OVershooting is safer - I always take at least two frames of
something
I think is "important" - having once had an otherwise damn
wonderful shot
ruined by an air bubble in developing and another that was
scratched. There
is as much art in selection after the shoot as there is in
the shooting.
Unfortunately, I have to be a bit more selective for
starters now given the
price of everything.
annsan
Jostein Øksne wrote:
>
> I know a couple of landscape photographers that also make three or
> four identical shots once they put their hand on the release button.
> Their argument is that one goes into their personal archive for
> backup, one is reserved for making enlargements, and one "just in
> case". Those who deliver to agencies, usually take one more than that.
>
> Jostein
>
> ----- Original Message -----
> From: "David J Brooks" <[EMAIL PROTECTED]>
> To: <[EMAIL PROTECTED]>
> Sent: Thursday, August 23, 2001 4:03 PM
> Subject: Re: Re: Sports photographer mentality?
>
> > I still think there is a big difference between shooting a few
> > frames at the moment of truth and just aiming and firing
> > and hope you get something
> > Just my opinion
> >
> > Dave
> >
> > ---- Begin Original Message ----
> >
> > From: [EMAIL PROTECTED]
> > Sent: Thu, 23 Aug 2001 11:24:51 +0100 (BST)
> > To: [EMAIL PROTECTED]
> > Subject: Re: Sports photographer mentality?
> >
> >
> > [In response to various musings on motordrives.]
> >
> > In his book 'Down Under', Bill Bryson (American travel writer better
> > known in Britain than in the US) comments on a magazine photographer
> > doing the same thing when taking pictures of him, although he was
> > sitting still at the time.
> >
> > I'm beginning to understand why, though. In trying to take pictures
> > of my infant son, I've discovered that I need to take an awful lot
> of
> > frames to capture that expression that he seems to wear all the time
> > when I'm not pointing a lens at him.
> >
> > In fact, you could argue that informal portraiture is a far better
> > application of the 'motordrive' technique than sport. To generalize,
> > a sports photographer is aiming to freeze one Key Moment - the
> > athlete at the top of her leap, the ball hitting the bat - and a
> > motordrive is as likely to give him a moment either side of that
> > Moment as the Moment itself. The only sure way to get results is
> > through intimate knowledge of both the sport and the equipment,
> > expert timing and a little luck. (This may be why I'm not a sports
> > photographer.)
> > The portrait photographer, on the other hand, has to cope with his
> > subject blinking, scratching, being distracted, all with no
> > predictable pattern, so a motordrive at least gives him a reasonable
> > chance of getting what he wants.
> >
> > Perhaps the Leicaphiles out there have their own views on this - any
> > thoughts?
> > -
> > This message is from the Pentax-Discuss Mail List. To unsubscribe,
> > go to http://www.pdml.net and follow the directions. Don't forget to
> > visit the Pentax Users' Gallery at http://pug.komkon.org .
> >
> >
> >
> > ---- End Original Message ----
> >
> >
> >
> >
> > Pentax User
> > Stouffville Ont Canada
> > Sign up today for your Free E-mail at: http://www.canoe.ca/CanoeMail
> > -
> > This message is from the Pentax-Discuss Mail List. To unsubscribe,
> > go to http://www.pdml.net and follow the directions. Don't forget to
> > visit the Pentax Users' Gallery at http://pug.komkon.org .
> >
> >
>
> -
> This message is from the Pentax-Discuss Mail List. To unsubscribe,
> go to http://www.pdml.net and follow the directions. Don't forget to
> visit the Pentax Users' Gallery at http://pug.komkon.org .
-
This message is from the Pentax-Discuss Mail List. To unsubscribe,
go to http://www.pdml.net and follow the directions. Don't forget to
visit the Pentax Users' Gallery at http://pug.komkon.org .
