Archived posting to the Leica Users Group, 2004/11/01

[Author Prev] [Author Next] [Thread Prev] [Thread Next] [Author Index] [Topic Index] [Home] [Search]

Subject: [Leica] LIGHT......PHOTOGRAPHIC DISCUSSION. !
From: s.jessurun95 at chello.nl (animal)
Date: Mon Nov 1 12:17:42 2004
References: <25686193.1099334251203.JavaMail.root@daisy.psp.pas.earthlink.net> <001001c4c048$850126c0$87d86c18@ted>

here are some examples on a Dutch site.
http://www.statenvertaling.net/kunst/werken/rembrandt.harmensz.van.rijn.html
he was very much influenced but the work of Caravaggio
here,s his link
http://www.statenvertaling.net/kunst/werken/caravaggio.html
best,simon jessurun amsterdam

----- Original Message ----- 
From: "Ted Grant" <tedgrant@shaw.ca>
To: "Leica Users Group" <lug@leica-users.org>
Sent: Monday, November 01, 2004 8:25 PM
Subject: [Leica] LIGHT......PHOTOGRAPHIC DISCUSSION. !


>> Ted Grant <tedgrant@shaw.ca> wrote:
>> >> we might discuss the most important element of successful photography, 
>> >> light!
>
> Douglas Herr offered & showed:
>> > I'm game!  Here are a few examples to start things off.  I'll take a 
>> > thin overcast over
>> > direct ..sunlight any day but whatever the light is I want to make the 
>> > most of it:
>> > thin overcast:
>>
>> http://www.wildlightphoto.com/birds/raptors/buow01.jpg
>> The overcast acts as a huge white light source giving gentle shadow 
>> transitions no hot spots and rich warm colors.  A blue sky fills the 
>> shadows and leafy reflections with blue.
>>
>> direct sunlight:
>> http://www.wildlightphoto.com/birds/raptors/haha00.jpg
>> Not my favorite light 'cuz shadows are so dark.  I avoid putting much 
>> shadow area in the photo when I've got direct sunlight to work with.
>>
>> backlight (2 examples)
>> http://www.wildlightphoto.com/birds/hummingbirds/hbird.jpg
>> With transluscent stuff you can make colors light up.  Use a flare-proff 
>> lens or keep the front of the lens shaded.
>>
>> http://www.wildlightphoto.com/birds/cbth00.jpg
>> backlight with opaque subject gives you rim light; best if you can keep 
>> your background and lens in the shade. <<<<<<<<<
>
> Hi Doug,
> As always these are examples of a "Master in understanding how to make 
> light work in the success of your photographs!" It's always the same 
> thing. It's your understanding of how to make the light work effectively 
> as opposed to enough for an exposure.
>
> Enough for an exposure is easy, anyone can do that with a point & shoot or 
> the most expensive camera available. But recognizing the light and how it 
> enhances your situation is far more important than the volume to make an 
> exposure. Sure one still requires sufficient for a correct exposure, 
> however it's "seeing the light" and using it effectively is what makes the 
> "Magic of Light" work.
>
> The light to watch for and use in shooting as an opening lesson in ones 
> search for light is...... "Look for the shadow side then shoot from that 
> side." This doesn't mean silhouette, it's a form of 3/4 lighting where the 
> shadow is off to one side toward the camera side.
>
> My suggestion is... go to your local library and see if they have art 
> books showing the paintings of Rembrandt and you'll see exactly what I 
> mean immediately. Or any books with "portraits" and look for the 
> "Rembrandt lighting or 3/4 light" illustrating a small highlight on the 
> off side cheek and eye on the "shadow side."
>
> Once you have this recognition down pat, you'll find yourself gravitating 
> to the shadow side automatically as you view the scene or situation before 
> you.
>
> For those of you with copies of my medical books, "Doctors' Work,"  "This 
> is Our Work," or the latest "Women in Medicine" you'll find many examples 
> of shooting from the shadow side in completely un-controlled environments. 
> Look for it every where you go and eventually it's as simple as breathing 
> and your picture "look" will improve.
>
> Then it's easy after you have one kind of light recognition learned, as 
> you'll begin to see others that Doug has shown examples of so beautifully 
> in his photographs.
>
> Whether one is shooting on film or memory cards doesn't matter as it still 
> comes down to the best pictures have the best light making them work.
>
> Just look at the portraits of Karsh.... he was an absolute master of the 
> 20th century at using light photographically. He was also a mentor of sort 
> in the success of my photography over the years along with his brother 
> Malak as they both lived in Ottawa and became friends of mine. Trust me a 
> critique from Karsh was an un-nerving experience to say the least! :-)
>
> Anyway as you can see from Doug Herr's beautiful photographs and his use 
> of light makes magical photographs everytime.
>
> It's all about light first and the rest is easy after that. ;-)
>
> ted
>
>
>
>
> _______________________________________________
> Leica Users Group.
> See http://leica-users.org/mailman/listinfo/lug for more information 


Replies: Reply from tedgrant at shaw.ca (Ted Grant) ([Leica] LIGHT......PHOTOGRAPHIC DISCUSSION. !)
In reply to: Message from telyt at earthlink.net (Douglas Herr) (LIGHT (was: Re: [Leica] WAS: LEICA SEMINAR! 2004. NOW: PHOTOGRAHIC DISCUSSION. ?))
Message from tedgrant at shaw.ca (Ted Grant) ([Leica] LIGHT......PHOTOGRAPHIC DISCUSSION. !)