I believe this is all covered by Gestalt theory; that every part of a process
contributes to the outcome of that process. Having shot portraits for
international magazines, individuals, corporations, etc., for over 50 years, I
have witnessed this. The camera size and lens, where it is held, whether the
photographer keeps one eye open and in eye contact with the subject, the
physical environment, all the personal aspects of both the sitter and
photographer (relative genders, sizes, appearances, clothing), the lighting not
only ON the subject but on the environment around the "set". I am sure you all
know that doing a portrait with a Leica is a very different process than with
an 8X10. Neither is better but they are definitely different. This is where the
vision, intuition, and training of the photographer come into play: what to
choose in each variable for your creative intention when photographing that
particular subject.
From: "Dana Myers" <dana.myers@xxxxxxxxx>
To: "pure-silver@xxxxxxxxxxxxx" <pure-silver@xxxxxxxxxxxxx>
Sent: Wednesday, July 18, 2018 11:13:30 AM
Subject: [pure-silver] Re: Speaking of film...
On 7/18/2018 7:28 AM, Myron Gochnauer wrote:
I don’t think we should downplay the psychology involved in using various
formats, cameras, lenses and films. Using equipment
that you know was used by a favourite photographer or common for a particular
style or ‘movement’ can change what and how you
see, and give you the "courage of your vision”.
A very good point, and I believe there's a similar effect on people when
they're the subjects of photography. People always seem a little more at
ease when I'm shooting with the waist-level TLR than eye-level SLR.
Cheers,
Dana K6JQ
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