Posted on juin 10, 2013
We have to recognize that, in any given situation, there can be many ways to see the Landscape, and while sifting this information through our minds, we must decide on a plan of action to best portray our impression, its effect on us, the prevalent mood we are experiencing. A single word can sometimes describe what we are seeing, though we may neglect to identify it. Soft, tenacious, isolated, nostalgic, expansive, peaceful, rhythmic, pristine, powerful, diminutive, minimalist, triumphant, joyous, delicate, oneiric and challenged are just a few. Our inner conversation ensues : I recognize these visual qualities, and sensing this theme, mood or impression, will select and emphasize it with my photographic choices in terms of technical process Shutterspeed, Aperture, Deth of Field , ISO choice etc..
Posted on mai 27, 2013
Simply put, Depth-Of-Field is how much of a photograph is in sharp focus from front to back. Professional photographers understand and use Depth Of Field, while most amateurs don’t. professionals know that they can’t leave this critical element to chance, or to the programmed whims of an automatic camera !
Landscapes Masters, Porter, Weston and Adams always tried to get everything in focus throughout their photographs, to the point of forming Group f/64 in 1932. Part of their original manifesto read : « The name of this Group is derived from a diaphragm number of the photographic lens. It signifies to a large extent the qualities of clearness and definition of the photographic image which is an important element in the work of members of this Group. »
Modern Photography aesthetics accept a wide range of styles, including more impressionistic looks. But in most landscapes images, everything should be in focus unless there’s a specific reason for not doing so – like creating a soft, impressionistic look, or focusing attention on one element.