The frame vision

JJBW115

Book Excerpt:
Photographs are created within a spatial context, and that context is the viewfinder frame. This may be carried through unchanged to the final image, whether print or on-screen, or it may be cropped or extended. In whichever case, the borders of the image, nearly always a rectangle, exert strong influences on what is arranged inside them.

There is an important distinction, nevertheless, between composing photographs in the frame as they are intended to be, and planning ahead to either crop or extend the frame. Most 35mm film photography has been concerned with tight, final composition at the time of shooting, and at times this has led to a culture of demonstrating the fact by showing the rebates (the frame edges of the film) in the final print—a way of saying “hands off” once the shutter has been released. Square-format film…is less amenable to comfortable composition, and is often used for later cropping. Large format film, such as 4×5-inch and 8×10-inch, is large enough to allow cropping without much loss of resolution in the final image, and is also often cropped, particularly in commercial work. Now digital photography adds its own twist to this, as stitching becomes more widely used for panoramas and over-sized images…

Facility at using this frame depends on two things: knowing the principles of design, and the experience that comes from taking photographs regularly. The two combine to form a photographer’s way of seeing things, a kind of frame vision that evaluates scenes from real life as potential images…
~Michael Freeman from his book The Photographer’s Eye

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