It’s been a while since the last composition post – I think I’ve covered nearly everything now ;-). But at the risk of talking out of my ass, I’m going to tackle an aspect of composition that’s often very important to get a good
Every once in a while, you will get to hear the phrase, “other ways of knowing” – almost invariably, it will be in defense of some topic that is sorely lacking in demonstrable evidence or repeatable results. But this doesn’t matter, because science isn’t all it’s cracked up to be, since there are other ways of knowing. While, not surprisingly,
I have very mixed feelings about emotions [now, there’s a sentence of remarkable profundity.] As manifestations of internal functions to provoke behavior that benefits our species, they are distinctly important, but too often, they’re not specific enough, or they’re too easy to fool, producing behaviors that don’t really benefit us and are sometimes quite detrimental. I hate
Moods and metaphors are present in a lot more images than many suspect, and in many cases they’re recognized only subconsciously. Being able to induce them in the viewer is one thing, but simply noticing when the opportunity presents itself to your camera is a directly related skill.
Sometimes it’s simple. When I say, “Dawn on the beach,” you automatically get a visual impression