I need more space - part 1 of 2
Added 2021-12-20 08:30:01 +0000 UTCI like to use longer focal length because they provide something like an abstract elevation image of a building.
But to take in all of my subject, especially a full figure, I need plenty of space between me and the model.
And, if I want a proper separation of my subject from the blurred background, I also need plenty of space between the model and whatever is behind her.
The basement of the location in Merate represents an ideal situation.
Linda was about half way between me and the distant wall, and I was using the Nikon 105mm f2.5 AI-s at the widest aperture.
You can still read the elements in the background, but everything is nicely out of focus.
The warm light coming from a spotlight on the right is helping even more to separate Linda from the rest of the scene.
Tomorrow I will show you an example picture I made moving Linda further back, to have her illuminated by the natural light coming from the door on the left.
It is a less successful composition (and I made less photos in that scenario), but it is important to understand what happens when you don't leave enough space behind your subject, and she becomes part of it.
With a closer crop on the subject, like a portrait, you can diminish both the distances and still get a great effect in less space.
The entire shooting of Linda has been uploaded on my Archives, complete with the backstage videos, so you can have a better idea about how I work.
If you have any question about Bramley Apple Archives, ask me on bramleyapple@yahoo.com
Comments
Yes! a stronger sense of Presence is clear. Which reminds me of Fred Astaire's remark (conveyed through "That's Entertainment" that "If the camera moves, I don't!" (a paraphrase); meaning that the old-school perfectionist wanted the viewer to feel the PRESENCE of a live performance in which quick cuts, close-ups, and multiple moving cameras, and lots of other modern "improvements' actually tend to confuse and compromise the viewer's keen appreciation of the factual performance event in a "oner" (a take that runs the entire length of the dance number without cuts). Fred accepted a compromise in the creation of The Astaire Dolly on which the camera operator and focus puller rode during the oner, while the lead grip moved the dolly wherever necessary to keep the dancer(s) in-frame from beginning to end of the song/dance which was specifically designed to advance the narrative. Busby Berkely, conversely, liked to use a crane to show off his parade-ground choreography that minimized the dancers into elements of a waving flower or used their body parts as abstract/provocative designs (usually in spite of telling the story). The techniques and devices you utilize to bring me into the Presence of the shoot are appreciated, just as your efforts to bathe the entire model in focus (unless your intent in a certain instance precludes it) is also greatly appreciated. Some things are very difficult to say briefly.
Scott Keith Ellington
2021-12-23 21:25:47 +0000 UTC
