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  1. #41
    Bill Burk's Avatar
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    Quote Originally Posted by cliveh View Post
    My original question was aimed more at the arrangement of the subject, rather than the operation and framing of the camera. I would imagine that some of the best portraits are not arranged, but more a question of timing during the interaction between the photographer and the model. Also how do you arrange objects for a still life shot that don’t make it look contrived? I once attended a lecture where a landscape photographer described how he might photograph a desert, but put a skull in the foreground to enhance the image. It is this sort of contrivance I am questioning. Also I would add, not dismissing it, as I know practically all advertising photography is arranged. But is that getting the best out of the image?
    That's what I was thinking. In my case, my talent "lies elsewhere" and that is why my arrangements feel contrived.

    I think "Irving Penn" and I get. Well I get Bill Burk but it's just NOT at the level of beauty that I get when I take what I find beautiful in front of me.

    I'll post a favorite "La Bufadora Still Life" when I get a chance. Shot in Mexico below Ensendada at the famous blow-hole with water shooting up...

    I'm impressed that I caught the spray... as if it were an inverse shadow of the still-life I'd arranged.... But MY arrangement itself is stilted.

  2. #42
    yurisrey's Avatar
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    Sort of like mise en scene. I think its rather subjective, because the placement (or the non-placement) of a certain item has meaning. In my approach I like not to mess with nature, hence when I do landscapes, natural subjects, etc.; I don't manipulate the environment but rather try use it. In short, I personally wouldn't agree with the chap who used the skull in the desert. On the other hand, in the studio or on a 'closed set,' I carefully arrange the subject(s) that are in the frame.
    "The real work was thinking, just thinking." - Charles Chaplin

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