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  1. #11

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    I find that as I wear glasses if I take them off for a shoot I can just about make out the settings on the camera, but I seem to spot compositions much easier than with the aided eyes.

    Through the viewfinder things do become clear again but I'm already pointing the camera for the composition before I see it tack sharp. Just remember to put the glasses back on before driving home, not that I have ever forgotten of course ooops.

  2. #12
    SuzanneR's Avatar
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    After the shoot, when you have your negatives, sometimes it's also quite useful to look at them on the lightbox upside down. It'll reduce the images to shapes and tones, and can really help with decision making on what to print. I often do this when I can't quite make up my mind. This can be particularly helpful with 35mm and medium format negs. The beauty of LF, of course, is composing everything upside down in the camera!

  3. #13

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    Right-brain viewing

    I've been re-reading "Drawing on the Right Side of the Brain" and this thread has been very interesting, as it corresponds very strongly to the author's opinion that focusing on content that can be intellectually analyzed ("oh, that's a face") interferes with a focus on the overall composition. Everyone here has presented very interesting techniques for shifting to right-brain thinking... please keep it up!

  4. #14

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    Quote Originally Posted by MSchuler
    I've been re-reading "Drawing on the Right Side of the Brain" and this thread has been very interesting, as it corresponds very strongly to the author's opinion that focusing on content that can be intellectually analyzed ("oh, that's a face") interferes with a focus on the overall composition. Everyone here has presented very interesting techniques for shifting to right-brain thinking... please keep it up!
    In my opinion that is one of the benefits of a view camera or even a camera with a waist level finder. It does get the analytical brain out of the way long enough to percieve shapes, forms, and lines at the expense of seeing indentifiable and named objects.

    My good friend Blansky got me involved with this particular photographic practice when he became my spiritual mentor...As I recall he said something like "It's about composition dumb a**" . I will go to my grave remembering the moment that my life pivoted on the head of that pin...

  5. #15

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    I have this book called "Atget", with a text by John Szarkowski next to each photo. It's a fantastic book and I've been trough it countless times. However, there are some photos I "understand" less than the others and one day while I was looking at one of those odd ones my eyes drifted towards infinity while still looking at the picture, and suddenly it struck me that now I perceived the image as impeccably balanced and beautiful. That was a fantastic experience, which I suppose is similar to yours, and a good lesson for me.

  6. #16

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    I find a similiar fsacination with shapes as the underlying structure of a photograph. I wear glasses and can't see much beyond gross shapes without them which suits me just fine. Often when looking at a possible image I takes off the specs and enjoy the shapes and see if they 'work' photographically.

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