Senior Photog

Oh no, I was correcting MY error.
Anyone can hit a wrong key.

aellman Loc: Boston MA

I get it, but my comment regarding AWFUL spelling, grammar, and syntax errors seen here still stands.
In some cases there have been posts that were so tangled I couldn't tell what the member was talking
about.Some people don't care, but my rule is to reread before clicking SEND. I invite all posters to try
this sometime. You'll be amazed at what you find. >Alan

Senior Photog

I recently canceled my Face Book
account. It was MUCH worse on FB!

Picture Taker Loc: Michigan Thumb

That depends in my mind in "your style". I believe I have a "style", I take my pictures in my "Style" and because some like my style they buy my pictures. I guess it is called, picture style. What's wrong or correct, it is style. Other wise all pictures would look the same and the camera companies would have the camera automatically take the picture because the are capable of doing that in the cameras.

JohnSwanda Loc: San Francisco

If all photographers, or any kind of artist, only did what has always been "customary" art would never progress.

Longshadow Loc: Audubon, PA, United States

(Glad she's recovering!)

Delderby Loc: Derby UK

Really like the waterfall. The foreground foliage framing would work in or out of focus. Bird Pic is so unusual - the Boket is pleasing. Both pics make a difference FOR their difference!

wbchinook Loc: Everson WA

I found this article interesting. Don't know if it is relevant.

https://photographylife.com/landscapes/double-the-distance-method-explained?utm_source=Photography+Life+Newsletter&utm_campaign=889fcc8fb8-newsletter&utm_medium=email&utm_term=0_74d1711c3d-889fcc8fb8-184004721#utm_source=rss&utm_medium=rss&utm_campaign=double-the-distance-method-explained

Architect1776 Loc: In my mind

photoman022 Loc: Manchester CT USA

I disagree with the idea that everything HAS TO BE in sharp focus from foreground to background. I'll shoot f/2.8 in order to have my subject (usually in the foreground) in focus and the background out of focus. As far as I'm concerned, it's a landscape photo. Had I shot the scene at f/16 it would have been too busy and the subject would have been competing with the background. There are other times that I will shoot at f/16 in order to have the whole scene in focus (or at least most of it). I choose my aperture setting depending on what effect I'm seeking to achieve.

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

My advice- Know the rules, know the nomenclature, familiarize yourself with the terms and slang that photographers use to communicate with each other but DON'T GET HUNG UP ON ANY OF IT! Sometimes the etymology gets too thick.

There is concept in photography called SELECTIVE FOCUS- that means you, as the photgraher get to select what is in focus and what is not. If you are out shooting "landscapes" and decide you want to do a photographic study of a single blade of grass or a pebble- that is your prerogative. Focus is one of tools you can use to isolate a subject or bring an entire vista into razor sharp accutance. OK- if you enter that pebble shot in a landscape contest, you may run into a snag or a panoramic landscape in a macro competition- well- you get it!

Also, while I am at it- there are so many misconceptions about aperture and depth of field especially when it comes to large format film photography of yore! True enough, some of the old view camera lenses were kinda slow- some of the famous ones were f/9.5 maximum aperture. So, their sweet spot kicked in on around f/16, however f/64 in many formulas was refraction hell. Introducing Captain Theodore Scheimpflug and his principle where by tilting the front standard of a view camera thereby altering the plane of focus the photographer can maxamize depth of field at more moderate apertures. A similar method could minimize D.O.F. even at smaller apertures. Image and perspective management is a big deal in large format work.

So..the most effective and impactful photographs usually make a clear statement. Again, you are the author and get to make whatever statement you would like to express. If you statement is very succinct and to the point, viewers may more easily understand its meaning. If it is abstract, more complex, chaotic, tense or unclear-well let the chips fall where the may. It's up to you- as an artist-you da bozz!

For me, as a commercial photographer it's different-SOMETIMES! Oftentimes I have to visually interpret someone else's statement. The client, the art director or the account executive becomes the arbiter of the image and I just sit back and become the technician. This is where categorization and specifics come into play. Someone else then decides what's in or out of focus, what needs to be emphasized, whether it is a close up detail shot or a wide view etc. It's more fun, for me, when the just throw the job at me and leave me to my own devices. Sometimes team efforts are enjoyably as well. Preconceived ideas can be a technical challenge but that's OK too.


Scene- Landscape?- no big difference to me. It's just when I am at Thanksgiving dinner and one of my obtuse relatives tee-me off, my wife doesn't say "don't make a landscape" she says "calm down and "don't make a scene!

Iconic photgraher Helmet Newton called some of his nude studies "landscapes"! So there you go!

Linda From Maine Loc: Yakima, Washington

rotfl

rfmaude41 Loc: Lancaster, Texas (DFW area)

If it was roll film, it most likely 6 X 9 (2 1/4 X 3 1/4), as 6 X 7 was not even "thought of" back then.

Senior Photog

Correct. I didn't say it was 6x7. I said it was larger than 6x7. I didn't remember
those other formats.

Selene03

Hi Linda from Maine, this was an interesting read!!! Thanks!