ADG 14 days - day #5
Davide Montellanico
Giuseppe Carmine De Blasio
Why the heavy blurring and the cropping of the blossoms and the (for me)
unbalanced composition due to the placement of the chinese ideogram?
It's *not* a critic, really. I just would like to understand the concept...
if you don't mind explaining it. (I like photography, in case you forgot)
Yours truly,
--
Pepe
Milano, Italy
Davide Montellanico
"Giuseppe Carmine De Blasio" <gcdbT...@email.it> ha scritto nel messaggio
news:dsd8ng$509$1...@area.cu.mi.it...
>> Please post comments:
> Why the heavy blurring and the cropping of the blossoms and the (for me)
> unbalanced composition due to the placement of the chinese ideogram?
The heavy blur was used to get a painting look. I just tried to stay between
the line of photographic and hand made look.
Did you say unbalanced because of the large empty space?
The blossoms were cropped because the photographic image was thought this
way.
The blossoms were originally white in colours. Red, black, white and grey
are the more used colours for traditional art and crafts in Japan.
I made seven shots of the same subject against a black panel. Some are less
cropped than others. Anyway I thought it would be more interesting to make
some shots with the blossoms against the edge of the picture. I prefer to
use a lot of empty space around my subject. I love japanese art *the Zen
art* and I feel myself very close to its spiritual and easthetical thoughts
about the emptiness. In Japan emptiness and silence have the same value as
fullness and sound. Use elements carefully and sparingly and let the
emptiness sustain them and/or speak for them.
In addition one of the main features in japanese art is about cropping
image. Since the past, japanese art has had this feature. Touluose-Lautrec
were particulary intrigued by the japanese way of cropping figures. Many
impressionist painters were also influenced by japan eastethics
experimenting with unusual angles not previously used in western art. The
approach is somewhat the one used for a shot in a movie.
Simmetry is another thing I have to avoid if I want to mimick japanese
style. My approach can seem based firmly on rigid rules, but anyway there
is no art or creative expression that is not based on easthetical rules. We
can try to break them if we want but we have to know them before we do it.
> It's *not* a critic, really. I just would like to understand the
> concept... if you don't mind explaining it. (I like photography, in case
> you forgot)
oh yes, I didn't forget you like photography and I rember it is one of your
working skills.
I'm very pleased for your comments and despite it's sometimes difficult for
me to express articulated thoughts in english, I like to try to do my best
to succeed with it. Sorry if I made some mistakes. No offense if you want to
correct me.
Sincerely.
--
Davide
Davide Montellanico
"Giuseppe Carmine De Blasio" <gcdbT...@email.it> ha scritto nel messaggio
news:dsd8ng$509$1...@area.cu.mi.it...
> chinese ideogram?
I'm sorry Pepe. I didn't read your post with care. You just mentioned why
the composition seems so unbalanced: the placement of the kanji ideogram!
I have to admit I didn't think so much about it. I just wanted to avoid to
place it aligned against the edges of the canvas. I think that placing it
near the subject it adds more resonance to the entire composition. It is
perceived at firts and it doesn't conflict with empty space.
cheers.
--
Davide
Giuseppe Carmine De Blasio
> place it aligned against the edges of the canvas. I think that placing it
> near the subject it adds more resonance to the entire composition. It is
> perceived at firts and it doesn't conflict with empty space.
XOXOXO
--
Pepe
Milano, Italy