MF raises the issue of what actually happens with the process of making a photograph. He points out that art in many forms is essentially instinctive (my word not his) - "most photographers would simply rather get on with shooting and not analyze the process".
IMAGE TEMPLATES
note conflicting tendencies between "balancing, ordering, and organizing so as to satisfy the sense of rightness, the other is injecting surpise and imagination in order to stimulate."
When shooting, also have the conflict between "drawing on what one knows works from experience, and exploration and experimentation."
We all have ideas of what works (mine is shooting from behind people watching something). We have visula preferences (in a way this is similar to the argument that there is no objectivity in social science - we are to some degree conditioned in how we look at the world).
These are image templates- the framework for an image.
INTERACTIVE COMPOSITION
Only in pre planned advertising or stree photography do you get a single composition decision; otherwise you get the reaction between the changing situation and your changing ideas about it.
TIME AND MOTION
Latley, motion blur has come to be seen as acceptable (because we understand it) and slow shutter speeds accepted as an option, not something forced on us.
THE LOOK
Here we are talking about surface and presentation, not content, idea or shooting style. Come from the world of digital processing.
Four classes of look:
HYPER-REALISTIC - crisp, equalized, metallic, gritty
ENRICHED - vivid, rich, dense
DRAINED - bleached, muted, pale, grimy, cross colour
LUMINOUS - glowing, hazy, milky, soft, smooth
crisp - enhancement of micro detail - HDR
equalizer - enhancement of shadow - HDR realistic
vivid - favours colours in brighter tone range
rich - favours darker tone range
