Archived posting to the Leica Users Group, 1998/08/08[Author Prev] [Author Next] [Thread Prev] [Thread Next] [Author Index] [Topic Index] [Home] [Search]
Try a new perspective: Go in close, go down low. Get out of your car and walk. If you live in someplace of no great scenic wonders, such as a modern subdivision, look for an image which can express the numbing sameness of = the houses, the endless cul-de-sacs and rows of garages. If you live in an area of famous scenic beauty, play with the viewer's expectations by avoiding the famous landmarks, and forget the notion that you must provide some sort of overview which shows a place "as it is"--th= ose sorts of shots appear as postcards all the time, and most are insipid. If you own a full-frame fisheye lens (if so, lucky you!) try taking photo= s which cannot be distinguished as fisheye lens photos. Try mood pictures (what is happiness, what is gloom, etc) without actuall= y having people in the image. Read Calvin & Hobbes and the various short stories of Ray Bradbury, or, i= f you require something more strictly photographic, Freeman Patterson. Try reducing an image to almost pure pattern, form, color or texture, without any attempt at making it recognizable. Don't save the Leica for special photo outings!!! Jeff - -----Original Message----- From: Joseph Codispoti <firstname.lastname@example.org> >As a first challenge (albeit a small one) for Curt Miller, or anyone willing >to comment, I would like to know what exercises photographers who "can=92= t see >the forest for the trees" employ . In other words, how can one keep sha= rp >in spotting a potential photograph among the mundane. >When I travel I find all I see to be exotic while in my home surrounding= s I >tend to became blase at seeing the same haunts day after day.