[rollei_list] Re: Marvin Wallace and I Disagree
- From: Mark Rabiner <mark@xxxxxxxxxxxxxxxx>
- To: <rollei_list@xxxxxxxxxxxxx>
- Date: Thu, 25 Sep 2008 04:25:24 -0400
I painted on the smooth side of Masonite as did lots of my friends taking
painting in Washington university in the 70's.
4x4 was my format of choice.
Feet.
An 8x4 cut in half.
Was a bit tricky to hitch hike down Big Bend Blvd with but I pulled it off.
mark@xxxxxxxxxxxxxxxx
Mark William Rabiner
> From: David Dodge <dannysoar@xxxxxxx>
> Reply-To: <rollei_list@xxxxxxxxxxxxx>
> Date: Thu, 25 Sep 2008 02:28:48 -0400
> To: <rollei_list@xxxxxxxxxxxxx>
> Subject: [rollei_list] Re: Marvin Wallace and I Disagree
>
> I was brought up by artists. They frequently painted on the rough side
> of Masonite. From time to time they'd crop a half finished painting with
> a saw. I remember one large painting that was cropped several times and
> wound up very small.
> David
>
>
> Don Williams wrote:
>> At 07:27 PM 9/24/2008, Marc Small wrote, in part:
>>> Cropped photos are life. I cannot comprehend the sort of
>>> anal-retentive mindset which demands that all pictures be printed
>>> full-frame. It just does not work that way. Any one who has spent
>>> time in a dark room has experienced the process of just HOW to crop a
>>> decent negative. A lot of poor pictures produce a great cropped image.
>>>
>>> Marc
>>
>> I never knew cropping could be such an emotional subject. I never
>> think about it, I just do it, both in the camera and later, as the
>> mood strikes me.
>>
>> I wonder how all the famous painters of the past decided how to crop
>> their paintings. Was it a result of the size of the canvas they could
>> afford, the dimensions of the wall or ceiling they were working on,
>> the size of frames available (if there were ready-made frames), or what?
>>
>> DAW
>
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