MF noob: WLF has inverted image?

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Roger Cole

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You can drive yourself nutty looking at a photo that has a strong composition, then looking at it in a mirror. It usually falls apart.
Hm. I've never found this to be true at all. For me, if it works one way then it will work just as well the other way. YMMV I suppose.
 

Dan Daniel

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Hm. I've never found this to be true at all. For me, if it works one way then it will work just as well the other way. YMMV I suppose.
Moving far off topic, long ago was in a photo class and someone showed an image that left people a bit, well, cold, confused. The typical 'uh.... hmmm... I like the doggie!' type of responses. Then someone talked about how they way the dog sat looking one way was wrong to him, and someone else mentioned that she was drawn to the sky then the dog but that she didn't know where to look after that. Someone got up and pointed out how his eye moved aorund the image, and the photographer jumped. She realized why no one really saw the story she thought was obvious in the image. She was from Israel... Who knew that visual narratives used the same rules of eye movement as literary narratives, eh?

I know exactly what you mean, Roger, but then again the viewers often bring their own agendas and habits.
 

Sirius Glass

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I'm the opposite. I just couldn't get on with the reversed WLF image on my Hasselblad, but found working with the fully inverted image of a LF camera very easy and natural.

I am with you. That is why I use the 45° PME with my Hasselblad.
 

reddesert

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I do exactly the same and concur - I find it an aid to composition.

Wait until you go to a large format view camera, if you ever do, where the image is upside down on the ground glass. Once I adapted to that I find it a huge aid to composition, even more so than the MF WLF, because it's abstracting to a degree and forces you to actually compose and not get so fixated on what you see as the subject that you forget the surrounding area and the actual composition. Most people who stick with LF seem to agree with this, but it's not something everyone ever adapts to.

A common exercise in art class, I think it originally comes from the book "Drawing on the Right Side of the Brain," is to copy a drawing, but do it upside down. You turn the original drawing upside down so you are making a drawing of the literal drawing, rather than your mental model of the subject of the drawing.
 

Sirius Glass

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I love this! I say this to my wife when she catches me talking to myself. She then leaves me alone for days... :smile:

Is that Heaven or what?
devil with pitch fork 0.png
 

momus

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Hm. I've never found this to be true at all. For me, if it works one way then it will work just as well the other way. YMMV I suppose.

You're lucky Roger, because it's an old art tool that painters and printers have used for eons. It goes for my photographs too. I've had to redo linocuts (where the image on the block will be reversed on the paper) because what I thought was a really strong composition, wasn't. The mirror thing will show how the image could be tweaked to achieve a more balanced composition.

Of course, a mirror image is not an inverted image, it's actually a reversed image from front to back. But my brain reads it in a similar manner as an inverted image, at least in terms of the composition.
 
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Sirius Glass

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I have no problem composing with a reversed image. It's the reverse movement to compose that throws me.

Bingo! You broke the code. And that is why I bought the PME prism with the Hasselblad. I have never used the WLF.
 
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