look like. The same goes for the portraitist, he can handle the light and shadows in the studio, give less or more illumination to the portraits and be an artist in his own right. This is all technical as you know.

I found very interesting your concerns about photography instructors not teaching the students how to see. They are more into technicalities than anything else. Nothing wrong with that, we all need to learn how to use a camera, how to measure light and how to use shutter speeds and lens apertures. If after all of this is learned emphasis is not used to show the students to see photographically the student in the majority of the cases will be shooting snap shots not real photographs. It happened to me.

We are all born with certain talents and as life pass on we develop those talents and perfect them. Some photographers are realistically speaking more skillful than others. I do not consider difficult teaching others to see photographically the problems arise when the person learning fails to use his or her senses or emotions to come up with a different approach to the image than we are used to see. Some students do not need lots of explanations others never get the concept or are happy with their photographic style. Some simply begin to experiment with their images but soon get tired of it or learn that "seeing" is not for them.

This discussion could go forever and although I have all of the time of this world because I am retired you do not. It is like everything else, many persons start a project till they get tired of it and quit.
Freeman Patterson opened my eyes with his book. My photography before him was kind of dull and uninteresting. It is not 100% better now but I keep on trying. Perhaps I lack the talents others have.

AndyH Loc: Massachusetts and New Hampshire

camerapapi wrote:

Mr. Shapiro, I want to thank you for your interesting comments. Unless photographing for his or her own enjoyment I do not expect a commercial photographer to be artistic. You are paid to do your job and your client determines how the product will look like. The same goes for the portraitist, he can handle the light and shadows in the studio, give less or more illumination to the portraits and be an artist in his own right. This is all technical as you know.

I found very interesting your concerns about photography instructors not teaching the students how to see. They are more into technicalities than anything else. Nothing wrong with that, we all need to learn how to use a camera, how to measure light and how to use shutter speeds and lens apertures. If after all of this is learned emphasis is not used to show the students to see photographically the student in the majority of the cases will be shooting snap shots not real photographs. It happened to me.

We are all born with certain talents and as life pass on we develop those talents and perfect them. Some photographers are realistically speaking more skillful than others. I do not consider difficult teaching others to see photographically the problems arise when the person learning fails to use his or her senses or emotions to come up with a different approach to the image than we are used to see. Some students do not need lots of explanations others never get the concept or are happy with their photographic style. Some simply begin to experiment with their images but soon get tired of it or learn that "seeing" is not for them.

This discussion could go forever and although I have all of the time of this world because I am retired you do not. It is like everything else, many persons start a project till they get tired of it and quit.
Freeman Patterson opened my eyes with his book. My photography before him was kind of dull and uninteresting. It is not 100% better now but I keep on trying. Perhaps I lack the talents others have.

Mr. Shapiro, I want to thank you for your interest... (show quote)

In the highly competitive photographic markets of today, I think that the difference between technically competent photographers and ARTISTIC technically competent photographers is the difference between a decent living and a great and fulfilling living.

The market does appreciate talent, I think.

Andy

Moondoggie Loc: Southern California

Some very good thoughts, thank you for sharing your vision.

dbfalconer Loc: Salida CO

camerapapi wrote:

We as photographers and especially now that we use digital cameras are often confronted with a dilemma. Is my old camera ready for an update? Will a modern one with advanced technologies along with a professional lens improve my photography?
If you are not satisfied with the images you are making now a new, more advanced camera will not make a difference. Cameras and lenses are only tools.

Several years ago, when I was still using film I was shooting with a Nikon F100, an excellent professional level camera and several very good quality AF and manual focus lenses and instead I was not happy with my work.
The images were acceptable but not great. They were indeed boring. My frustrations made me put the camera aside and one day I came across a book written by famous Canadian photographer Freeman Patterson, “Photography and the Art of Seeing.” I was curious and I bought the book. It was easy reading and had lots of exercises to teach the student how to see photographically.

In clear terms Mr. Patterson was showing in his book how to achieve discipline, how to be patient. A photographer who wants to see, who wants to make fine images must first recognize the value of the familiar. The book opened up my eyes and I began to apply the principles and exercises described by him. I started to see a dramatic change in the quality of my images and my approach to my subjects. I have been looking but not actually seeing. The new approach was a radical departure of what I have been doing in the past. I was excited about the new images I was about to make.

Although at times I photograph on impulse many more times I am thinking of what I am going to do. Instead of shooting from a selected spot now I move around and I look at the light, its direction and its effect on the subject. I learned how important it is to be patient and how to use discipline to wait for an opportunity which usually presents itself. Now I am beginning to see photographically.

Here are four images that illustrate what I have been saying. The first image was made from aspens growing at the side of the road in Grand Tetons National Park. I moved the camera up and down during the exposure using a small lens opening and a long shutter speed. Now I see those aspens in a different way than I saw them before.

The second shot was a sunset over the Appalachians in mid-October. Instead of shooting the sunset as I originally saw it I began to watch the approaching clouds to my left. I used discipline and just waited with my camera on a tripod till the composition was exactly what I had envisioned. I was rewarded with a beautiful and colorful image.

I was visiting Maine and it was close to midday, the worse time to photograph because the light is too strong with prominent, contrasty shadows. I was looking in this particular maritime store to all of the paraphernalia that was being shown to tourists trying to find something interesting enough for me to photograph till I found these colorful lobster markers with the ornamental fish to the side and made the shot.

The final shot was a flower I saw among many others in the same plant. The plant looked beautiful but it was a visual chaos like it was. A shot of all the flowers would have failed to convey the beauty and feelings of what I saw. I isolated this one from the bunch. The black background brings attention to the flower. Notice that I have not mentioned the cameras or lenses I used. Cameras and lenses are only tools.

Next time you go out to photograph make a pause, relax and take the time to look carefully around you. Open your eyes and take a different approach to seeing. Observe what is going on around you. Your eyes will begin to discover subjects that were so familiar to you that you did not pay attention to them before.

Perhaps the first subject you see is not the best one to capture your emotions or what you had in mind. Perhaps the angle from where you look at it is not the best one. Look at the light and observe what it does to your subject. Observation of the subject should be your first step.
Be patient and think about what you are going to do. Use your intellect and your imagination to capture the beauty of your subject. A tripod is a great tool to improve on the visual design.

Understand this is a totally different approach to what you have been doing in the past. You are beginning the beautiful journey of seeing photographically.

We as photographers and especially now that we use... (show quote)

Your post and Gene51’s additions provide excellent food for thought. I have been wrestling with the questions “What is a photographer?” And “Am I a photographer?” I am a novice and am often overwhelmed by all the technical details I ‘should’ learn. These posts remind me to slow down, be in the moment, and think about why I want to make this photo. Then hopefully I’ll be better able to apply the technical concepts more thoughtfully. Thank you.
Your examples are excellent.

blacks2 Loc: SF. Bay area

Well written, I agree. Beautiful images.

CWGordon

Thanks for the reminder. I have grown tired of much of what I shoot. I know it is about time to review and refresh what I am doing. I think I need to get a copy of that book. btw, I liked very much the shots you just shared with us.

CWGordon

Thanks for the reminder. I have grown tired of much of what I shoot. I know it is about time to review and refresh what I am doing. I think I need to get a copy of that book. btw, I liked very much the shots you just shared with us.

Jan Overstreet

This was well written and something I personally needed to read this morning. I had almost given up on my hobby of photography, until I had an attitude adjustment using some of the reminders in this article. I believe that no matter how long we have been using a camera to capture the things around us there is always something to learn. Thank You for reminding me!

Blair Shaw Jr Loc: Dunnellon,Florida

camerapapi wrote:

We as photographers and especially now that we use digital cameras are often confronted with a dilemma. Is my old camera ready for an update? Will a modern one with advanced technologies along with a professional lens improve my photography?
If you are not satisfied with the images you are making now a new, more advanced camera will not make a difference. Cameras and lenses are only tools.

Several years ago, when I was still using film I was shooting with a Nikon F100, an excellent professional level camera and several very good quality AF and manual focus lenses and instead I was not happy with my work.
The images were acceptable but not great. They were indeed boring. My frustrations made me put the camera aside and one day I came across a book written by famous Canadian photographer Freeman Patterson, “Photography and the Art of Seeing.” I was curious and I bought the book. It was easy reading and had lots of exercises to teach the student how to see photographically.

In clear terms Mr. Patterson was showing in his book how to achieve discipline, how to be patient. A photographer who wants to see, who wants to make fine images must first recognize the value of the familiar. The book opened up my eyes and I began to apply the principles and exercises described by him. I started to see a dramatic change in the quality of my images and my approach to my subjects. I have been looking but not actually seeing. The new approach was a radical departure of what I have been doing in the past. I was excited about the new images I was about to make.

Although at times I photograph on impulse many more times I am thinking of what I am going to do. Instead of shooting from a selected spot now I move around and I look at the light, its direction and its effect on the subject. I learned how important it is to be patient and how to use discipline to wait for an opportunity which usually presents itself. Now I am beginning to see photographically.

Here are four images that illustrate what I have been saying. The first image was made from aspens growing at the side of the road in Grand Tetons National Park. I moved the camera up and down during the exposure using a small lens opening and a long shutter speed. Now I see those aspens in a different way than I saw them before.

The second shot was a sunset over the Appalachians in mid-October. Instead of shooting the sunset as I originally saw it I began to watch the approaching clouds to my left. I used discipline and just waited with my camera on a tripod till the composition was exactly what I had envisioned. I was rewarded with a beautiful and colorful image.

I was visiting Maine and it was close to midday, the worse time to photograph because the light is too strong with prominent, contrasty shadows. I was looking in this particular maritime store to all of the paraphernalia that was being shown to tourists trying to find something interesting enough for me to photograph till I found these colorful lobster markers with the ornamental fish to the side and made the shot.

The final shot was a flower I saw among many others in the same plant. The plant looked beautiful but it was a visual chaos like it was. A shot of all the flowers would have failed to convey the beauty and feelings of what I saw. I isolated this one from the bunch. The black background brings attention to the flower. Notice that I have not mentioned the cameras or lenses I used. Cameras and lenses are only tools.

Next time you go out to photograph make a pause, relax and take the time to look carefully around you. Open your eyes and take a different approach to seeing. Observe what is going on around you. Your eyes will begin to discover subjects that were so familiar to you that you did not pay attention to them before.

Perhaps the first subject you see is not the best one to capture your emotions or what you had in mind. Perhaps the angle from where you look at it is not the best one. Look at the light and observe what it does to your subject. Observation of the subject should be your first step.
Be patient and think about what you are going to do. Use your intellect and your imagination to capture the beauty of your subject. A tripod is a great tool to improve on the visual design.

Understand this is a totally different approach to what you have been doing in the past. You are beginning the beautiful journey of seeing photographically.

We as photographers and especially now that we use... (show quote)

Really Nice Set...great colors .

Fotoartist Loc: Detroit, Michigan

E.L.. Shapiro wrote:

My all-time favorite Broadway musical and movie is "My Fair Lady" and my favorite song from those productions is "Why Can't the English Teach Their Children How to Speak"? The original rendition by Rex Harrison is delightful! If I had songwriting talent, I would create a parody of that tune called "Why Can't Photography Instructors Teach Their Students How to See"? So...my question is CAN anyone TEACH someone else how to "see"? And...Can anyone learn to "see" things differently than he or she naturally or intrinsically sees things? Folks like "Professor Henry Higgins" can teach people to use correct grammar, elocution, spelling, and punctuation, but can they teach folks to write insightful poetry, drama, or memorable literature? We can teach and learn photography theory, technology and practice but my BIG and sincere question is how the heck to do you teach folks how to ""SEE"!

I am not trying to be a wiseguy or just to write anything antithetical to the Op's valid concept. My own philosophy is you can't teach talent, you can only help folks develop what talent they have and encourage resourcefulness and creativity. I am not pontificating- this is just what I think and feel. I have been at this work for a long time and I am still trying to learn how to "see" better.

Here's my issue. As a commercial photographer and corporate portraitist, I am a HIRED GUN in 75% of my assignments. I oftentimes work with art directors, ad agencies, and customers that have preconceived concepts, exacting layouts, and definite instructions. There are even a few art directors that can draw something in a way that it can actually be photographed. Sometimes I have to be a "mind reader" and try to develop a concept in realistic solutions- that's fun! Many clients come in with oxymoronic or paradoxical requests like "take an "artistic" picture of this washing machine, creative and all that- but make sure it is exactly realistic, centered, and a perfect color match"! Sometimes my corporate subject expect me to look past ther real "character" and make the look pretty, important, sincere, sympathetic, interested, compassionate, aggressive etc,- sometimes the are and sometime they aint!

In commercial photography class, we learned all of the technical stuff, how to shoot glass, chrome, metal, cloth, buildings, furniture, fashion and whatever but nothing much about "artistry"! Portraiture classes got into basic lighting forms, and how to get heavy folks looking thinner, thin folks looking heavier, and long noses look shorter, etc. Nothing much about capturing the "soul" or character? I think that inspiration has to come from within but reading the right books and attending the right workshops can be instructional, encouraging and inspiring.

Enter Freeman Patterson- Living up here in Canada, I got into his books and attended two of his seminars many years ago and it was indeed refreshing and inspiring. Mr. Patterson's higher education started off in theology and I think that background is evident in his work. The good news is that he is still lecturing all over the world and the books are still available- require reading for anyone attempting to build their "seeing" capabilities. If there is talent, these images and classes will trigger your creativity.

My takeaway was, in many cases, "A good photographic image is seen in the Photographer's mind's eye long before it appears on the film (sensor) or paper". In some cases, however, that process all takes place in seconds or split seconds because there is not always sufficient time to act in spontaneous circumstances. If however, you do have the luxury of time, some of the most important decision makings that go into an image happen just a few seconds before you release the shutter and see if everything- the light, the composition, and the technical stuff is "right"!

My grandmother taught me "think before you speak and look before you leap". In photography sometimes, you need to think before you shoot, or think as you shoot, or think and shoot simultaneously- or shoot first and ask questions later. There is no set rule for every circumstance or job at hand.

Some decades ago, I took in a 2-day workshop with Bill Stockwell, a prominent wedding photography specialist and teacher from Oklahoma. Perhaps little known nowadays, this man revolutionized wedding photography back in the late 1960s. Bill was significantly hyperbolic and kinda poetic in his teaching and was ridiculed for this teaching style. He started off each seminar saying that "The wedding shooter plods along the bridle path picking up all the pebbles, sand and stones leaving the beautiful flowers behind"! He meant to say that the photographers were too preoccupied with formality and technical stuff and negated thereby the romance. Nowadays, many photographers are still so preoccupied with the latest complexities that have no time or space to "SEE". Sometimes all the bells, whistles, gadgets, histograms, and worries about lens performance just get in the way and obscure the vision!

I am pleased that Mr. Patterson, a CANADIAN master photographer has been mentioned. We do have a heck of a history and talent pool up here in the cold country. There was William Notman, Yosef, and Malak Karsh, Al Gilbert, and many more in many fields - Oh Canada!

My all-time favorite Broadway musical and movie is... (show quote)

What this is all about is previsualization. Learning to see like your instrument sees when you push it around and manipulate it. And sorry, it was not Canadians who popularized this it was Ansel Adams and the f64 Zone System group.

Indiana Loc: Huntington, Indiana

Very well written, concise, and informative. I just purchased two of Freeman Patterson's used books for $10.38 on line.