Quote Originally Posted by cliveh View Post
I would say the same about cropping, not wrong, but if you have considered original composure, why crop?
So how is cropping a shot out of reality any different ethically than cropping what's in the negative?

For all we know that was the plan when the shot was taken because they didn't have the perfect lens.

Maybe the photographer shoots a bit loose just to leave some options open. That is also the reason many people overexpose a bit, they want more info on the negative so they have more options when they print.

Quote Originally Posted by cliveh View Post
Does a painter go out and make a painting and then when he/she returns to their studio, take a pair of scissors and cut a bit off one edge?
Yes in essence, not with scissors but by painting over what they already did many painters will recompose a scene.

Don't get me wrong here I'm ll for good camera work, it makes the darkroom work much easier.

Uelsmann does very different work than most of us. I'd hazard a guess that some burn and dodge is involved. I'd also hazard a guess that his work would be impossible with out those concepts.

We all develop procedures and practices that suit our needs. In another recent discussion here the point was made that the development of a neg may be made purposefully not to match the entire SBR to the paper, instead made to get a specific micro contrast with the full intention of burning and dodging to get the rest of the scene onto the paper.