diptych (selection) # 8-13 ~ fabricating camera angles

bridge and bramble ~ Plattsburgh, NY • click to embiggen
late Autumn color ~ Lake Placid, NY - in the Adirondack PARK • click to embiggen
Vermont view ~ Lewis, NY - in the Adirondack PARK • click to embiggen
steeple ~ Pittsford, NY • click to embiggen
shed / vine ~ Whalenberg, NY - in the Adirondack PARK • click to embiggen
motorcycle / house ~ Glens Falls, NY • click to embiggen

There is a lot of talk about camera angles; but the only valid angles in existence are the angles of the geometry of composition and not the ones fabricated by the photographer who falls flat on his stomach or performs other antics to procure his effects. - Henri Cartier-Bresson

I am continuing along the merry road of my diptych (selection)* project, which is essentially a multiple choice exercise in the "... recognition, in real life, of a rhythm of surfaces, lines, and values" (Henri Cartier-Bresson) - as is all of my picture making. That written, as I make my multiple choice selections, I am also holding true to my continuing picture making habit of not fabricating angles by means of physical gymnastics.

That is to write, 92.5-94.9% of all of my picture making has been performed by lifting a camera to my eye while standing fully upright.

The primary reason for that habit is really quite simple - I picture what I see and, for the most part, I see, picture making wise, standing upright. The other 5.1-7.5% of the time, picture making wise, I make pictures at eye level, albeit that that level might be while sitting or horizontally reclining.

In any event, it is safe and accurate to write that, when a referent pricks my eye and sensibilities, I picture it in the exact same body posture I was in when I first noticed it.

*FYI For those who haven't read it, the work-in-progress Artist Statement is HERE

Comments

[John Linn]

>>I picture what I see and, for the most part, I see, picture making wise, standing upright... when a referent pricks my eye and sensibilities, I picture it in the exact same body posture I was in when I first noticed it.

So when you "see" the referent, which framing captures your vision? In other words, what is the "equivalent" focal length of your vision? Or do you have "zoom" vision?

And why shoot two focal length framings from the same position when cropping the wider frame would result in the same result?