Yes, Miller is right on this. But that soft edge is not really a blur as much as indistinctness. Yet, is is the case that a soft edge entices the viewer to perceive atmosphere (and depth) and potential or portrayed movement, as well as allowing for a viewer "reading" that "completes" the composition. And of course we are reminded of Leonardo's 3 rules of aerial perspective (aerial meaning atmospheric): dimunition of size, dimunition of color, dimunition of clarity as the perspective recedes. Hard edges keep form on the surface, and are primarily two dimensional. WC
--- On Wed, 12/10/08, Chris Miller <[EMAIL PROTECTED]> wrote: > From: Chris Miller <[EMAIL PROTECTED]> > Subject: Re: Photography and painting > To: [EMAIL PROTECTED] > Cc: [email protected] > Date: Wednesday, December 10, 2008, 11:40 AM > BTW, Saul, the "photographic blur" does occurs in > many paintings as well -- > for example, Vermeer -- or almost any landscape that has > mountains in the > distance. > > Indeed, the difference between a hard-edge and a soft edge > is very important > in certain schools of painting. > > But you already knew that -- didn't you ? > > > > >unlike photography, painting can never be out of focus, > > > ____________________________________________________________ > Save $15 on Flowers and Gifts from FTD! > Shop now at > http://offers.netzero.net/TGL1231/?u=http://www.ftd.com/17007
