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by sudosysgen
1587 days ago
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Depth of field, bokeh and perspective are things that aren't photographic, it's just physics and our eyes do it too. You can easily notice it in real life. Focal length being variable has nothing to do with photography either. It has to do with screens that vary in size and distance. To be able to match the angle of view of our eyes, the camera in a video game needs to vary it's focal length. And of course, our eyes have a focal length too. Our eyes feel motion blur too. It's just cut out when you saccade your eyes by the brain. Track a car with your eyes and notice the motion blur over the whole street. Now, for video games, it doesn't make much sense until you realize that we use 30/60fps screens. Motion blur is a crutch to minimize the obviousness of low frame rates. In a perfect world of course, you would want your screen to have 144+Hz of refresh rate and let your own eyes do the motion blur, but that's too expensive for now. So you see, these things aren't actually there because of photography. They are things that our eyes do just as much as any camera. In fact, the only real difference between our eyes and cameras is that eyes operate continuously while cameras operate semi-discretely, though at 200fps+ this converges almost completely. |
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They are, though (unless you think I'm saying that relative physical distances literally do not exist outside of photography?). You can say our eyes operate as more sophisticated lenses and are likewise constrained by physics and light, to be sure, but the experience of seeing something is very, very different from viewing that thing in a photograph or film.
With your eyes, you cannot study or capture or examine the blurred areas on the periphery of your vision; photography enables that. Similarly, photography enables the capture and examination and artistic presentation of motion blur. Photography creates that apprehension of the world. Painting from or to mimic that apprehension is, I feel, limiting. Even when your subject is not abstract.
What I'm taking issue with isn't the basic principles of light; it's painting a scene the way a camera captures it, rather than the way a painting can. If you truly don't see any representative differences between the paintings of the 'old masters' and the current paintings-of-or-like-photos to which I'm referring, then I think we're just not on the same page here, or I'm simply doing a poor job of explaining what I mean.