Clay Poole wrote:
Insanity: doing the same thing over and over again and expecting different results.....Albert Einstein

I knew the quote, I wondered who the author is. On the other hand, I dare you to name any good artists of any genre who are not, in some way, batshit fucking nuts.

Brian Diaz wrote:

Style is not a uniform.  It's a wardrobe.

whoa.  paging mr bartlett.

Bob Randall Photography wrote:
do you?

I believe all darkness is the same.

parkus photography wrote:
the camera records about  4 stops, the human eye sees nine stops, and a cat sees 22 stops.

that's why i only shoot neg film for my feline clients.

Bob Randall Photography wrote:

You are very close!

close to agreeing with bored bob that is.

Bob Randall Photography wrote:

If all light travels in a single straight line how do you account for scattering qualities of the penumbra?

hey bobbite, as you well know, there is a rule against using the word "penumbra" in a forum more than 10 times in one month.

you have just violated that rule, and earned a citation (not the good kind).

ticket is in the mail.

pay it on time and no one will get hurt.

fail to pay it and black ricco is pedaling down there on his tricycle with his famous golf club.

you have been warned.

(now, back to the regularly scheduled bored boob, i mean bob, posting party.)

Marcus J. Ranum wrote:

I've noticed that you've taken to starting a lot of these pointless discussion threads. Have you decided to fill in for BCG now that he's gone?

mjr.

*APPLAUSE!*

Bob Randall Photography wrote:
If each lighting situation requires adaptation to it's condition, how do you enforce your style on it?

Let's pretend the sense of style starts with other than light and whether to respond to it as a condition of shooting, as a sailor would to wind as a condition of sailing, or whether to create it, which a sailor cannot do with wind, lol, has to do with other aesthetic, philosophicle, and psychological proclivities on the photographer's part.

That's my great statement for the evening: I'm going to stir up one cold martini.

Webspinner wrote:
I would really like to know about some good books on lighting. Studio or natural, doesn't matter. And if you guys won't tell me I will write a message to alexwh....and I am good to follow up on my threads.

1) Painting with Light, by John Alton (a must have-bob needs his own copy too)

2) Understanding Exposure, by Bryan Peterson (a must have-because without correct exposure, knowing anything about light is pretty pointless)

3) The Art of Photographic Lighting, by Michael Busselle

4) How to Control & Use Photographic Lighting, by David Brooks

5) The Photographer's Guide to Using Light, by Ted Schwarz and Brian Stoppee

6) Ignore Everything Bob Says About Lighting-Or You'll End Up Just Like Him, by Laurence Samuel

***

There ya go young lady....titles 1 and 2 are must haves...the rest are handy because no one tome gets ya what you need...note: #6 is a collector's item, and as a collector, you won't want to miss it.

You now owe me a jelly donut you have sucked the center out of.

Bob Randall Photography wrote:
In this particular thread I was going to deftly lead everyone into a discussion of photographic style and how it relates to manipulating light to your will. What skill sets you need to accomplish this and what it looks like when you have a body of work that is derived from a myriad of lighting techniques but still exudes a cohesive visual aesthetic. Pointless? You get an F in this class.

in this university the students arrive with degrees and spend the 4-years trying to prove it wasn't purchased with cracker jacks.

oldguysrule wrote:

in this university the students arrive with degrees and spend the 4-years trying to prove it wasn't purchased with cracker jacks.

And the Analogy of the Year Award goes to....

Bob Randall Photography wrote:
I believe all lighting is the same...
do you?

At the quantum or subquantum level, probably.

At the macro level, where human perception occurs, generally not. Too many elements intrude to shape the light, from collimated to highly scattered; from its color due to interactions with other elements; from the fall-off seen based on how far the light is from the subject being observed vs other surrounding elements; from the angles it strikes an object; etc.