On 13 Jan 2016, 8:30 am, Thomas Kimmich wrote:
Reasonably - and therefor you need to remove the height-attribute of this item already mentioned above (#GSTimbreBox).
Aaagghh! I just read back through the thread and realised that I totally missed Walter’s corrected reply. I was busy replying to his first post and didn’t see that he’d quickly posted a correction. Bum. (Thanks anyway Walter!!).
Thanks for pointing this out to me Thomas.
It’s not about hiring professional help, it’s about clever investing time (or even money) in order to get things running.
Time is money Thomas. Do you want to do my website for me for free, to help me ‘cleverly invest’ my time? No, I didn’t think so. Of course it’s about the money. Professional help is about money, that’s what a profession is … a paid occupation.
I’m aware of different image orientations and am even aware of its pretty hard handling. So the best handling ever is to ignore this fact for making things running later. Assumed you’d post 10 of your images each different oriented on Instagram (or others), what happens? Correct - all are wrapped in a squared placeholder. Why? Because it’s a grid - and a grid is making things easier. Easier to follow, to sort, to concentrate on what’s going on. Even easier to decide which way going down the road later if it comes to present the “entire” image. Text is no different. Or would you like to read a newspaper, each article different font-size, weight or even font-face?
The reason that Instagram adapted their system to allow for any format, is because professionals hated that their images were always cropped to square. Honestly, it has no merit in my eyes except when it is done by design in the first place. Perfect for old Hasselblad shooters. Imagine if you will, the entire contents of the Louvre, cropped to square. Terrific.
And sometimes, well cropped images are even more exciting than the entire image (opening other opportunities).
Aside from the intellectual approach of re-visiting work in a new light, in my view, images created by talented professionals are very very rarely improved upon by subsequent cropping.
I have always been baffled by designers’ willingness, almost to the point of necessity, to crop images. Obviously having worked in the industry all my life, I understand the contraints (bleeds, unknown text length, different media formats etc.) but in my early days, when I was new to the business, I used to just look on in disbelief when the tests would come back from the lab and we would put a beautiful (hopefully) 10x8 transparency on the lightbox and the first thing the art director would do, is grab the ‘Ls’ and start to crop the image in various ways. It seemed like there’s a sort of universal belief amongst designers, that photographers don’t understand composition … especially around the edges of an image. Unbelievable. I can honestly say, that only on very few occasions have I seen an improved composition thanks to a designer’s cropping … and I have a lot of photographers friends whose work I have seen both in their studios and when subsequently printed. I loved it when I came to live in France and discovered that here, book designers ask you politely first, if you mind if they crop your image because they can’t get it to fit in their layout. Speaking as a photographer, it is extremely rare that I crop an image myself. Obviously, lots of photographers will compose, then take a step back to allow some margin to cater to the practicalities of the business … although, for obvious reasons, you can’t really do this with wide-angle.
Maybe Leoardo got it wrong?
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