Bob Walkden wrote:
> David Hurn puts the official position quite well in 'On being a
> photographer'. To paraphrase, the photographer is working the subject
> by giving himself options, taking a lot of frames of the same subject,
> where there may be some ever so slight difference in one frame which
> lifts it out of the ordinary. Having a lot of frames to choose from
> gives you the freedom to examine them in detail later, because you
> can't always see everything that's going on in the frame at the time
> you make the shot. It's very instructive to look at the contact prints
> of a great photographer to see this at work.
A few months ago I was watching a photographer do a photo shoot of
the owner of a local produce market. He had the owner sitting
amongst baskets of fruits and vegetables. Using his 'blad, he shot
two magazines (24 pictures) of what was essentially the same
picture. He then changed the pose slightly and shot 24 more frames
of the new scene, and he did that one more time. I suspect he was
looking for some nuance in the final print, which ended up as the
cover for the Sunday magazine in the San Francisco newspaper.
This technique is especially important when using an SLR, because
you don't really know what you've got when the mirror blacks out the
image. Even in a posed setting, such as the one described, all the
subject has to do is blink, or move his eyes, or sneeze, at the
wrong moment, and the shot is ruined. And, unless you've got lots
of backup options, as a professional photographer who's required to
deliver a useable photograph, you're screwed.
--
Shel Belinkoff
mailto:[EMAIL PROTECTED]
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