Sorry, I'm not an artist. I just takes pitchers. :-)
Chuck Norcutt
On 6/13/2012 10:44 AM, Ken Norton wrote:
>> The real world does not contain film grain. How can you confuse real
>> with plastic? :-)
>
> That doesn't matter. A photographic print is already an interpretative
> representation of the real world. The print is NOT real. It is not a
> "window" in the wall looking out at those mountains or whatever it is
> that is contained in the image. It's like a painting--it's not a
> transparent window, it's an object in its own right.
>
> Making a "transparent" window lined by a picture frame may be the
> intent of some photographers, but those of us who are guided by the
> ideals of traditional art forms, the photograph is intended to be the
> tangible object itself.
>
> This is specifically true when we deal with B&W photography. By its
> very nature, a B&W photograph is far far away from "real world". As
> such, we need to define for the viewer the rules of visual engagement.
> For instance, we need to establish reference points of light and dark
> to identify the tonal end zones. An image that is strictly all grays
> won't fly (except in extremely rare examples and they need to be
> matted and framed in hard white/black surrounds). Color images are
> another beast, though. In color, a mid-tone must remain mid-tone (as
> expected in the real world) and establishing tonal boundaries are not
> required.
>
> So, where does grain come in? I think grain is important in several regards.
>
> 1. It can be part of the subject
> 2. It can be part of the composition
> 3. It can be used to establish mood
> 4. It can be used to provide a critical point of focus for the eye in
> areas where there is nothing that is in focus
> 5. It can be used to soften the harshness of dominant blacks and whites.
>
> I'm sure there are other factors, but those are ones that come to mind
> as I talk out of my hat.
>
> AG
>
--
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