They say that a picture is worth a thousand words, but sometimes, some of those words need to be cut. Croping is not just about trimming an image – it’s about intensifying the story you want to tell.
Power of crop. I see articles from time to time to promote the idea that the original in-camera crop of an image should be shown and that has more internal value for an image if it is shown unwanted. This is especially common among film photographers, and this is something I never understood. I show you some images that were taken from exactly the situation. Some are extracts from a large picture; However, under the circumstances of that time it was decided that I could only be in that situation – personal safety issue was because the decline was disastrous. Some film users also used special film holders to show the margin of the image frame. Comedyly, I see that some digital photographers connect the frames digitally, which I find a kind of artificial, but for each.
Many more paintings were made from this exact place above. Here the lesson should be found for many images inside the image you created.
Usually, a photographer will harvest a lot of materials in any photo. For that case, a painter also does. So what is the difference between showing a part of a very large scene once when you create the original image and once harvest the image, when you see the original image as a certified image or as a raw file on your computer?
So when is there a sign of crop? My choice is when there is an element that is visually distracted for me. I looked at this pine from a very low height and did my work up to a situation above it, but behind it is not enough to separate it against the mountain … I ran out of the mountain to climb in this case. so what to do? Prakash was actually what I wanted, but I could not go more, and the redline of the mountains in the distance is a big view for me.
So the business-borned bristlecon had to cut a portion of needles and get rid of the ridgelin, or keeping all trees and living with redgelin-who is a monster distraction for me. Finally, it was more important to get rid of distraction, and I could live here very easily with the crop. The bottom line is that we can not find everything like we want, so we have to compromise.
BTW, this was done using a Toyo 45A camera. I finished using 210 mm Cinaron-S Lens, a #15 Yellow Filter and Kodak T-Max 100 film. Using a long focal length lens like 300 mm, and on a high position on the mountain I solved the problem. However, at the highest point of the peak I was at, the solution was far from the table. Working with an image in a digital miliyu would allow me to exclude Ridgelin, to do a very simple thing, but it was using the film and dark paper. Although I am great for excellent dark printer, what can I do in the darkroom.
There is another time for the crop when the disturbance is disturbed on the edge of an image that was either left to the original risk or which could not be dealt with in the moment. And sometimes it is necessary to include such elements that we know that there will be a distraction, but they are there, so we have to deal with them.
And yes, I look at the stick that is still in the upper left corner. Although its promotion is very low, and the forward side is the crop, which I could, will harvest some materials that I think is important for the composition. So sometimes there should be an agreement and you have to choose what you want it.
Crop infiltration
One of the things I usually do, I really open the shutter on the material I am portraying, that is physically, with my eyes, whatever is, whatever is, will scan the edges of what is, and then try to get rid of those things before making the exposure. I say “infiltration” in my photo. They can be tree branches, twigs, cigarette butts or even a dirty baby diaper, or worse, which someone has left behind; And Btw, when you are out, take a big garbage bag with you and pick up that garbage! Sometimes, however, despite your best efforts, something can happen that you ignore. It happens to all of us. When there is doubt, harvest it! Even when there is no doubt, take it.
Many years ago I was elevated in the mountains of Central Colorado when I came to an aspen forest, where there was a group of cow parsnip that bloomed into a very thick forest of aspen trees. I, with great enthusiasm, set my tripod, took off my back pack and set my camera. As I was, I remembered the salad bar of greenery on the lower left edge of the image. Only after going home, processing the film and giving evidence that I realized what I had done. It was no mind for me. Salad Bar will have to go.
The image, as presented here, has a much more satisfactory image for me because both of them have been evacuated and the salad bar in the lower left corner. For me here the key is to emphasize the bloom of cow’s percenips near the lower middle, and many textures of the forest are understood against the bark and vertical looks of the aspen in the forest.
Sometimes, the material on the edges of a scene would be either not seen in the original exposure or like these images, where I was using a large format camera again, where I was again,. Because of that, I was not using a zoom lens – only certain focal length lenses are available. In the first one, I was going to one place in Arkansas, and as soon as I went to a corner in the footpath, I was facing these two sycamore trees. It was late spring, but there were still leaves that were hung in winter, and they gave an elegant color opposite against the wall with their red and brown tones, which appeared almost blue due to luminance reflected with open sky blue-chin. A complementary color scheme, and one of my favorite.
As you can see, the crop removed a scene with the left edge and a place of the open sky in the upper right corner. The crop can be a powerful tool!
Another time, when I was working as an artist at the residence for the National Park Service at Buffalo National River in Arkansas in the very early spring, Redburs and Dogwood were blooming at the same time. (Interesting Side Note: That year, they had two springs – a rare event – due to which Redburses and Dogwoods had to bloom concurrently, so I was very lucky to live there at that time!)
I was dropping a highly steep section of the Buffalo National Trail. The footpath was extremely standing – the Ozark Mountains are originally vertical with a modest pitch – and there was no physical way that there was no way to move away or away from the material I was trying to portray. So I did the best with the devices that I was available with.
The crop can be a very subjective equipment. I cropped the tree to the left side of the frame, crop the redegel of the opposite mountain, and get rid of the contents of some tree on the right because I wanted the main focus to the white dogwoods near the upper center of the image, with the pink and friend of the redbuds with the bright greens of friend’s pink and friend. Other people may like to keep those elements in their image.
So the line below is what you don’t want to show. Nothing is sacred, and no format or ratio is sacred. I was told at the beginning of my career that everything should be 8×10 or 5×7 proportional and all cropping was to be done on camera. Of course, all this is nonsense – what horses leave on the floor of the stables where they spend the night. You are an artist! You decide what your picture will look like. For better or worse, this is your photo – do it what you want.
