This is when I start to have issues with both Google and now Microsoft. This is why you need to be leery of the government! As a matter fact you need to be leery of just about everything. Which gets back to Timothy which also gets back to a guest on a late-night talk show, this week. Yes I do keep up with your wardrobe. But if you let your not keeping up with my.
You know this set of imagery isn't really that interesting but it does demonstrate a certain dynamic I had in the movie industry.
It also gives me the opportunity to talk about the focal length of lenses and what the focal length does to an image. This is going to become important when I begin to address global girl which juggling sledgehammers.
This image has little to do with breakfast but happens to carry the same date stamp as the other images, I'm including it because something about this came up and I've commented on it.
There has been in edit made here.
I'm in town staying with some family, my nephew has an idea to go to a restaurant and some friends of the family come along with us. Were going to go to one restaurant but it's like Norwegian sardines, so we punt and go to a different restaurant and this was our server. Now I feel weird putting her in here, after all I have made some editing choices based on people, but she's a young woman that's actually quite attractive and very pleasant. If you go to this restaurant she would make a good person to be your server.
I feel odd saying that. I think it's because Dean wants me go to the river.
Trust me if you saw my work you would realize I've been doing this my entire life. Now below we have some images that aren't really that interesting. I will say that I had a small role in the making of a educational shall we say, PSA. It had to do with rape awareness and being careful. It also had some needed with the post office, I'm not kidding, and once you are inside the post office you were staring at giant platters of cocaine. In those days it was basic white powder. they served it up on platters, seriously!
Anyway my job had to do with continuity, the camera would set up and they would organize the scene and it was my job to study what they had done so if they had to go back and re-shoots something, say a week or 2 later, I would have detailed notes on what was in the scene so the next set of shots could be integrated with the previous set.
You pay attention to what people were wearing, what's on the bar, what's the bartender looked like, and stuff like that. My big thing was the straws, it was being shot at a bar so drinks were being served and there were a lot of straws. Aware to make sure that there was continuity within the straws which kind of gets back to the kinder and gentler machine-gun hand and 1000 points of light.
Okay let's get to the real reason why I'm including these images.
I was looking at the little girl who is juggling sledgehammers image and wondering how could she not know what she was doing. At the very minimum she has an eye for IT! I thought about giving a college lecture and explaining how someone with advanced visual skills can dissect a certain type of material. And I was going to use what I know about art to reshape how you look at media. Here we have a shot of a woman and a glass with straws.
As you can see there is a little dynamic change within each of the images. What you can see in these if you look closely is the changing of the relative dynamics associated with the distance between objects in these images.
Simply put a wide angle lens, a lens with a broad perspective, exaggerates space between objects and a telephoto lens which is kind of like binoculars or telescope, compresses the distance between objects.
This can easily be seen in the 2nd and 3rd image, in the 1st image I'm assuming that this would be wide angle, it's hard to tell if the woman is with the man or not. I do not think she is, I think she is at an intermediate table between us and the man who was on another table farther beyond her.
There are better examples of this but this is one that I have at hand with me now.
This gets back to the idea of what is truly a normal lens. In the old days I would lecture about this and I would talk about mathematics and rectangles and triangles and the square root of the hypotenuse.
It's named after a guy whose last name begins with the P. In him up with this mathematical idea of figuring things out.
Anyway that's how science developed the notion of what is a normal lens for given format.
But it's really ridiculous, every image maker has their own idea of what a normal lens is, for me, back in the 35mm full frame days, the mainland's I chose to use for most of my image making was a 20 mm F2 .8. Now there is a mistaken that sentence but I'm not going to correct. IT!
Another great lens, that I used often was a 35 to 70 F2 point.8
that's the primary lens I use when I was overseas. It was made by a company called CAM Ron and you could buy different adapters and I use different cameras, sometimes Nikons sometimes Pentax and in those days I also used an unusual camera called a raw flax…
you're going to have to correct that. Or don't. Anyway if you had the mounts you can use their optics on any camera. I still own to optics made by this company. One is a 135 mm F2 .5 and the other is the lens I've just stated, a 35 to 70 F2 point.8.
I recently found that optic and tried to use it. It's got focus issues!
You know in the world of digital imaging I feel that everyone has forgotten the fundamental dynamics associated with making good images. It's like instant Polaroids.
Now Polaroids were actually a serious photographic material at one time. Now they're more or less invisible. Anyway, if you're going to be good at certain dynamics of media you need to understand the structure of the medium you're working in.
Okay I'm not ready to give the lecture yet.
I still got some Riverside issues.
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