Re: [Leica] The Americans, Avedon, etc

[Mike Gil <dtt2150@yahoo.com>]

The Heisenberg Uncertainty Principle applies only to
very small quantities.  It doesn't apply to large
systems.  The principle that works for large systems
and the interaction of large energy fields with other
objects or persons has not been formalize yet.  My
600mm pointed at a football player down field does not
effect the play.  Now if I want to fill the frame with
my 21mm, we can discus.

mg

- --- Andrew Schroter <schroter@optonline.net> wrote:
> Perhaps what the reader of the book or the viewer in
> the gallery see is what
> the world looks like from the point of view of the
> photographer and how the
> world reacts to the photographer.  Avedon, in his
> introduction to "In the
> American West", writes "There are times when I speak
> and times when I do
> not, times when I react too strongly and destroy the
> tension that is the
> photograph."    This is an example of the Heisenberg
> Uncertainty Principle
> at work. (See
>
http://www.honors.unr.edu/~fenimore/wt202/close/#principle)
> if
> you don't get my drift.  Photographers, the closer
> they come to their
> subjects, the more the subject is affected.
> 
> 
> ----- Original Message -----
> From: "Harold Gess" <Harold.Gess@btinternet.com>
> To: <leica-users@mejac.palo-alto.ca.us>
> Sent: Monday, August 13, 2001 2:59 PM
> Subject: [Leica] The Americans, Avedon, etc
> 
> 
> > I have been following the thread on photographers
> and the truth or
> otherwise
> > of what they show.
> >
> > I think that we must remember that each of us
> carries with us our own
> > experience, vision, ideology, and set of interests
> or agenda with us.
> >
> > Some of us might go to a country and photograph it
> from one point of view,
> > others from another. We each see what we want to
> see. That does not make
> our
> > images illegitimate or a lie. It does not make
> them a balanced view
> either.
> >
> > I might go out and photograph Paris and seek out
> the lovers, the artists,
> > the coffee shops, the romance of paris, people
> enjoying the spring and
> call
> > my book "Parisians". Somebody else might go out
> and photograph the drug
> > scene, the poverty which exists in some areas, the
> night workers, the
> > prostitutes, etc and call their book "Parisians".
> A third photographer
> might
> > take the same title and photograph office workers,
> religious figures,
> > politicians and shopkeepers.
> >
> > None of the three books is an accurate view of
> Paris. Does it matter? Each
> > is an experience, a vision of Paris. Each is
> legitimate but none is a
> > complete view. Nobody will ever produce a complete
> and balanced view.
> >
> > I think it is much more important to view what is
> being said and to accept
> > that that is how someone saw, or chose to see, the
> situation or place,
> > rather than to try and quantify whether it is an
> accurate portrayal of our
> > own experience of the same place.
> >
> > Harold
> >
> >
> >
> 


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