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Standard Sizes

Sunday, 1. July 2018 23:12

In case you haven’t noticed, the internet is rife with advice for artists. For instance, a Google search yields 71.5 million articles. Some of the articles are nothing more than common sense; others border on the surprising. Some seem useful and others no so much. Occasionally, I will read advice articles, particularly if they have something to do with theatre or photography. One can never have too many insights.

Recently, I ran across one that was purported to be necessary tips for photographers. There was one on this particular list that I had not run across before, so it stuck out: “Make standard size images.” It’s very practical advice, particularly if the photographer is doing commercial work. Off-site printers usually price by standard sizes. In-house printing benefits from standard sizes in that (a) those are the sizes in which paper comes, and (b) printing to those sizes eliminates time-consuming trimming. Image-processing software facilitates cropping to standard sizes. Even mats come precut to standard sizes, as do frames. Printing standard sizes makes everything cheaper and easier.

Standard sizes do, however, introduce a restriction into the creative process. Some artists welcome restrictions and boundaries because they have been shown to enhance the creative process. Some photographers take this into account in their workflow. For example, there are photographers who know when they take the picture what formats the prints will be. Indeed, a number of photographers shoot with specific formats in mind for a series they are developing. Some photographers intend to use 100% of the negative or capture in the print.

My experience, however, has been that no matter how much planning goes into a shoot, there will always be images that cry out for cropping, and that, once done, actually “makes” the image. Conscientious cropping can establish the organic boundaries that allow the image to be all that it can be; such boundaries have little to do with standard formats.

And if the boundaries are organic the image will naturally look better. Why? Because the edges are part of the picture. Where the photographer draws the boundaries defines the image. The distance of elements in the picture from an edge contributes to the composition, modifying the image’s impact, and probably its meaning.

So it turns out that perfect cropping often results in a nonstandard-size print. Sometimes it’s off by a little; sometimes a lot. But it almost certainly will be off. Then the photographer has to decide whether or how to massage this perfectly-cropped image into a standard size. If the photographer decides on standardizing the size, the question becomes how much of a compromise is s/he is willing to make.

One photographer I know has five different scalable “standard sizes,” four of which are based on height-width ratios. The last is a variable size for long, skinny pieces. The rationale is that given that many “standard” possibilities, one would come close enough to the perfect crop that any compromise would be minimal. He says, however, that even with all those choices, he still occasionally has a crop that just won’t work with any of his standard sizes. What does he do? He prints a custom size.

There are circumstances which dictate that standard sizes are the proper choice. My vote, however goes to the photographer mentioned above. Art is not meant to be fitted into standard-size boxes. Think about novelists or poets or composers or choreographers or directors having their work confined to “standard sizes.”

Selecting an artistic form is far more complex than selecting which standard-size box it fits in. One of the goals in creating is, I think, to allow the artifact to reach its full potential. And whatever size that turns out to be is, by definition, the perfect size for the piece, whether it is standard or not. This is true not only for photography, but for all the arts.

Category:Creativity, Photography | Comment (0) | Autor:

New Wine

Sunday, 19. October 2014 23:04

It may be that you have never even thought about photographic formats, and you probably did not expect to be reading about them today, but a recent experience caused me to think that there may be something valuable to be learned from them.

Those who know my photographic work know that I do abstract work, much of which is sort of a photographic collage that assembles separate images of parts of a subject into a new image wherein the relationships between the parts are changed. In order to present these ideas I often arrange the images in a variety of gridded structures which allow me to examine and modify those relationships.

Let me hasten to say that I do not believe that there is anything wrong with the single-image square or rectangle (in any number of length-width ratios). Many photographers would never consider using anything else. I use them myself, but for this recent work, more complex formats provide a better structure.

This gridded structure was what I had in mind as I began work on my latest project. The photo shoot was challenging and quite lengthy, and I recall thinking at one time that the subject matter was unlike anything I had ever done before. I did not realize how different until I looked at the images in LightRoom.™ As with almost all of my shoots, there are a few images that I want to print just as they are, with no collage, no restructuring. And in this shoot, there were those. However, among the other images the potential relationships that I am used to seeing and restructuring were not there.

My first response was something close to panic. I had no idea what to do. Once the panic subsided, I realized that I would have to find new ways to deal with this material. This subject matter and the formats I had thought to use were simply not a fit; existing structures, at least those in my repertoire, would not support this imagery. What to do?

Take a flying leap into the unknown: create  new structures. Find new ways to talk about the relationships of the parts. Think not just out of the box, but out of the warehouse.

This could have been devastating. Instead it was exhilarating. The old structures were comfortable and provided a known framework on which to hang images and ideas. But this material demanded otherwise. New forms were necessary to allow the communication of the ideas and emotions I was going for.

So I set out to develop new structures, new ways to present the material, and I am still developing. It is definitely a work in progress, and currently I am at the stage where I don’t like much of anything that is “completed.” So I have decided to let images sit for a time before I go back to them for editing or reconfiguring or trashing and starting over. But since I can’t quite let go of the project, I am using that “dead time” to write about it.

The lesson? Regardless of our medium (it is not such a big jump from photography to other arts), we must not confine ourselves. Yes, sometimes it is both comfortable and exciting to work within the confines of a given form, to find the limits or to find variants of those forms that might work better for certain subject matter. But sometimes even a complete reworking of old forms won’t do the job. Sometimes, the structure of the containers themselves must be different in order to reflect the uniqueness of the subject matter. Perhaps we may even want to consider new forms and structures every time we do a new project. New wine requires new bottles.

Category:Aesthetics, Creativity, Presentation | Comment (0) | Autor:

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