A Quote by Caleb Deschanel
You tend to compose things more in the middle of frame in 3-D than you would in a conventional frame. You can really see composition in 2-D but in 3-D your composition is much more complex. Everything has to be artificially enhanced. But you do gain something else with 3-D: you have a sense of space and heightened reality.
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On one level, I'm interested in how the space dictates the effect visually - how the composition of a given work changes depending on the nature of each wall. But I'm also trying to emphasize less tangible elements: the amount of time it takes to walk the gallery's perimeter; how one's physical distance affects his or her sense of the overall composition; how the size of the space creates a sense of visual rhythm. It's really a matter of seeing how much structure is necessary to impose for those things to become apparent.
So: if you buy the notion that reality consists of the things in your freeze-frame mental image right now, and if you agree that your now is no more valid than the now of someone located far away in space who can move freely, then reality encompasses all of the events in spacetime.
I tell people to frame the picture. Make the greatest, most perfect composition you can . . . and then take a step forward. It skews it a bit and makes it more interesting.
We didn't want to sign the painting itself, that would have interfered with the composition. And even later, for that reason or for another, I sometimes marked my canvases on the back. If you don't see my signature and the date, madam, it's because the frame is hiding it.
In a car you're always in a compartment, and because you're used to it you don't realize that through that car window everything you see is just more TV. You're a passive observer and it is all moving by you boringly in a frame. On a cycle the frame is gone. You're completely in contact with it all. You're in the scene, not just watching it anymore, and the sense of presence is overwhelming.
What if everything you see is more than what you see--the person next to you is a warrior and the space that appears empty is a secret door to another world? What if something appears that shouldn't? You either dismiss it, or you accept that there is much more to the world than you think. Perhaps it is really a doorway, and if you choose to go inside, you'll find many unexpected things.
In the composition of the human frame there is a good deal of inflammable matter, however dormant it may lie for a time.
A composition is always more than the sum of its parts. In other words, a really good piece of music is more than itself. It's sort of like a prism, which you can see from each facet a single totality.
I think about photographs as being full, or empty. You picture something in a frame and it's got lots of accounting going on in it-stones and buildings and trees and air - but that's not what fills up a frame. You fill up the frame with feelings, energy, discovery, and risk, and leave room enough for someone else to get in there.
I feel every shot, every camera move, every frame, and the way you frame something and the choice of lens, I see all those things are really important on every shot.
The more you frame the marathon as a stressful experience, the more negative messages you'll receive. But it's just as easy to frame it as a positively challenging journey.
When the frame's safe, I like to let myself go a bit; play a few more entertaining shots rather than just getting the frame over and done with.
You have to study composition to understand that things can be done backwards and forwards and upside down, inverted, but it's mainly just an inner valid intuitive thing. Where do you want to go? Ok this is busy, or this needs some space, or this is too much space so now I want to put more notes in there or something. It's all about contrast. High, low. Fast, slow, thick or thin or what have you. And it's the same with improvisation.
We may say with truth and meaning, that governments are more or less republican, as they have more or less of the element of popular election and control in their composition; and believing as I do, that the mass of the citizens is the safest depository of their own rights and especially that the evils flowing from the duperies of the people are less injurious than those from the egoism of their agents, I am a friend to that composition of government which has in it the most of this ingredient.
I really believe that is helping people. I've been talking to oncologists about how we can re-frame and re-think the chemo process, so it becomes a much more spiritual, psychological journey. Where people really could burn away what needs to be burned away. It's happening anyway. Why not frame it in a psychological way where it can serve as a transformation?
If I'm doing a story on how a single mother copes in a refugee camp, I'll go to her tent; I'll follow her when she's working, see what her daily life is like, and try to pack that into one composition, with nice light, in one frame.
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