This is one reason why I use waist-level finders whenever possible. They allow me to compose the picture with both eyes open. Which is very convenient, because that’s how I look at the finished picture, as well: with both eyes.
Edit: this includes 35mm photography. I have waist-level finders for my Nikons and Canons. The Canon finder took quite awhile to find.
There is a simple test for eye dominance, and it usually does correspond to hand dominance, although more left-handers can be right-eye dominant rather than the other way around. Make a small hole (like a hole punch) in a piece of paper. Hold it at about arm's length, centered and look at a spot or object about 6 feet away, using both eyes. Then close one eye, left or right. The one that sees the spot is the dominant one.I'm not sure there is any causative connection between eye dominance and hand dominance.
I am left eye dominant. I think the reason I prefer to view with that eye when composing is that I tend to view more of the world while relying on that eye. It may be habit, as much as anything.
Not true, in my experience. An added benefit of using a WLF with both eyes open is that it allows one to look at the composition, rather than through it. Visual relationships can change, even if ever so slightly, by using the single eye composition technique. (Which eye?) I believe the OP alluded to this effect in the third paragraph of the initial post.I don't have that luxury, having a monovision prescription. However, the viewfinder image as well as the final print is 2-dimensional, looking at either with 2 eyes would not make any difference.
Not true, in my experience. An added benefit of using a WLF with both eyes open is that it allows one to look at the composition, rather than through it. Visual relationships can change, even if ever so slightly, by using the single eye composition technique. (Which eye?) I believe the OP alluded to this effect in the third paragraph of the initial post.
lso...anybody else have a warm eye and a somewhat cooler eye as far as colour temperature goes?
I think we’re talking about two separate things, and maybe you’re making a different point. I know that I can demonstrate the effect I’m talking about to myself as I sit here in my living room, but obviously that does no good for an Internet conversation.The viewfinder image is still 2-dimensional and does not change when viewed with two eyes. It is you dominant eye that is doing all the work. However, by using a waist-level finder at a distance of 12-18", you can be more aware of you surroundings and also be able to look directly at your subject, especial when photographing people, and have better involvement.
A good part of my work during my professional career as an Art Director was evaluating color. I definitely see a slight tendency to see cooler in one eye.
FWIW, I find closing one eye and eliminating 3D vision to be helpful when composing an image.
... FWIW, I find closing one eye and eliminating 3D vision to be helpful when composing an image...
Me too.I also often close one eye to see how a scene will look flattened to 2-D, as in a photograph, eliminating depth and seeing how things line up or overlap from a certain point of view.
IIRC, Cartier-Bresson among others advocated studying one’s compositions upside down and back to front. Supposedly they should hold up if robust.I started shooting 4x5 large format and really don't compose well upside down. I bought an eye-level viewfinder but it gets dark at times. When I shoot medium format waist level, I hate everything because it is reversed from left to right.
IIRC, Cartier-Bresson among others advocated studying one’s compositions upside down and back to front. Supposedly they should hold up if robust.
I don’t find this to be true. For me, compositions (including his) only work one way. Hardened LF users will probably have a different view (in both senses, sorry).
Something my prof mentioned often -- while turning student's photos upside down on the critique board.I don't agree, as if you look at any print upside down and it still works, it usually has good composition.
It takes some doing, but what you describe (upside down/laterally reversed) is one of the allures of the larger formats for me. If you can learn to let go of your conceptions of what the picture is of, but instead study how the image looks on the ground glass, you will eventually fail to even recognize what your brain is telling you is “correct.” There have been plenty of times when I’ve come out from under the dark cloth, looked at what the camera was pointed at, and thought “Huh. How about that. I had no idea.”…I started shooting 4x5 large format and really don't compose well upside down. I bought an eye-level viewfinder but it gets dark at times. When I shoot medium format waist level, I hate everything because it is reversed from left to right. So I quickly bought an eye-level viewfinder for it and never looked back.
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