Review | Статьи о загранице, путешествиях и отдыхе

7 Сентябрь 2010

Shine “of «gold” section

написано в рубрике: Books, Review — Метки: Books, Review — admin @ 12:06

Page 1 of 512 3 4 5 »

I. Introduction

“The gold” proportion concerns fundamental constants which are known to mankind from time immemorial.

Realization of certain versatility of this constant has arisen in the beginning of XVI century when the Italian mathematician Luka Pacholi close familiar with Leonardo da Vinci, has published the treatise «the Divine proportion. The book rather useful to mind everyone penetrating and thirsting for knowledge from which everyone engaged in philosophy, perspective, painting, a sculpture, architecture, music or other mathematical subjects can acquire pleasant, witty and surprisingly worthy convergence and finds entertainment on different questions and the most confidential knowledge». This treatise paid attention for the first time of the reader that a ratio known as “gold” section, it is possible to meet in the most various areas and disciplines.

In the XX-th century interest to “gold” section has sparked with new force. This surprising constant have found out both in the physicist, and in biology, both in economy, and in many other sciences. On it as on the general-purpose measure of harmony, often refer in the fine arts, including a photo.

In this small article attempt to pay attention of the reader on rarely mentioned properties of “gold” section is undertaken. Also here some adjacent questions of an esthetics and philosophy will be affected.

II. It is a little mathematics

“The gold” proportion is such division whole two unequal parts at which the most part so concerns to smaller as whole concerns to большей:

b / a = (a + b) / b

The decision of this equation rather b / a gives:

Ф = b / a = 1,61803398 …

Sometimes operate with reciprocal value:

a / b = 1 / Ф = Ф – 1 = 0,61803398 …

The exact decision in radicals looks as follows:

III. “Gold” section and composition bases

In a photo, the schedule and painting often recommend to use “gold” section for composition creation. At such approach all area of the image breaks lines of “gold” section into nine areas (fig. 1А see).

Fig. 1.

A.Setka of “gold” section: 0,618/0,382

V.Setka of “thirds”: 1/3; 2/3; 1

Key elements of a composition (etc.) are recommended to be allocated important details, composite centers, a horizon line on lines of “gold” section or in points of their intersection. In a photo it is a rule often simplify to «a rule of thirds». According to this rule instead of a grid of “gold” section it is recommended to use a grid dividing the linear image sizes on equal thirds (fig. 1В).

Here pertinently to make three comments:

1. In spite of the fact that the number 1/Ф differs from two thirds less than on 8 %, visual impressions of a grid And and from a grid In differ appreciably. It more than is visually visible from fig. 1. Further also it will be shown that lines of thirds are much closer to following S-section, instead of to principal “gold” section. Generally speaking, the recommendation to recede from “a gold” proportion in favor of “a rule of thirds» as a matter of fact often happens is equivalent to council: «don’t allocate object at center; drift it to edge, and value of offset select on the taste». As a rule, the majority of photographers use this generalized recommendation, instead of any strict rule.

2. Any of 1 grids shown on fig. doesn’t consider known bottom weighting effect, visually shown in article «the Notice of a passe-partout. To a question on design of photooperations» (section «About harm of symmetry»). The recommendations based on the registration of this effect, speak about “weighting” of the lower part of the image in much smaller measure, than “a gold” proportion. Differently, it is obvious that at composition creation it is impossible to be guided by only “gold” section. It is rather useful to take into consideration and other factors.

3. Layout of significant elements at composition center too can be quite justified at the decision of art tasks. As an example it is possible to result layout of a line of horizon on a pattern of Savrasova «Rooks have arrived» (the Gestalt-therapy Session see also article «. Some words about idea of a work of art»). Besides, (real or imagined) which halve the image, it is possible to treat lines as «the generalized golden ratios of the zero order» about what it will be told more low in more details.

IV. The Generalized “gold” sections

The formula for obtaining of the generalized S-proportions (sometimes named also the generalized “gold” p-sections) is rather similar to a basic formula of the traditional approach. Difference only one: the right member of equation is raised in level S:

b / a = ((a + b) / b) s, where S = 0,1,2,3,4 …

For various values S from this formula it is possible to receive value of the generalized S-section. If to designate (a + b) / b = y to case S = 0 there corresponds segment division in halves (y0 = 2). To case S = 1 there corresponds traditional “gold” section: y1 = 1,618 … From the same equation it is possible to find values of the generalized S-sections for S> 2.

It is possible it is possible, but whether it is necessary? Such question often sets people with critical mentality, but far from mathematics. Whether is the concept of S-sections far-fetched mathematical abstraction? What grants to us is right to consider roots of the considered equation at S> 2 also “gold”?

The answer to these questions is that. In the mathematician there are the numbers bearing a name of the Italian mathematician Fibonacci, known also as Leonardo Pizansky. These numbers, besides other, are interesting to that the relation of two adjacent numbers approximately to equally “gold” proportion, and this equality the more precisely, than more numbers. In a mathematical language this thought formulate so: the relation of two adjacent numbers Fibonacci aspires in a limit to “a gold” proportion. But numbers Fibonacci are only a special case of the more general sequence of S-numbers Fibonacci. And the relation of adjacent S-numbers just and to aspire in a limit to “the gold” S-proportion defined by the above-stated algebraic equation.

Differently, if one of private sequences is connected to “gold” section it is quite reasonable to assume that in the more general case it is possible to receive complete set of “gold” numbers.

Fig. 2. A grid of “gold S-sections» (S = 0 … 7).

(By dark blue color lines of “a grid of thirds» are shown;

The green dotted line corresponds to “gold S-section» at S = 30)

On fig. 2 the square with put by the first восемью “gold” S-sections (S = 0 … 7) plus the sections corresponding S = 30 (a green dotted line) is shown. Apparently from a picture, with growth S the grid tends to cover more densely and more densely all peripheral zones of the image. A consequence of it is very simple output: if object (a detail, an element, etc.) to allocate with edge it almost гарантированно will get on intersection of the S-sections corresponding to enough great values S.

Certainly, value of the generalized sections at big S isn’t so great. But at the same time, it is impossible and to deny that the very often principal objects allocated with edge of a pattern, a photo and etc. look very organically.

If on fig. 2 to add a grid corresponding S> 7, paling of lines practically will close all areas adjoining to edges of the image. Only it will be possible to find rather empty areas in image center. But also they can be used for layout of significant elements provided that in other zone the object equilibrating them will be allocated. Thus the general composite center can be placed on intersection of any generalized S-sections.

It is necessary to pay attention also that «a grid of thirds» (it is shown on fig. by 2 dark blue color) much more close to the lines corresponding S = 2, instead of to lines of the main “gold” section (S = 1). Probably, it is one more explanation of that fact that the compositions constructed on the basis of a rule of thirds, look was quite harmonic.

One important output follows from all aforesaid: if to lean against the concept of the generalized “gold” sections it will be necessary to recognize that in a rectangle generally practically there are no the areas which are not approaching for layout of any important semantic detail. The general perception of the image is defined not only and not so much “gold” sections, but, mainly, other rules of a composition (balance, driving, etc.). With an ulterior motive in some most interesting monographies devoted to rules of a composition in the fine arts, “the gold” section isn’t mentioned at all.

For example, Vasily Kandinsky in the operation «the Point and a line on a plane» expresses formulas and numbers quite definitely: «the Formula is similar to glue. It is similar also to a sticky tape from the flies which victims the careless fall. The formula is also the club seat concluding the person in the warm embraces. But, on the other hand, aspiration to be released from a vice — a premise for following jerk: to new values and as a result — to new formulas. And formulas die and are replaced again born».

V. And all that jazz

There are no doubts that “the gold” proportion is the important constant figuring in the decision of many application-oriented tasks. That fact is obvious also that this ratio can be found out during various experimental researches.

But, unfortunately, cases when the presented facts look not too convincingly are frequent also.

Surprisingly, but the fact: “gold” proportion Ф and number «пи», делённое on two, differ among themselves less than on 3 % (1,61803398 … and 1,57079632 … accordingly). Therefore about very many cases, it is possible to tell that in product, object or a natural phenomenon number Ф, and number «пи» is ciphered at all.

To take, for example, the famous portrait of Mony Lizy of operation Leonardo da Vinci (fig. 3).

I. Introduction
“The gold” proportion concerns fundamental constants which are known to mankind from time immemorial.
Realization of certain versatility of this constant has arisen in the beginning of XVI century when the Italian mathematician Luka Pacholi close familiar with Leonardo da Vinci, has published the treatise «the Divine proportion. The book rather useful to mind everyone penetrating and thirsting for knowledge from which everyone engaged in philosophy, perspective, painting, a sculpture, architecture, music or other mathematical subjects can acquire pleasant, witty and surprisingly worthy convergence and finds entertainment on different questions and the most confidential knowledge». This treatise paid attention for the first time of the reader that a ratio known as “gold” section, it is possible to meet in the most various areas and disciplines.
In the XX-th century interest to “gold” section has sparked with new force. This surprising constant have found out both in the physicist, and in biology, both in economy, and in many other sciences. On it as on the general-purpose measure of harmony, often refer in the fine arts, including a photo.
In this small article attempt to pay attention of the reader on rarely mentioned properties of “gold” section is undertaken. Also here some adjacent questions of an esthetics and philosophy will be affected.
II. It is a little mathematics
“The gold” proportion is such division whole two unequal parts at which the most part so concerns to smaller as whole concerns to большей:
b / a = (a + b) / b
The decision of this equation rather b / a gives:
Ф = b / a = 1,61803398 … Sometimes operate with reciprocal value:
a / b = 1 / Ф = Ф – 1 = 0,61803398 …
The exact decision in radicals looks as follows:

III. “Gold” section and composition bases
In a photo, the schedule and painting often recommend to use “gold” section for composition creation. At such approach all area of the image breaks lines of “gold” section into nine areas (fig. 1А see).

Fig. 1.A.Setka of “gold” section: 0,618/0,382 V.Setka of “thirds”: 1/3; 2/3; 1 Key elements of a composition (etc.) are recommended to be allocated important details, composite centers, a horizon line on lines of “gold” section or in points of their intersection. In a photo it is a rule often simplify to «a rule of thirds». According to this rule instead of a grid of “gold” section it is recommended to use a grid dividing the linear image sizes on equal thirds (fig. 1В).
Here pertinently to make three comments:
1. In spite of the fact that the number 1/Ф differs from two thirds less than on 8 %, visual impressions of a grid And and from a grid In differ appreciably. It more than is visually visible from fig. 1. Further also it will be shown that lines of thirds are much closer to following S-section, instead of to principal “gold” section. Generally speaking, the recommendation to recede from “a gold” proportion in favor of “a rule of thirds» as a matter of fact often happens is equivalent to council: «don’t allocate object at center; drift it to edge, and value of offset select on the taste». As a rule, the majority of photographers use this generalized recommendation, instead of any strict rule.
2. Any of 1 grids shown on fig. doesn’t consider known bottom weighting effect, visually shown in article «the Notice of a passe-partout. To a question on design of photooperations» (section «About harm of symmetry»). The recommendations based on the registration of this effect, speak about “weighting” of the lower part of the image in much smaller measure, than “a gold” proportion. Differently, it is obvious that at composition creation it is impossible to be guided by only “gold” section. It is rather useful to take into consideration and other factors.
3. Layout of significant elements at composition center too can be quite justified at the decision of art tasks. As an example it is possible to result layout of a line of horizon on a pattern of Savrasova «Rooks have arrived» (the Gestalt-therapy Session see also article «. Some words about idea of a work of art»). Besides, (real or imagined) which halve the image, it is possible to treat lines as «the generalized golden ratios of the zero order» about what it will be told more low in more details. IV. The Generalized “gold” sections
The formula for obtaining of the generalized S-proportions (sometimes named also the generalized “gold” p-sections) is rather similar to a basic formula of the traditional approach. Difference only one: the right member of equation is raised in level S:
b / a = ((a + b) / b) s, where S = 0,1,2,3,4 …
For various values S from this formula it is possible to receive value of the generalized S-section. If to designate (a + b) / b = y to case S = 0 there corresponds segment division in halves (y0 = 2). To case S = 1 there corresponds traditional “gold” section: y1 = 1,618 … From the same equation it is possible to find values of the generalized S-sections for S> 2.
It is possible it is possible, but whether it is necessary? Such question often sets people with critical mentality, but far from mathematics. Whether is the concept of S-sections far-fetched mathematical abstraction? What grants to us is right to consider roots of the considered equation at S> 2 also “gold”?
The answer to these questions is that. In the mathematician there are the numbers bearing a name of the Italian mathematician Fibonacci, known also as Leonardo Pizansky. These numbers, besides other, are interesting to that the relation of two adjacent numbers approximately to equally “gold” proportion, and this equality the more precisely, than more numbers. In a mathematical language this thought formulate so: the relation of two adjacent numbers Fibonacci aspires in a limit to “a gold” proportion. But numbers Fibonacci are only a special case of the more general sequence of S-numbers Fibonacci. And the relation of adjacent S-numbers just and to aspire in a limit to “the gold” S-proportion defined by the above-stated algebraic equation.
Differently, if one of private sequences is connected to “gold” section it is quite reasonable to assume that in the more general case it is possible to receive complete set of “gold” numbers.

Fig. 2. A grid of “gold S-sections» (S = 0 … 7).(By dark blue color lines of “a grid of thirds» are shown;The green dotted line corresponds to “gold S-section» at S = 30) On fig. 2 the square with put by the first восемью “gold” S-sections (S = 0 … 7) plus the sections corresponding S = 30 (a green dotted line) is shown. Apparently from a picture, with growth S the grid tends to cover more densely and more densely all peripheral zones of the image. A consequence of it is very simple output: if object (a detail, an element, etc.) to allocate with edge it almost гарантированно will get on intersection of the S-sections corresponding to enough great values S.
Certainly, value of the generalized sections at big S isn’t so great. But at the same time, it is impossible and to deny that the very often principal objects allocated with edge of a pattern, a photo and etc. look very organically.
If on fig. 2 to add a grid corresponding S> 7, paling of lines practically will close all areas adjoining to edges of the image. Only it will be possible to find rather empty areas in image center. But also they can be used for layout of significant elements provided that in other zone the object equilibrating them will be allocated. Thus the general composite center can be placed on intersection of any generalized S-sections.
It is necessary to pay attention also that «a grid of thirds» (it is shown on fig. by 2 dark blue color) much more close to the lines corresponding S = 2, instead of to lines of the main “gold” section (S = 1). Probably, it is one more explanation of that fact that the compositions constructed on the basis of a rule of thirds, look was quite harmonic.
One important output follows from all aforesaid: if to lean against the concept of the generalized “gold” sections it will be necessary to recognize that in a rectangle generally practically there are no the areas which are not approaching for layout of any important semantic detail. The general perception of the image is defined not only and not so much “gold” sections, but, mainly, other rules of a composition (balance, driving, etc.). With an ulterior motive in some most interesting monographies devoted to rules of a composition in the fine arts, “the gold” section isn’t mentioned at all.
For example, Vasily Kandinsky in the operation «the Point and a line on a plane» expresses formulas and numbers quite definitely: «the Formula is similar to glue. It is similar also to a sticky tape from the flies which victims the careless fall. The formula is also the club seat concluding the person in the warm embraces. But, on the other hand, aspiration to be released from a vice — a premise for following jerk: to new values and as a result — to new formulas. And formulas die and are replaced again born».
V. And all that jazz
There are no doubts that “the gold” proportion is the important constant figuring in the decision of many application-oriented tasks. That fact is obvious also that this ratio can be found out during various experimental researches.
But, unfortunately, cases when the presented facts look not too convincingly are frequent also.
Surprisingly, but the fact: “gold” proportion Ф and number «пи», делённое on two, differ among themselves less than on 3 % (1,61803398 … and 1,57079632 … accordingly). Therefore about very many cases, it is possible to tell that in product, object or a natural phenomenon number Ф, and number «пи» is ciphered at all.
To take, for example, the famous portrait of Mony Lizy of operation Leonardo da Vinci (fig. 3).

Some researchers in particular state that the person of the represented lady in this case can be inscribed in a rectangle, at which relation of the sides to equally “gold” section. But in the right part of a pattern person Mony Lizy smoothly fades into the background. Therefore in this case the person of model can be concluded easily and in a rectangle, at which a ratio of the sides equally «пиCertainly, Leonardo was close familiar with Pacholi, and, for certain, “the gold” section to it was closer than number «пи» … All so … But any categorical statements here are inappropriate. In this case better simply to enjoy operation of the master of painting, instead of to attach to a cloth a ruler and a compasses.

Fig. 3.

Leonardo da Vinci. Mona Liza.

Very often there is a statement that in a pyramid of Heopsa two world constants are simultaneously put: number «пи» and “a gold” proportion. Partly it is true. But here pertinently to make a small stipulation. If we select the sizes of a pyramid such that the relation of semiperimeter of the base to height will be equal «пи»:

- At first, the relation of height of a lateral face to half of length of the edge lying in the base, will be automatically equal 1,618993 …;

- Secondly, the received number, of course, is very close to “gold” proportion Ф, but exact equality in between isn’t present and can’t be (fig. 4) see.

Fig. 4. Numerical ratios in a pyramid of Heopsa

Apparently, number X isn’t equal in accuracy to number Ф

(Though coincides with it in the first signs).

On this base it is quite possible to state, for example, that in a proportion of a pyramid of Heopsa one of world constants has been put only. The second has appeared there automatically (simply owing to characteristic for a pyramid of geometrical ratios). But, of course, it is impossible to eliminate and what such property of a pyramid has formed the base for its choice as a tomb of Pharaohs.

The formula resulted on fig. 4, is one more expression for approximate calculation of a “gold” proportion through number «пи». (First approximation is as it has already been told, «пи in halves».) But it is not necessary to conclude on this base that “the gold” proportion and number «пи» have the close essence for this proportion isn’t less related also to other famous constant: Euler’s number e = 2,71828 … As a first approximation can tell that «е» it is approximately equal Ф2.

In a sense even it is possible to state that Ф on the most essence it should be close to Euler’s number as “golden ratio” is tightly connected to numbers Fibonacci, and those, in turn, appear in the known task «about reproduction of rabbits». But also the number «е» too rather often meets in tasks about rise processes (or decreases). To this fact pays attention, for example, Walter Orlov.

If «пи in halves» is quite good approach for “a gold” proportion from below «the root from е» is approximately the same approach on accuracy on top. Owing to the above, very often it is difficult to judge with definiteness what of three world constants is present at this or that object or the phenomenon: «пи», «е» or Ф.

Links to “gold” section often meet at the description of various fonts. But in an explicit form this ratio manages to be found in fonts no means always. More often in fonts the auxiliary proportions received from summation of various segments, received, in turn, on the basis of “gold” section are used. But in such cases hardly it makes sense to focus attention to communication of a font with “a gold” proportion as almost any number can be expressed in numeration system with base Ф (sm, for example, Bergman G., «A number system with an irrational base» [5]).

Fig. 5. Letter S

Inquisitive readers, for example, can look for traces of “a gold proportion» in letter S represented on fig. 5. Already mentioned bottom weighting effect here it is found out at once. And here signs of a “gold” proportion — aren’t so explicit and obvious.

All aforesaid at all doesn’t mean that all certificates and the facts, concerning numbers «е», «пи» and Ф — not that other as jugglings! At all isn’t present! But certain care by reviewing of such facts is absolutely necessary. It is not necessary to take on trust any mere allegations.

VI. Harmony and its measure

It is surprising, as many people are ready to recognize a certain mathematical constant as general-purpose (and even divine!) harmony measures! But whether it is possible and whether it is necessary to refuse the free creativity in favor of mathematical predefiniteness?

“The gold” section — isn’t so much measure of universal harmony, how many proportion of universal expediency (and it is equal in the same measure validly and for other world constants). And in this sense its divine essence to deny difficultly. In the harmony and esthetics relation, the author makes bold to suppose that the human soul and its secret motions don’t give in to the strict description within the limits of any mathematical model.

In theology frames generally strange to assimilate the person to the robot subordinated entirely to mathematical ratios for in this sense it is more reasonable to look at the person as on result of creation just like God. And in this case, the person can’t refuse “free will” as it is initially inherent in a human soul.

Certainly, there are cases when the expediency and harmony coincide. With an ulterior motive aircraft designer A.N.Tupolev considered that beautiful planes fly is better. But, unfortunately, such coincidence happens not always.

In applied sciences all is subordinated mainly expediency. There the role of “gold” section, and also other world constants, is conclusive. In art on the foreground more than often there are norm fluctuations and consequently for art “the gold” section can be only initial reference point. The task of the scientist and the engineer — strictly to observe nature laws. The task of the artist — an introduction in norms of successful fluctuations (deviations). A science, remaining in frames of laws, says to us that can be. Art is more connected to soul of the creator, than with a reality. Therefore so cases when in art there are the special worlds connected to a reality only separate (let even numerous) by details are frequent.

Retreats from nature laws in the technician are simply harmful — the device constructed with deviations from laws of natural sciences, and will work worse (and, can, and at all won’t be), and its efficiency will be not great. In art the chance to practice in what isn’t present is given to the person and can’t be. And the purpose of these exercises at all that they have direct practical favor, and that they promote development of the person, give it fine possibility to train own reason and to change the soul.

In the mathematician too often operate with what isn’t present in a reality. For example, operate with “imaginary unit» and etc. But it only proves that fact that the science and art often are in correlations and their any sharing — the conditionality giving only convenience to logical creations.

To find universal formulas of harmony — the task empty. It all the same what to train the computer in creativity: let-de supposedly writes music, composes verses and writes patterns. However, and in such products, the person can find favor and sense for the present work of art is born twice: the first time in a head and hands of the creator, and the second time in a head at the spectator, the listener, etc. But more than often computer masterpieces quickly become boring and наскучивают. The person searches for improvisings, and doesn’t find it. And product becomes in perception plane, «deprived of soul».

For this reason never it will be impossible to replace music execution by the good musician with machine execution. The machine will execute product absolutely precisely that is how it is written down in notes. The person will always introduce mass of the new nuances which are based on trembling of its own soul in live execution. And in these tiny nuances — a essence of creativity, that is implementation of the possibilities (potentials) given to the person from a birth.

Dangerous illusion: the fine arts can learn. Yes, it is possible to learn about “gold” section and composition bases. Yes, it is possible to study technics and tools. It is possible even to create on this basis something sound and interesting to others for as already it has been told above, the second time art is born in a head at the spectator. But a subject of original Art so not to create! It can appear only in tiny nuances, accents and deviations from norm. To teach it it is impossible. It can arise wonderfully only in a shower of the person-creator. It also is that “slightly” about which Charles Bryullov spoke.

To really significant work of art it would be desirable to be returned again and again: the book — to re-read, to music — once again to listen, at a pattern — once again to look. Thus in each new meeting new details, nuances and subtleties will open. Similar art rarely is born by means of compasses, a ruler and the calculator.

Therefore any original training should imply not only comprehension of a dial-up of the known facts and not only acquisition of necessary skills, but also perfection of soul of the trained.

VII. The Inference

The author wouldn’t like at all that this article would be considered as a thesis refutation about “gold” section as about a harmony measure. To tell on truth, to the author no ready recipes and indisputable truths concerning art are absolutely not known. Therefore the given text can’t is argument neither pro, nor contra.

Think and feel! Don’t allow soul to be lazy! Don’t hope to receive ready recipes neither from the author of this article, nor from someone another. These simple and even banal trues as well as possible approach for end of article about brightness of “gold” section.

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Tree, you mine of a tree …

написано в рубрике: Review, Software — Метки: Review, Soft — admin @ 11:58

Page 1 of 512 3 4 5 »

For some reason many photographers – fans are inclined to consider(examine) a photo extremely as a kind of fine arts. On the business at not ё great variety of various applicabilities. And any of them can not be named main or, on the contrary, minor.

In middle позапрошлого of century to the supporters of a photo many efforts were necessary to apply to prove an accessory(belonging) of a photo to graceful arts (see, for example, chapter 5 in [4]). Nowadays there is an opposite situation. The photographers – fans should constantly remind, that the photo can be and source of occurrence of the new documents, both tool of knowledge, and way of creation of illustrations, and object of attention of the collectors, and basis for creation of the family chronicle, both technical tool, and fascinating leisure, and area of realization of the design decisions, and also to carry out great variety of other tasks and to serve to the diversified purposes. Even the exhibition photo not always should be art. In a historical exposition the photodocuments and photocertificates are quite admitted(quite allowed,quite allowable), and in a polytechnical museum the photos of technical achievement of the past are absolutely pertinent.

Banal ideas? Can be and so … But, to a great regret, there were they not on an empty place. Alas, снобизм of some photographers – fans surprising scale gets at times.

« No – no, I do not take off banal kinds and cards! » — declares one of them. Thus he, naturally, means, that all it(him) устремления are directed on creation of original works of art. Precisely with the same ideas in a head another speaks: « me the technical subtleties of photoshooting do not interest; my task — to pass emotions and feelings, and in engineering the engineers, physics and chemists let are interested! » Thus it is meant, that all of engineering and the engineers work only for creation of the tool, with which help the author – photographer can realize the highly artistic plans.

That! To understand such people it is possible. Similar снобизм проистекает from human эгоцентризма. Differently, everyone considers(counts), that his(its) approaches and vital principles are correct, and other people in this or that measure are mistaken.

But not for dispute this clause serves. Е ё the purpose is much more modest. The author of these lines simply would like ещ ё of time to remind to dear readers, that the occasions for снобизма are far-fetched more often. Everyone is free to see in a photo something сво ё.

II.

To not be голословным and excessively instructive, I shall try to illustrate the stated ideas with a small photo-sketch.

When about three years back reflected and the site «Hobbymaker’s’ was created, I precipitately have expressed on one of pages in the sense that through ten years any photo of a urban landscape gets the special, historical value. About, as наивен I was! Nowadays there is no necessity to wait so long. The changes in city occur much more quickly.

After almost three years many urban landscapes published on this site to not learn(find out)!, for example, this urban kind rather strongly has changed. A temple « Large Вознесение » обзавёлся own колокольней. And to find out, whether looks out still because of a wall a shy tree, now it is impossible, as the point, from which the picture was made, is built up by garages, and to pass to her in any way it is impossible. In a photo of November demonstration the slice of hotel “«Moscow”, nowadays сровненной with землёю is seen. And Moscow дворик, shown on other photo, up to unrecognizability has changed. Inside him(it) the building has grown solid on the sizes. And it вс ё only examples concerning photos of this site! And how much other changes can be noticed on the various photoimages stored(kept) in personal photoarchive of the author of these lines!

However most surprising, on my sight, transformation has taken place with the urban kind which has been removed(taken off) by me in a garden “«Эрмитаж”. But about it it would be desirable to talk more in detail …

III.

About three and a half of one year back it was possible to me to remove(take off) a photo « Two лавочки, two trees, lantern and bottle » (see fig. 1). At shooting any especial art supertask передо by me did not stand. Simply I would like to fix on a film an input(entrance) in the updated garden “«Эрмитаж”. No more. But also not less.

And after only I years a little again has embodied the same kind (fig. 2).

Fig. 1. Two лавочки, two trees, lantern and bottle. Фоторабота from archive of the author.

( Moscow, August, 2001)

Fig. 2. After three and a half of one year

( Moscow, April, 2005)

Any is not required special наблюдательности to notice surprising метаморфозы.

The first and main change: alas, two trees without leaving a trace have disappeared. Whether they have choked in exhaust gases, similarly to many trees on a Garden ring New Арбате or on Tver? Whether have cut them on strategic reasons? (From them the perfect kind on Moscow “«скотленд-ярд” opened. Whether) Пали they by a victim of unknown invasion of the insects – wreckers? The answer is not known for me. Anyway: it is very a pity … very much …

In another way look and лавочки. Initial ажурные of a product of садово-park applied art made and – ля модерн, have conceded a place to more prosy and more practical decisions.

About the missed bottle and to speak it is not necessary. But whether costs(stands) under such circumstances горевать about her? The question, as is spoken, rhetorical. However, it is impossible to exclude probability of presence of some of bottles in new garden garbage urns (at all absent on the first photo). How to know?! That bottle натолкнула of the workers of park on an idea on necessity can to place in a garden enough of containers for dust?:-)

The observant spectator can notice ещ ё one distinction: at edge(territory) of a round bed a lantern nowadays has appeared. What for he? Whence has undertaken? Where he shines? On what he is called to spill electrical light?

In searches of the answer on these questions I have approached to a lantern more close.

Fig. 3. First Moscow

Electrical lantern

Fig. 4. Really that?!

The presentiments have not deceived. The lantern has appeared here неспроста. As appeared from small таблички, передо I was the first Moscow electrical lantern after restoration (fig. 3 and 4).

He whence has undertaken? Where was stored(kept) (or simply валялся) more than 120 years? In what the restoration consist? Again continuous questions … for some reason seem to me, what a lantern — a product of modern manufacture executed on the old drawings (to engravings? To photos?) However, I shall not be занудствовать. Let’s consider(count), what is it that first electrical street fixture! As for the first time electrical street illumination really has appeared in Moscow here, in a garden “«Эрмитаж” [2].

Достоин of a mention also following fact: on explanatory табличке is fixed (is immortalized?) surname of the present First Vice-mayor of Moscow. Not of the founder of the first electrical lantern! Not of the author of the art project! Not of the engineer developed and who has embodied in metal this product, necessary to city! THE NOT manager(doing not manage) of a Garden in those far times! Namely present Vice-mayor! No, I not against … Quite admit, that the Vice-mayor — the man worthy. But вс ё something strange sees to me in all this business. And place for a lantern is chosen not absolutely successfully … However, it, probably, begin стариковские ворчалки. It is time, видать, clause to finish. I stop …:-)

In the conclusion only I shall notice: truly, the photos with лёгкостью can turn to the skilful story-tellers capable поведать to the grateful students the surprising histories.

INSTEAD OF an EPILOGUE

If the colleague on general(common) hobby for a photo will approach to you and will begin to convince you, that the photo by all means should be art — not enter with it(him) disputes. Everyone is free to find and to see in her that considers(counts) for itself necessary. As almost any other human activity, the photo can be lead up to a level of art. But also, not having reached(achieved) this level, she will be for us useful and interesting.

I.
For some reason many photographers – fans are inclined to consider(examine) a photo extremely as a kind of fine arts. On the business at not ё great variety of various applicabilities. And any of them can not be named main or, on the contrary, minor.
In middle позапрошлого of century to the supporters of a photo many efforts were necessary to apply to prove an accessory(belonging) of a photo to graceful arts (see, for example, chapter 5 in [4]). Nowadays there is an opposite situation. The photographers – fans should constantly remind, that the photo can be and source of occurrence of the new documents, both tool of knowledge, and way of creation of illustrations, and object of attention of the collectors, and basis for creation of the family chronicle, both technical tool, and fascinating leisure, and area of realization of the design decisions, and also to carry out great variety of other tasks and to serve to the diversified purposes. Even the exhibition photo not always should be art. In a historical exposition the photodocuments and photocertificates are quite admitted(quite allowed,quite allowable), and in a polytechnical museum the photos of technical achievement of the past are absolutely pertinent.
Banal ideas? Can be and so … But, to a great regret, there were they not on an empty place. Alas, снобизм of some photographers – fans surprising scale gets at times.
« No – no, I do not take off banal kinds and cards! » — declares one of them. Thus he, naturally, means, that all it(him) устремления are directed on creation of original works of art. Precisely with the same ideas in a head another speaks: « me the technical subtleties of photoshooting do not interest; my task — to pass emotions and feelings, and in engineering the engineers, physics and chemists let are interested! » Thus it is meant, that all of engineering and the engineers work only for creation of the tool, with which help the author – photographer can realize the highly artistic plans.
That! To understand such people it is possible. Similar снобизм проистекает from human эгоцентризма. Differently, everyone considers(counts), that his(its) approaches and vital principles are correct, and other people in this or that measure are mistaken.
But not for dispute this clause serves. Е ё the purpose is much more modest. The author of these lines simply would like ещ ё of time to remind to dear readers, that the occasions for снобизма are far-fetched more often. Everyone is free to see in a photo something сво ё.

II.
To not be голословным and excessively instructive, I shall try to illustrate the stated ideas with a small photo-sketch.
When about three years back reflected and the site «Hobbymaker’s’ was created, I precipitately have expressed on one of pages in the sense that through ten years any photo of a urban landscape gets the special, historical value. About, as наивен I was! Nowadays there is no necessity to wait so long. The changes in city occur much more quickly.
After almost three years many urban landscapes published on this site to not learn(find out)!, for example, this urban kind rather strongly has changed. A temple « Large Вознесение » обзавёлся own колокольней. And to find out, whether looks out still because of a wall a shy tree, now it is impossible, as the point, from which the picture was made, is built up by garages, and to pass to her in any way it is impossible. In a photo of November demonstration the slice of hotel “«Moscow”, nowadays сровненной with землёю is seen. And Moscow дворик, shown on other photo, up to unrecognizability has changed. Inside him(it) the building has grown solid on the sizes. And it вс ё only examples concerning photos of this site! And how much other changes can be noticed on the various photoimages stored(kept) in personal photoarchive of the author of these lines!
However most surprising, on my sight, transformation has taken place with the urban kind which has been removed(taken off) by me in a garden “«Эрмитаж”. But about it it would be desirable to talk more in detail …
III.
About three and a half of one year back it was possible to me to remove(take off) a photo « Two лавочки, two trees, lantern and bottle » (see fig. 1). At shooting any especial art supertask передо by me did not stand. Simply I would like to fix on a film an input(entrance) in the updated garden “«Эрмитаж”. No more. But also not less.
And after only I years a little again has embodied the same kind (fig. 2).

Fig. 1. Two лавочки, two trees, lantern and bottle. Фоторабота from archive of the author.( Moscow, August, 2001)Fig. 2. After three and a half of one year( Moscow, April, 2005)
Any is not required special наблюдательности to notice surprising метаморфозы.
The first and main change: alas, two trees without leaving a trace have disappeared. Whether they have choked in exhaust gases, similarly to many trees on a Garden ring New Арбате or on Tver? Whether have cut them on strategic reasons? (From them the perfect kind on Moscow “«скотленд-ярд” opened. Whether) Пали they by a victim of unknown invasion of the insects – wreckers? The answer is not known for me. Anyway: it is very a pity … very much …
In another way look and лавочки. Initial ажурные of a product of садово-park applied art made and – ля модерн, have conceded a place to more prosy and more practical decisions.
About the missed bottle and to speak it is not necessary. But whether costs(stands) under such circumstances горевать about her? The question, as is spoken, rhetorical. However, it is impossible to exclude probability of presence of some of bottles in new garden garbage urns (at all absent on the first photo). How to know?! That bottle натолкнула of the workers of park on an idea on necessity can to place in a garden enough of containers for dust?:-)
The observant spectator can notice ещ ё one distinction: at edge(territory) of a round bed a lantern nowadays has appeared. What for he? Whence has undertaken? Where he shines? On what he is called to spill electrical light?
In searches of the answer on these questions I have approached to a lantern more close.

Fig. 3. First MoscowElectrical lanternFig. 4. Really that?! The presentiments have not deceived. The lantern has appeared here неспроста. As appeared from small таблички, передо I was the first Moscow electrical lantern after restoration (fig. 3 and 4).
He whence has undertaken? Where was stored(kept) (or simply валялся) more than 120 years? In what the restoration consist? Again continuous questions … for some reason seem to me, what a lantern — a product of modern manufacture executed on the old drawings (to engravings? To photos?) However, I shall not be занудствовать. Let’s consider(count), what is it that first electrical street fixture! As for the first time electrical street illumination really has appeared in Moscow here, in a garden “«Эрмитаж” [2].
Достоин of a mention also following fact: on explanatory табличке is fixed (is immortalized?) surname of the present First Vice-mayor of Moscow. Not of the founder of the first electrical lantern! Not of the author of the art project! Not of the engineer developed and who has embodied in metal this product, necessary to city! THE NOT manager(doing not manage) of a Garden in those far times! Namely present Vice-mayor! No, I not against … Quite admit, that the Vice-mayor — the man worthy. But вс ё something strange sees to me in all this business. And place for a lantern is chosen not absolutely successfully … However, it, probably, begin стариковские ворчалки. It is time, видать, clause to finish. I stop …:-)
In the conclusion only I shall notice: truly, the photos with лёгкостью can turn to the skilful story-tellers capable поведать to the grateful students the surprising histories.

INSTEAD OF an EPILOGUE
If the colleague on general(common) hobby for a photo will approach to you and will begin to convince you, that the photo by all means should be art — not enter with it(him) disputes. Everyone is free to find and to see in her that considers(counts) for itself necessary. As almost any other human activity, the photo can be lead up to a level of art. But also, not having reached(achieved) this level, she will be for us useful and interesting.

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Plan

написано в рубрике: Review, Tips — Метки: Review, Tips — admin @ 11:48

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Some introductory words

In the first part of this clause the author’s sight on the basic questions connected to concept “«plan” is stated. In the second part the citations from various sources are assembled. A task of the citations — to not confirm a position of the author and to not deny е ё, and to give as wider representation about essence of a considered(examined) theme is possible.

Within the framework of short clause it is impossible to give the answers to all conceivable questions concerning a plan. Neither first, nor second part are not directed on the decision of such task. At a spelling and this, and other similar texts the author puts before itself the unique(sole) purpose: to excite at the reader interest to a considered(examined) theme and to induce it(him) to independent е ё to judgement.

PART FIRST

What such “«plan”? Whether he by all means is necessary for creation of product? The questions not such simple, as seem on the first sight. On the one hand, the people can put in this concept completely different sense. On the other hand, question on a plan — it, as a matter of fact, question on the most creative process. Alas, till now to mankind is not known, how there is this process. What serves an initial pulse for him(it)? What tasks of creativity? What essence of the process? It is a lot of hypotheses. But true to us неведома.

In clause « To create and to understand » questions concerning the reasons and the purposes(as a whole) of creativity already rose. Some hypotheses there were formulated also. In this clause the attempt is undertaken to see at a question a little in another way, namely: making a start from a plan.

II.

Ожегов defines(determines) a plan as follows:

1. Conceived plan of actions or activity, intention.

2. Sense, incorporated in product, idea.

The note: the word “«plan” is present not at all languages. For example, for translation of a word “«plan” on English language should be used one of related concepts, suitable on sense: plan, conception, idea, intention (plan, concept, idea, intention).

III.

If to consider(examine) a plan as the plan, it is necessary to recognize, that during creativity there can be two kinds of the plans:

1. Initial plan created prior to the beginning direct creative activity;

( It is necessary to recognize, that the creation of such plan is independent creative process; and plan in this case can be quite recognized by result of creativity — you see has named Ampere-second. Пушкин the plan дантова “of «Hell” by ingenious product!)

2. Current plans arising during realization of the initial plan.

Both current, and the initial plans are not dogmas. During creativity they can considerably be transformed.

Besides it, the plans can be created is realized, and can be born as short-term inspirations.

Whether the preliminary realized plan is always necessary for creativity or it is possible to be limited to improvisations? The answer to these questions is always individual. Someone can not begin business without detailed preliminary study of a question, and someone is ready at once to try to break to realization. Both approaches have the right to existence, for it is possible to find set of examples confirming разумность as that, and another.

IV.

By consideration of a plan as « of the sense, incorporated in product, idea » of questions arises much more. First of all, not absolutely clearly, how in product it is possible «to put “in pawn” any idea. You see product — not the pie, in which is possible to put any stuffing! If at creation of verbal products ещ ё it is possible how to lean against language senses, what to do(make) at creation,say, music?

But even the senses, which, in opinion of the author, it was possible «to put “in pawn”, can not always be perceived unequivocally (neither at an information level, nor at a level of feelings). The process of comprehension of an author’s plan in a vast degree depends on a cultural context, from a concrete condition of the man, which perceives product, from conditions of perception(recognition), etc.

But it at all does not mean, that the author should refuse transfer of ideas and senses through сво ё product. Main — to be ready that other people can in own way apprehend these ideas and senses. The author always should recognize the right of other people on own perception(recognition) and alternative treatment.

Hardly in more details this aspect is considered in clause « To create and to understand ».

Whether the plan should answer a question: « what for (for what, with what purpose etc.) this or that product is created? » In opinion of the author of these lines: no, does not owe. The purposes and tasks are clear априорно. The author creates, first of all, for itself. The man, perceiving a work of art, also is focused on the analysis, mainly, own feelings, instead of on comprehension of an author’s plan. The basic elements of these two tasks (two processes) — fine have coincided! Have not coincided — too no trouble!

However not everyone adhere to the same point of view. For example, And. Васильев at one time has written in a magazine « the Soviet photo »: « At analysis of pictures repeatedly were necessary on a question « for what to me you it have removed(taken off)? » To receive the answer: « So, it was pleasant ». And there are more any arguments. It is the widely widespread illness of growth … »

Whether but it is possible and whether pertinently to try to find out at домохозяйки: what for she has decided(solved) to prepare for dinner,say, отбивную? Why not a fish? Why not cutlets? What wanted to say by the choice? What idea stood behind this отбивной? What deep sense of this dish? Whether she pursued the purpose secretly прорекламировать meat лавку opposite(on the contrary) е ё at home? Etc.

Precisely as and with a plan …

And домохозяйка, and author at all are not obliged to answer a question « what for? » And what to us a difference! If the result is capable to render on us emotional influence, it is necessary simply to thank what creativity was necessary to us as desirable.

1. Вышесказанное it is not necessary to perceive in the sense that the creative process does not have reasons. The reasons are at only.

Well, as a last resort, they can always be thought up.; -)

2. Same fairly and concerning the purposes. The man tries by all to be engaged purposefully. Were engaged creativity, he can aspire to reach(achieve) great variety of the purposes: from « not bad подзаработать » up to « to pass wonderful mood of this surprising evening ». The object in views, certainly, can have an effect for result of creativity. But to estimate and to perceive this result knowledge of the purposes at all it is not required. Moreover, there are no such purposes, which прямиком conduct to success; as there are no also such purposes, that obviously provide a failure.

VI.

Whether the author by the beforehand developed plan works, whether he improvises on a speed hand — in both cases is engaged in self-expression, that is not simply reflects in the products an existing reality, but also leaves in them частичку of the soul.

But there are also adherents of other approach., for example, some of rules ломографии:

— Do not think.

— Work quickly.

— You do not need to know beforehand, that is removed(taken off) at you on a film.

— You do not need to know it and then.

( Malicious languages like to add: « Under the large bill to remove to you too it is not necessary ».)

But that is curious: often ломографы concern to separate pictures only as to elementary кирпичикам, that is as to a material, from which during the further job something should appear on light more значимое. In result occur, for example, panel from pictures. On the foreground the creative moments connected to selection, упорядочиванием and registration leave. It turns out, that the essence of authorship cannot be eradicated. The soul of the founder will search by all means for ways for self-expression and self-reflection as a result of creative job. If these purposes not удаётся to reach(achieve) during shooting, they will be decided(solved) by all means at other stages. And then also it will be pertinent to recollect a plan.

Than higher is the skill of the author, than more he is spiritually advanced — the more important for him(it) to achieve desirable result during purposeful activity, instead of at will of a case. By and large, the activity of the author is directed, if and not on complete elimination of accidents,, at least, on the item of information of their influence to a minimum.

VII.

The ancient wisdom says: « Want, that the gods have laughed at you? Tell by him(it) about the plans ».

Approximately in the same sense has expressed and Пауло Коэльо: « When you write the book, you should absolute on it be concentrated and should not speak about her, yet will not put last point ».

However many authors adhere to opposite opinion. They find rather useful to be divided задумками with other people. The sense can be simple: from an initial plan almost always remains very little, and during discussion conceived it is possible to get weight of new useful ideas. So, Юрий Олеша wrote: « I, for example, have noticed, that for me personally it is very useful to tell the plans. Something turns out like improvisation — and unexpectedly for me the whole accidents are born not that that details or paints, and whole pieces,! »

VIII.

So the plan whether or not is necessary? The question is not absolutely correct. The plan, as something non-material, as pure(clean) idea, as a particle of soul of the author, always is present at product.

In clause about psychology of improvisation Б.М. Рунин writes: « Any creativity represents process incessant взаимопереходов of a plan and realization, experience and expression, rational and intuitive ». With this idea it is difficult to not agree.

But as a whole, it is necessary to recognize, that in creative process for us much остаётся not clear. Hardly someone can assert(approve), that knows true in final instance. As if to a plan, then, on a sight of the author of these lines, it is useful to not overlook(forget) aphorism – paradox: « the best impromptu — what beforehand is prepared ». And « how it(him) to prepare? » — it everyone decides(solves) itself.

PART SECOND

THE ELECTED CITATIONS

For the benefit of a PLAN (IDEA, CONCEPT)

« The Fan(amateur) writes, how the god on soul will put, and the professional knows, that, what for and why he does(makes); works within the framework of the certain concept … »

Сергей Серегин in interview for Ивана Кузнецова

« — For what to you this говорильная the machine? — has asked Шпунтик.

— And as! — has exclaimed Смекайло. — the Writer without such device — as without hands. I can put бормотограф in any apartment, and he will write down everything, about what speak. I will need only to copy — to you the story or even the novel.

— Up to what it is all simply! — has exclaimed Шпунтик. — And I somewhere read, that to the writer any fiction, plan … is necessary

— Э, plan! — impatiently has interrupted it(him) Смекайло. — It only in the books so is written, that the plan is necessary, and try conceive something, when all already and without you is conceived! That take — all already was. And here take directly so to say, from a nature — something and will leave, that else at anybody from the writers was not ».

Nickolai of Noses. « Adventures Незнайки and his(its) friends ».

« Without idea there is no product, therefore it is not necessary anything to begin, be not defined(determined) yet clearly and precisely: for what, what for, what exactly want to say and on what свершения подвигнуть reading? »

Юрий Никитин. « How to become the writer ».

II.

NOT For the benefit of a PLAN (IDEA, CONCEPT)

« The Rates of the writers and writers up to exhaustion are carried with idea, considering е ё by most sacred of all sacred cows, but actually she (be not horrified!) – business not too important ».

« … to begin from questions and ideological reasons — the recipe of creation of the bad literature. The good literature always begins with a theme and develops to idea, almost never it happens on the contrary ».

Стивен Кинг. « How to write the books ». (Stephen King. « On Writing ».)

« But it is not necessary to be ashamed of accident, it is necessary to force her(it) to work. … At the end photographic masterpieces are born from casual confluence of great variety of circumstances … »

« By virtue of specificity of a photo more often photographer passes a way not from a plan to result, and opposite — from result to his(its) judgement, estimation and analysis ».

Александр Лапин. « A Photo as … »

« It is difficult to the Artist to distinguish, that he does(makes) deliberately, and that is mysterious or is inexplicable ».

Федерико Феллини

III.

THE PLAN (IDEA, CONCEPT) IS IMPORTANT, BUT …

« The Plan sometimes occurs per one second. Intonation, or casual word, or чь that person. Then begin it(him) щупать, understand about what, the subject or semantic line is built. But for some reason it is impossible to sit. Then доходишь up to any degree of despair, have a seat and find out, that all completely another, all goes наперекосяк. But when it appears, at last, made, is found out, what exactly it and reflected ».

Андрей of Bits. In clause in “«Коммерсантъ-daily” from November 29, 1997.

« Just Юрий the Growth has decided(solved) to remove(take off) the foreman in забое, without any illumination, shine(cover) it(him) owed (remaining in shadows) members of a brigade — by the bulbs. Thus, he would arise not one, and in light of the brigade — as well as was in life. But on a place the press photographer has understood, that the image of the hero who has been thought up in edition, anything general(common) with the real man has no. Therefore Ю. The growth has accepted the decision to photograph the deserved foreman on базаре among his(its) one-peasants … »

From the book М.Н. Ким. « Technology of creation of journalistic product ».

« I wrote without the plan. Some, working, speak themselves: this place was not possible to me, I shall leave it(him) while, I shall write further, then вернусь and обработаю. Unfortunately, I so to work I am not able. I can advance further only when everything, that remained behind, it seems to me made well. If I feel, that in written any expression or the separate word is unsuccessful, I all the same вернусь and shall sit that it seems to me unsuccessful, until I shall achieve result, satisfying my taste, … Certainly, it is wrong. Because I so a lot of time spend on the products. But what to do(make)! The manner everyone is extremely individual. Золя not only the plan made, but also расписывал terms, when what page will be completed. And on a calendar is ordinary and finished all job, in accuracy, as has planned … Пушкин has said, that one only plan дантова « of a Hell » already is ingenious product. Thus, all speaks that is necessary before to write, to make the plan. However Алексей Thick in one of the statements notices, that when the plan is made and already write by this plan, suddenly there is a revolt of the characters. Became to be, such thing is possible(probable) also! Became to be, the creativity of the event can proceed also then, when event already occurs. And in it — one of remarkable properties of creativity. The creativity is radioactive. One idea radiates another. The poet improvises. I, for example, have noticed, that for me personally it is very useful to tell the plans. Something turns out like improvisation — and unexpectedly for me the whole accidents are born not that that details or paints, and whole pieces,! »

Юрий Олеша about the book “«Envy”

« To remove there is a sense only then, when the author hopes to inform up to the spectator any original information either through the contents, or through the form, or through that and another. … As if to a creative plan as directed мыслительного of process, it(him) can and to not be at all. If to speak more correctly, he, certainly, is present always, but can borrow(occupy) on time literally instants. It is important, that the photographer was psychologically prepared, « is aimed » at this or that kind of shooting ».

А. Васильев « the Soviet photo », №7, 1990

« It is impossible to improvise, it is necessary to prepare, it is necessary to be careful, it is necessary to plan. Only when all is carefully prepared, when all is fulfilled, then it is possible to begin to improvise ».

Ингмар Бергман

« Paradox of an advancing », when desirable is realized at the artist earlier, than he has time to realize хотение, becomes the factor of amazing opening ».

« … logic and psychology of improvisation almost are not investigated. And between that the opportunities her(it) are invaluable. Any creativity represents process incessant взаимопереходов of a plan and realization, experience and expression, rational and intuitive. The moment of improvisation — is the moment of jump, break of gradualness in development of this process.

The improvisation in art bears(carries) with itself delightful sensation of a creative beginning incorporated in most мироздании. Her(it) “«by the way” of other time there is of laborious works, and sudden, on an instant sparkled in потемках a figurative prospect — of thoughtful prophecies ».

Б.М. Рунин. « About psychology of improvisation ».

« In human creativity it is necessary to distinguish two moments two parties. There is an internal creative plan, there is from darkness a creative image, primary creative intuition. It also is depth of creativity leaving in недра unconscious. But the creative certificate(act) is also realization of a creative plan, embodiment of a creative image, deployment of creative intuition in weight ours греховного of the world. The internal creative certificate(act) is burning spirit. The external creative certificate(act) subordinated to norms and the laws, is already cooling. When the philosophical or scientific book or art product is written, the statue is created and the symphony accepts the final form, when the machine is under construction or the economic or legal establishment is organized, even when the life of church on ground with its(her) canons is organized, the creative certificate(act) is cooled, fire потухает, the creator is drawn to ground, downwards. The creator can not depart on the sky, he owes нисходить on ground in realization of the creative certificate(act). In it tragedy of creativity. All products of creativity do not correspond(meet) to creative plans and do not satisfy. In it горечь of creativity. And it also is one of the conflicts unconscious with consciousness. Consciousness насилует the unconscious creativity also deforms his(its) results. And with especial force it can be seen in creativity moral, in the moral certificates(acts) of the man ».

Н. Бердяев. « About purpose(appointment) of the man. Experience of paradoxical ethics ».

Some introductory words
In the first part of this clause the author’s sight on the basic questions connected to concept “«plan” is stated. In the second part the citations from various sources are assembled. A task of the citations — to not confirm a position of the author and to not deny е ё, and to give as wider representation about essence of a considered(examined) theme is possible.
Within the framework of short clause it is impossible to give the answers to all conceivable questions concerning a plan. Neither first, nor second part are not directed on the decision of such task. At a spelling and this, and other similar texts the author puts before itself the unique(sole) purpose: to excite at the reader interest to a considered(examined) theme and to induce it(him) to independent е ё to judgement.

PART FIRST
I.
What such “«plan”? Whether he by all means is necessary for creation of product? The questions not such simple, as seem on the first sight. On the one hand, the people can put in this concept completely different sense. On the other hand, question on a plan — it, as a matter of fact, question on the most creative process. Alas, till now to mankind is not known, how there is this process. What serves an initial pulse for him(it)? What tasks of creativity? What essence of the process? It is a lot of hypotheses. But true to us неведома.
In clause « To create and to understand » questions concerning the reasons and the purposes(as a whole) of creativity already rose. Some hypotheses there were formulated also. In this clause the attempt is undertaken to see at a question a little in another way, namely: making a start from a plan.
II.
Ожегов defines(determines) a plan as follows:
1. Conceived plan of actions or activity, intention.2. Sense, incorporated in product, idea.
The note: the word “«plan” is present not at all languages. For example, for translation of a word “«plan” on English language should be used one of related concepts, suitable on sense: plan, conception, idea, intention (plan, concept, idea, intention).
III.
If to consider(examine) a plan as the plan, it is necessary to recognize, that during creativity there can be two kinds of the plans:
1. Initial plan created prior to the beginning direct creative activity;( It is necessary to recognize, that the creation of such plan is independent creative process; and plan in this case can be quite recognized by result of creativity — you see has named Ampere-second. Пушкин the plan дантова “of «Hell” by ingenious product!) 2. Current plans arising during realization of the initial plan.
Both current, and the initial plans are not dogmas. During creativity they can considerably be transformed.
Besides it, the plans can be created is realized, and can be born as short-term inspirations.
Whether the preliminary realized plan is always necessary for creativity or it is possible to be limited to improvisations? The answer to these questions is always individual. Someone can not begin business without detailed preliminary study of a question, and someone is ready at once to try to break to realization. Both approaches have the right to existence, for it is possible to find set of examples confirming разумность as that, and another.
IV.
By consideration of a plan as « of the sense, incorporated in product, idea » of questions arises much more. First of all, not absolutely clearly, how in product it is possible «to put “in pawn” any idea. You see product — not the pie, in which is possible to put any stuffing! If at creation of verbal products ещ ё it is possible how to lean against language senses, what to do(make) at creation,say, music?
But even the senses, which, in opinion of the author, it was possible «to put “in pawn”, can not always be perceived unequivocally (neither at an information level, nor at a level of feelings). The process of comprehension of an author’s plan in a vast degree depends on a cultural context, from a concrete condition of the man, which perceives product, from conditions of perception(recognition), etc.
But it at all does not mean, that the author should refuse transfer of ideas and senses through сво ё product. Main — to be ready that other people can in own way apprehend these ideas and senses. The author always should recognize the right of other people on own perception(recognition) and alternative treatment.
Hardly in more details this aspect is considered in clause « To create and to understand ».

V.
Whether the plan should answer a question: « what for (for what, with what purpose etc.) this or that product is created? » In opinion of the author of these lines: no, does not owe. The purposes and tasks are clear априорно. The author creates, first of all, for itself. The man, perceiving a work of art, also is focused on the analysis, mainly, own feelings, instead of on comprehension of an author’s plan. The basic elements of these two tasks (two processes) — fine have coincided! Have not coincided — too no trouble!
However not everyone adhere to the same point of view. For example, And. Васильев at one time has written in a magazine « the Soviet photo »: « At analysis of pictures repeatedly were necessary on a question « for what to me you it have removed(taken off)? » To receive the answer: « So, it was pleasant ». And there are more any arguments. It is the widely widespread illness of growth … »
Whether but it is possible and whether pertinently to try to find out at домохозяйки: what for she has decided(solved) to prepare for dinner,say, отбивную? Why not a fish? Why not cutlets? What wanted to say by the choice? What idea stood behind this отбивной? What deep sense of this dish? Whether she pursued the purpose secretly прорекламировать meat лавку opposite(on the contrary) е ё at home? Etc.
Precisely as and with a plan …
And домохозяйка, and author at all are not obliged to answer a question « what for? » And what to us a difference! If the result is capable to render on us emotional influence, it is necessary simply to thank what creativity was necessary to us as desirable.
1. Вышесказанное it is not necessary to perceive in the sense that the creative process does not have reasons. The reasons are at only.Well, as a last resort, they can always be thought up.; -)
2. Same fairly and concerning the purposes. The man tries by all to be engaged purposefully. Were engaged creativity, he can aspire to reach(achieve) great variety of the purposes: from « not bad подзаработать » up to « to pass wonderful mood of this surprising evening ». The object in views, certainly, can have an effect for result of creativity. But to estimate and to perceive this result knowledge of the purposes at all it is not required. Moreover, there are no such purposes, which прямиком conduct to success; as there are no also such purposes, that obviously provide a failure.
VI.
Whether the author by the beforehand developed plan works, whether he improvises on a speed hand — in both cases is engaged in self-expression, that is not simply reflects in the products an existing reality, but also leaves in them частичку of the soul.
But there are also adherents of other approach., for example, some of rules ломографии:
— Do not think. — Work quickly. — You do not need to know beforehand, that is removed(taken off) at you on a film. — You do not need to know it and then.( Malicious languages like to add: « Under the large bill to remove to you too it is not necessary ».)
But that is curious: often ломографы concern to separate pictures only as to elementary кирпичикам, that is as to a material, from which during the further job something should appear on light more значимое. In result occur, for example, panel from pictures. On the foreground the creative moments connected to selection, упорядочиванием and registration leave. It turns out, that the essence of authorship cannot be eradicated. The soul of the founder will search by all means for ways for self-expression and self-reflection as a result of creative job. If these purposes not удаётся to reach(achieve) during shooting, they will be decided(solved) by all means at other stages. And then also it will be pertinent to recollect a plan.
Than higher is the skill of the author, than more he is spiritually advanced — the more important for him(it) to achieve desirable result during purposeful activity, instead of at will of a case. By and large, the activity of the author is directed, if and not on complete elimination of accidents,, at least, on the item of information of their influence to a minimum.
VII.
The ancient wisdom says: « Want, that the gods have laughed at you? Tell by him(it) about the plans ».
Approximately in the same sense has expressed and Пауло Коэльо: « When you write the book, you should absolute on it be concentrated and should not speak about her, yet will not put last point ».
However many authors adhere to opposite opinion. They find rather useful to be divided задумками with other people. The sense can be simple: from an initial plan almost always remains very little, and during discussion conceived it is possible to get weight of new useful ideas. So, Юрий Олеша wrote: « I, for example, have noticed, that for me personally it is very useful to tell the plans. Something turns out like improvisation — and unexpectedly for me the whole accidents are born not that that details or paints, and whole pieces,! »
VIII.
So the plan whether or not is necessary? The question is not absolutely correct. The plan, as something non-material, as pure(clean) idea, as a particle of soul of the author, always is present at product.
In clause about psychology of improvisation Б.М. Рунин writes: « Any creativity represents process incessant взаимопереходов of a plan and realization, experience and expression, rational and intuitive ». With this idea it is difficult to not agree.
But as a whole, it is necessary to recognize, that in creative process for us much остаётся not clear. Hardly someone can assert(approve), that knows true in final instance. As if to a plan, then, on a sight of the author of these lines, it is useful to not overlook(forget) aphorism – paradox: « the best impromptu — what beforehand is prepared ». And « how it(him) to prepare? » — it everyone decides(solves) itself.

PART SECONDTHE ELECTED CITATIONS I.For the benefit of a PLAN (IDEA, CONCEPT)
1.« The Fan(amateur) writes, how the god on soul will put, and the professional knows, that, what for and why he does(makes); works within the framework of the certain concept … »Сергей Серегин in interview for Ивана Кузнецова
2.« — For what to you this говорильная the machine? — has asked Шпунтик. — And as! — has exclaimed Смекайло. — the Writer without such device — as without hands. I can put бормотограф in any apartment, and he will write down everything, about what speak. I will need only to copy — to you the story or even the novel. — Up to what it is all simply! — has exclaimed Шпунтик. — And I somewhere read, that to the writer any fiction, plan … is necessary— Э, plan! — impatiently has interrupted it(him) Смекайло. — It only in the books so is written, that the plan is necessary, and try conceive something, when all already and without you is conceived! That take — all already was. And here take directly so to say, from a nature — something and will leave, that else at anybody from the writers was not ». Nickolai of Noses. « Adventures Незнайки and his(its) friends ».
3.« Without idea there is no product, therefore it is not necessary anything to begin, be not defined(determined) yet clearly and precisely: for what, what for, what exactly want to say and on what свершения подвигнуть reading? »Юрий Никитин. « How to become the writer ».
II.NOT For the benefit of a PLAN (IDEA, CONCEPT)
1.« The Rates of the writers and writers up to exhaustion are carried with idea, considering е ё by most sacred of all sacred cows, but actually she (be not horrified!) – business not too important ».
« … to begin from questions and ideological reasons — the recipe of creation of the bad literature. The good literature always begins with a theme and develops to idea, almost never it happens on the contrary ».Стивен Кинг. « How to write the books ». (Stephen King. « On Writing ».)
2.« But it is not necessary to be ashamed of accident, it is necessary to force her(it) to work. … At the end photographic masterpieces are born from casual confluence of great variety of circumstances … »
« By virtue of specificity of a photo more often photographer passes a way not from a plan to result, and opposite — from result to his(its) judgement, estimation and analysis ».Александр Лапин. « A Photo as … »
3.« It is difficult to the Artist to distinguish, that he does(makes) deliberately, and that is mysterious or is inexplicable ».Федерико Феллини
III.THE PLAN (IDEA, CONCEPT) IS IMPORTANT, BUT …
1.« The Plan sometimes occurs per one second. Intonation, or casual word, or чь that person. Then begin it(him) щупать, understand about what, the subject or semantic line is built. But for some reason it is impossible to sit. Then доходишь up to any degree of despair, have a seat and find out, that all completely another, all goes наперекосяк. But when it appears, at last, made, is found out, what exactly it and reflected ».Андрей of Bits. In clause in “«Коммерсантъ-daily” from November 29, 1997.
2.« Just Юрий the Growth has decided(solved) to remove(take off) the foreman in забое, without any illumination, shine(cover) it(him) owed (remaining in shadows) members of a brigade — by the bulbs. Thus, he would arise not one, and in light of the brigade — as well as was in life. But on a place the press photographer has understood, that the image of the hero who has been thought up in edition, anything general(common) with the real man has no. Therefore Ю. The growth has accepted the decision to photograph the deserved foreman on базаре among his(its) one-peasants … »From the book М.Н. Ким. « Technology of creation of journalistic product ».
3.« I wrote without the plan. Some, working, speak themselves: this place was not possible to me, I shall leave it(him) while, I shall write further, then вернусь and обработаю. Unfortunately, I so to work I am not able. I can advance further only when everything, that remained behind, it seems to me made well. If I feel, that in written any expression or the separate word is unsuccessful, I all the same вернусь and shall sit that it seems to me unsuccessful, until I shall achieve result, satisfying my taste, … Certainly, it is wrong. Because I so a lot of time spend on the products. But what to do(make)! The manner everyone is extremely individual. Золя not only the plan made, but also расписывал terms, when what page will be completed. And on a calendar is ordinary and finished all job, in accuracy, as has planned … Пушкин has said, that one only plan дантова « of a Hell » already is ingenious product. Thus, all speaks that is necessary before to write, to make the plan. However Алексей Thick in one of the statements notices, that when the plan is made and already write by this plan, suddenly there is a revolt of the characters. Became to be, such thing is possible(probable) also! Became to be, the creativity of the event can proceed also then, when event already occurs. And in it — one of remarkable properties of creativity. The creativity is radioactive. One idea radiates another. The poet improvises. I, for example, have noticed, that for me personally it is very useful to tell the plans. Something turns out like improvisation — and unexpectedly for me the whole accidents are born not that that details or paints, and whole pieces,! »Юрий Олеша about the book “«Envy”
4.« To remove there is a sense only then, when the author hopes to inform up to the spectator any original information either through the contents, or through the form, or through that and another. … As if to a creative plan as directed мыслительного of process, it(him) can and to not be at all. If to speak more correctly, he, certainly, is present always, but can borrow(occupy) on time literally instants. It is important, that the photographer was psychologically prepared, « is aimed » at this or that kind of shooting ».А. Васильев « the Soviet photo », №7, 1990
5.« It is impossible to improvise, it is necessary to prepare, it is necessary to be careful, it is necessary to plan. Only when all is carefully prepared, when all is fulfilled, then it is possible to begin to improvise ».Ингмар Бергман
6.« Paradox of an advancing », when desirable is realized at the artist earlier, than he has time to realize хотение, becomes the factor of amazing opening ».
« … logic and psychology of improvisation almost are not investigated. And between that the opportunities her(it) are invaluable. Any creativity represents process incessant взаимопереходов of a plan and realization, experience and expression, rational and intuitive. The moment of improvisation — is the moment of jump, break of gradualness in development of this process.
The improvisation in art bears(carries) with itself delightful sensation of a creative beginning incorporated in most мироздании. Her(it) “«by the way” of other time there is of laborious works, and sudden, on an instant sparkled in потемках a figurative prospect — of thoughtful prophecies ».Б.М. Рунин. « About psychology of improvisation ».
7.« In human creativity it is necessary to distinguish two moments two parties. There is an internal creative plan, there is from darkness a creative image, primary creative intuition. It also is depth of creativity leaving in недра unconscious. But the creative certificate(act) is also realization of a creative plan, embodiment of a creative image, deployment of creative intuition in weight ours греховного of the world. The internal creative certificate(act) is burning spirit. The external creative certificate(act) subordinated to norms and the laws, is already cooling. When the philosophical or scientific book or art product is written, the statue is created and the symphony accepts the final form, when the machine is under construction or the economic or legal establishment is organized, even when the life of church on ground with its(her) canons is organized, the creative certificate(act) is cooled, fire потухает, the creator is drawn to ground, downwards. The creator can not depart on the sky, he owes нисходить on ground in realization of the creative certificate(act). In it tragedy of creativity. All products of creativity do not correspond(meet) to creative plans and do not satisfy. In it горечь of creativity. And it also is one of the conflicts unconscious with consciousness. Consciousness насилует the unconscious creativity also deforms his(its) results. And with especial force it can be seen in creativity moral, in the moral certificates(acts) of the man ».Н. Бердяев. « About purpose(appointment) of the man. Experience of paradoxical ethics ».

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Hunting behind novelty

написано в рубрике: News, Review — Метки: News, Review — admin @ 11:45

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I. Introduction

To told above it is necessary to add that the person социален by the nature and consequently the need for a recognition from other people is same basic, as well as need to create and perceive works of art. But if the perception purpose isn’t connected to understand in any way (or it is only slightly connected) the author, whether that can calculate the author for mutual understanding and a recognition accompanying it? And if can, as it to achieve?

More often, authors, answering these questions, place emphasis on novelty. It seems to them that the way to a recognition is simple: to amaze and surprise audience with novelty (contents, judgements, the approach, a creative method, etc.) enough — and the purpose will be by all means reached. Unconditionally, the novelty factor plays large role. But the hypertrophied accent on novelty isn’t deprived also lacks, and most important of them consists that novelty, contrary to a popular belief, at all isn’t a determinative for a recognition. Moreover, hunting behind novelty often leads empty оригинальничанию, besides rather far and from original authoring self-expression, and from art generally.

To attempt of judgement of the contradictions connected to the factor of novelty in art, also this small article is devoted.

II. In what a novelty essence?

Great Raphael Santi for the creative life has written very many Madonnas. He wrote the divine cloths, being in rigid frames of canons. In those days at creation of cloths of the religious content artists were strongly enough are restricted in a choice both the composite decision, and technics of performance. But even in these strictly certain frames at Raphael every time the new, fine and original product absolutely not similar neither on its other operations, nor on products of other masters of a paintbrush turned out. One more example: icons of Feofana of the Greek. They, perhaps, каноничны still in a greater degree. But thus they are fine, majestic and absolutely recognized.

Then that for creation of an original work of art not so mandatory to break all added norms and rules. And not so mandatory to trample on foundations and canons. And aspiration amazing the spectator at any cost, isn’t in the shortest way to masterpiece creation. But what then essence of novelty?

Obviously, novelty consists in the author, in his hands and in his head. And is more true: in his soul. We will recall the Gospel from Onions: «Byv is asked by Pharisees when Tsarstvie Bozhie will come, answered them: Tsarstvie Bozhie will not come in the perceptible image, and won’t tell: here, it here, or: here, there. For here, Tsarstvie Bozhie in you is» [17:20,21]. And so far as it so it is not necessary to spend efforts to nothing defensible search of new forms and empty оригинальничание. Novelty is already put in individuality of the author. And if there are no two identical people can’t be and two identical authors. If, of course, their creativity goes with all the heart, instead of is based on a conjuncture, doesn’t indulge arrogance and doesn’t serve only for earnings.

From this, of course, doesn’t follow that any product owing to authoring originality will have is mandatory though any value for other people. Certainly, it not so. Authoring vision and authoring подчерк are necessary (and essential), but not success sufficient conditions. Mahlo to carry in itself Tsarstvie Bozhie, it is necessary still to be able to use this gift adequately. Here too pertinently to remind that the commercial success not always testifies to high level of authoring skill. Occasionally the situation is added exactly the opposite: commercially successful something ephemeral, hardly having been born, instantly disappear from storage of admirers. However, it is the big separate subject …

Many suppose that the author shouldn’t put the individuality on the foreground. More often (and in a photo, perhaps, even more often, than in other types of creativity) supporters of such approach put before the author only the problem of the fullest and adequate reflection of objectively existing Beauty. But that who divides the similar point of view, it is necessary to remind that the author doesn’t have any other methods of reflection of objectively existing Beauty except subjective playback of results of the subjective perception. Owing to it the person of the author is rather significant, and even in such technical art forms, as a photo.

Whether the author should hide the creative individuality? Or, on the contrary, should underline it? Questions partly idle for the author simply doesn’t have choice. Its any creation will carry automatically on itself the press of its authoring approach.

Two persons, telling about same, create absolutely different narrations. “Different” — not in sense of distinction of an information essence which can quite be same. “Different” — first of all, in sense of authoring style. For this reason someone can tell about any trifling event (for example, how it walked in a bakery), and the crowd of people with interest will listen to its each word. And someone and will tell about the most interesting event so that the audience will start to yawn at its first words. Art is born there where the attention to the question «as is as the corner-stone brought?», instead of «that?». The more talently the author, the more clearly in its creations its individuality is visible.

The same happens and in a photo. Give to two people cameras and ask them to photograph any object. The photos received by them will differ strongly enough. And, besides, distinctions that will be stronger, than more interesting and многогранней there will be authors as persons. Original works of art always differ from each other substantially. Even then, when they narrate about the same subject. Only серость and feebleness always happen equally boring.

Speaking about art creativity, it is necessary to note that any product should be, first of all, a work of art. In this case novelty will be automatically inherent in it for two identical authors don’t happen, especially if authors are rather talented. And, so far as it so in the course of creativity of any special search of novelty it is not required. And if product isn’t a work of art no novelty will make its that.

Thus, it is not necessary to waste time specially and forces on novelty search. But it is not necessary and to avoid it for it should be shown naturally. And, of course, it is not necessary to substitute novelty оригинальничанием. For there is nothing easier, than to try to be original. It is much more difficult to find forces to be oneself.

III. The novelty Factor in photoart

Than more well in mastering this or that art form and the more the number of creators-authors, the costs a question on novelty more sharply. For it seems to authors that novelty is a unique way to признанью and to success. However such people forget that at each creation there is one more rather important element — a sight of the author.

The photo — an accessible and mass art form, therefore for it a described problem costs most sharply. From outside the photographer sees as the person who only pushes the button on the camera. Where here original creativity? To answer this question it is possible two methods. It is possible explicitly and to describe long methods and technology of creation of photographic works of art. And it is possible to ask simply audience attentively to get accustomed to results. And then it becomes obvious that the majority of photos, alas, have no attitude toward art. But it isn’t so bad, for the photo helps the person to solve great variety of tasks. And it not is mandatory should associate with art.

Alexander Lapin hasn’ted: «the Main problem of a photo that it too much, is simply monstrous much. As though all population of a planet painted in oils or composed verses» (the book «the Photo as …»). However it is necessary to recognize such situation problem only partly for similar difficulties are peculiar also to other art forms. For example, the number of competent people considerably exceeds number of potential photographers. Owing to it the flow of various prose for certain is more than flow of photos (about poetry here speech doesn’t go). At institutes and offices, in a life and on manufacture the great variety of documents is born daily. However to anybody and in a head by all means each text with art doesn’t come to associate. Business and in a photo in the same way is. It it is valid much. But its big part also doesn’t claim for carrying a proud rank “work of art”.

The thought on that any special search of novelty isn’t required, is spread, mainly, to a photo as on certain refined (that is cleared of other tasks and the purposes) fine arts type. In other cases (which great variety), the novelty factor can have crucial importance. As an example the scientific photo and the photo report can serve.

However, any sharing here is conditional. The photo rarely appears exceptional in an art role. We take, for example, the same репортажную shooting. On the one hand, its result is the documentary photograph. And here, unconditionally, novelty is important. And novelty of the fact is important first of all. But if thus the photo is also art (owing to what novelty in it is shown also as perception and the relation of the author) it is unconditional plus of photooperation. For through artistry it is easier to get access not only to feelings, but occasionally and to reason of the spectator. And let even spectator emotions won’t coincide with the authoring. Artistry is, first of all, the additional channel

I. Introduction

In the micro-treatise “to Create and understand” already it was said (truth, for a moment) that «… for the full self-realization the author needs to be understood and estimated by other people». On the other hand, in the same place it was underlined that the spectator (the reader, the listener, etc.) «… first of all, like another’s feeling not so much and tries to understand not so much that the author wanted to tell, how many works out own feeling in communication and concerning another’s work of art».
To told above it is necessary to add that the person социален by the nature and consequently the need for a recognition from other people is same basic, as well as need to create and perceive works of art. But if the perception purpose isn’t connected to understand in any way (or it is only slightly connected) the author, whether that can calculate the author for mutual understanding and a recognition accompanying it? And if can, as it to achieve?
More often, authors, answering these questions, place emphasis on novelty. It seems to them that the way to a recognition is simple: to amaze and surprise audience with novelty (contents, judgements, the approach, a creative method, etc.) enough — and the purpose will be by all means reached. Unconditionally, the novelty factor plays large role. But the hypertrophied accent on novelty isn’t deprived also lacks, and most important of them consists that novelty, contrary to a popular belief, at all isn’t a determinative for a recognition. Moreover, hunting behind novelty often leads empty оригинальничанию, besides rather far and from original authoring self-expression, and from art generally.
To attempt of judgement of the contradictions connected to the factor of novelty in art, also this small article is devoted.
II. In what a novelty essence?
Great Raphael Santi for the creative life has written very many Madonnas. He wrote the divine cloths, being in rigid frames of canons. In those days at creation of cloths of the religious content artists were strongly enough are restricted in a choice both the composite decision, and technics of performance. But even in these strictly certain frames at Raphael every time the new, fine and original product absolutely not similar neither on its other operations, nor on products of other masters of a paintbrush turned out. One more example: icons of Feofana of the Greek. They, perhaps, каноничны still in a greater degree. But thus they are fine, majestic and absolutely recognized.
Then that for creation of an original work of art not so mandatory to break all added norms and rules. And not so mandatory to trample on foundations and canons. And aspiration amazing the spectator at any cost, isn’t in the shortest way to masterpiece creation. But what then essence of novelty?
Obviously, novelty consists in the author, in his hands and in his head. And is more true: in his soul. We will recall the Gospel from Onions: «Byv is asked by Pharisees when Tsarstvie Bozhie will come, answered them: Tsarstvie Bozhie will not come in the perceptible image, and won’t tell: here, it here, or: here, there. For here, Tsarstvie Bozhie in you is» [17:20,21]. And so far as it so it is not necessary to spend efforts to nothing defensible search of new forms and empty оригинальничание. Novelty is already put in individuality of the author. And if there are no two identical people can’t be and two identical authors. If, of course, their creativity goes with all the heart, instead of is based on a conjuncture, doesn’t indulge arrogance and doesn’t serve only for earnings.
From this, of course, doesn’t follow that any product owing to authoring originality will have is mandatory though any value for other people. Certainly, it not so. Authoring vision and authoring подчерк are necessary (and essential), but not success sufficient conditions. Mahlo to carry in itself Tsarstvie Bozhie, it is necessary still to be able to use this gift adequately. Here too pertinently to remind that the commercial success not always testifies to high level of authoring skill. Occasionally the situation is added exactly the opposite: commercially successful something ephemeral, hardly having been born, instantly disappear from storage of admirers. However, it is the big separate subject …
Many suppose that the author shouldn’t put the individuality on the foreground. More often (and in a photo, perhaps, even more often, than in other types of creativity) supporters of such approach put before the author only the problem of the fullest and adequate reflection of objectively existing Beauty. But that who divides the similar point of view, it is necessary to remind that the author doesn’t have any other methods of reflection of objectively existing Beauty except subjective playback of results of the subjective perception. Owing to it the person of the author is rather significant, and even in such technical art forms, as a photo.
Whether the author should hide the creative individuality? Or, on the contrary, should underline it? Questions partly idle for the author simply doesn’t have choice. Its any creation will carry automatically on itself the press of its authoring approach.
Two persons, telling about same, create absolutely different narrations. “Different” — not in sense of distinction of an information essence which can quite be same. “Different” — first of all, in sense of authoring style. For this reason someone can tell about any trifling event (for example, how it walked in a bakery), and the crowd of people with interest will listen to its each word. And someone and will tell about the most interesting event so that the audience will start to yawn at its first words. Art is born there where the attention to the question «as is as the corner-stone brought?», instead of «that?». The more talently the author, the more clearly in its creations its individuality is visible.
The same happens and in a photo. Give to two people cameras and ask them to photograph any object. The photos received by them will differ strongly enough. And, besides, distinctions that will be stronger, than more interesting and многогранней there will be authors as persons. Original works of art always differ from each other substantially. Even then, when they narrate about the same subject. Only серость and feebleness always happen equally boring.
Speaking about art creativity, it is necessary to note that any product should be, first of all, a work of art. In this case novelty will be automatically inherent in it for two identical authors don’t happen, especially if authors are rather talented. And, so far as it so in the course of creativity of any special search of novelty it is not required. And if product isn’t a work of art no novelty will make its that.
Thus, it is not necessary to waste time specially and forces on novelty search. But it is not necessary and to avoid it for it should be shown naturally. And, of course, it is not necessary to substitute novelty оригинальничанием. For there is nothing easier, than to try to be original. It is much more difficult to find forces to be oneself.
III. The novelty Factor in photoart
Than more well in mastering this or that art form and the more the number of creators-authors, the costs a question on novelty more sharply. For it seems to authors that novelty is a unique way to признанью and to success. However such people forget that at each creation there is one more rather important element — a sight of the author.
The photo — an accessible and mass art form, therefore for it a described problem costs most sharply. From outside the photographer sees as the person who only pushes the button on the camera. Where here original creativity? To answer this question it is possible two methods. It is possible explicitly and to describe long methods and technology of creation of photographic works of art. And it is possible to ask simply audience attentively to get accustomed to results. And then it becomes obvious that the majority of photos, alas, have no attitude toward art. But it isn’t so bad, for the photo helps the person to solve great variety of tasks. And it not is mandatory should associate with art.
Alexander Lapin hasn’ted: «the Main problem of a photo that it too much, is simply monstrous much. As though all population of a planet painted in oils or composed verses» (the book «the Photo as …»). However it is necessary to recognize such situation problem only partly for similar difficulties are peculiar also to other art forms. For example, the number of competent people considerably exceeds number of potential photographers. Owing to it the flow of various prose for certain is more than flow of photos (about poetry here speech doesn’t go). At institutes and offices, in a life and on manufacture the great variety of documents is born daily. However to anybody and in a head by all means each text with art doesn’t come to associate. Business and in a photo in the same way is. It it is valid much. But its big part also doesn’t claim for carrying a proud rank “work of art”.
The thought on that any special search of novelty isn’t required, is spread, mainly, to a photo as on certain refined (that is cleared of other tasks and the purposes) fine arts type. In other cases (which great variety), the novelty factor can have crucial importance. As an example the scientific photo and the photo report can serve.
However, any sharing here is conditional. The photo rarely appears exceptional in an art role. We take, for example, the same репортажную shooting. On the one hand, its result is the documentary photograph. And here, unconditionally, novelty is important. And novelty of the fact is important first of all. But if thus the photo is also art (owing to what novelty in it is shown also as perception and the relation of the author) it is unconditional plus of photooperation. For through artistry it is easier to get access not only to feelings, but occasionally and to reason of the spectator. And let even spectator emotions won’t coincide with the authoring. Artistry is, first of all, the additional channel

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Tessar ® vs. Planar ® or Discourse on the figure of optical systems

написано в рубрике: Books, Lens, Review — Метки: Books, Lens, Review — admin @ 11:26

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I. Some words about figure of optical system

The question on figure объективов always is интригующе bewitching. Among technical questions of a photo it is impossible to find other similar aspect, around of which very many legends, errors, false interpretation and превратных of representations would be developed(unwrap). At the same time, any man having though any experience of photoshooting, begins to not deny that fact, that different объективы differently display a reality. The reasons this phenomenon has some. And main is, that объектив basically can not display a point of object as a point of the image. Объектив always carries out function of the converter any of points of a reality in a dim stain of this or that form and this or that size. And it is fair in the attitude(relation) as points which are taking place in focus, and points in area нерезкости.

The situation in addition is complicated хроматическими by distortions: the mentioned above dim stain besides other depend and on length of a wave of light. Therefore dim stain being an image of an initial point, can get also additional non-uniform colour distortions.

Ещ ё one essential factor — correct transfer of contrast, that is difference in light exposure of various points of the image.

Also is important to understand, that all mentioned above circumstances can differently be shown for:

1. Different sites of the staff (centre and periphery);

2. For different areas нерезкости (нерезкость before a point exact фокусировки and behind her).

The set also forms all these неидеальностей figure of optical system.

The ideal optics has no any specific figure. She will transform points in focus to points of the image, and point outside of focus — in the in regular intervals painted circles of the same colour. Besides it, the ideal optics without distortions passes contrasts. But, fortunately or unfortunately, the ideal optics does not exist.

One important conclusion follows from all вышесказанного: it is objectively impossible to say, that any figure is perfect, and any another — is ugly. One can like one неидеальности, another — others. The judgements about aesthetic value of this or that figure (set неидеальностей) are always subjective. It is not good and not poorly. It is simple the fact of the validity, environmental us.

By virtue of that of a stain, in which the initial points are washed away, are rather small, figure of optical system is the thin characteristic and not always obviously rushes in eyes. He is swept most up in the field of strong нерезкости, as in these zones of a point are washed away in a rather large stain.

But, certainly, any figure of optical system is not capable to transform an apple into a pineapple, and Бабу Ягу in Кощея Immortal. The photo вс ё was and остаётся a quite good means for registration of the objective validity.; -)

II. Some words about a brick wall

Among the trivial tests of photographic optics the shooting of a brick wall borrows(occupies) the special place.; -) As far as such test is expedient from the point of view of an estimation of figure?

To estimate figure by result of such test — business ungrateful(thankless). But I, certainly, am far from announcing shooting a brick wall by vain expenditure of time. Such test, for example, not bad reveals дисторсию of optics and variation of sharpness on the area of the staff. Sometimes, on such pictures it is possible to notice traces хроматических аберраций. But for complete representation about figure it is desirable to photograph plots with extended areas нерезкости.

III. Planar ® and Tessar ®

Сво ё the name Planar ® has received for the ability to form the flat image fine suitable to recording environment(Wednesday) as a photoplate and a film.

Planar ® and until now остаётся by one of the most widespread optical circuits (in view of various updatings).

Fig. 1. Planar ®

In 1902 the same doctor Рудольф has received the patent on ещ ё one successful optical circuit: Tessar ®. Объектив, executed on such circuit, consists of four elements. From here there is also his(its) name: тэссера — till four.

The basic advantages of this circuit: compactness and high резкостные of the characteristic. Last circumstance promoted occurrence of an epithet « орлиный of an eye », widely used for the characteristic it объектива. The compactness too has appeared is claimed: for example, many несветосильные телеобъективы were designed under this circuit.

Fig. 2. Tessar ®

If to abstract from subtleties, in the first most rough approach(approximation) of distinction between тессаром and планаром it is possible to formulate as follows. If the compactness is the paramount factor, on the first place leaves тессар. The truth, large светосилы from him(it) to expect difficultly. If for the sake of светосилы we are ready to bring compactness in a victim, superiority(championship) — for планаром.

At more careful approach it is possible to discuss more thin things, for example, such as figure. To such analysis we now also shall proceed(pass) (within the framework of declared « of the unscientific approach »).

IV. The photoimages

So, I hope, with you have remained ещ ё of force after the so vast introduction?; -) If so, is perfect. It is high time to begin viewing the photoimages.

Unfortunately, I have no original pair объективов Tessar ® and Planar ® from Carl Zeiss. Therefore let, first of all, to present you the participants of the test:

1. In quality планара acts объектив Pentax SMC FA 50/1.4. In the essence it квази-планар with the rather high characteristics.

2. To a role тессара is invited ИНДУСТАР 50-2 50/3.5, being by almost copy legendary объектива from Carl Zeiss.

The shooting was conducted on a film KODAK GOLD 100. All photos were made from a support at диафрагме f/3.5. The received films were scanned on the scanner Minolta Dimage Scan Elite at the sanction 2820 dpi. The given scanner not too successfully consults(copes) with display of thin gradation in dark zones. Therefore on артефакты in the field of deep shadows to pay attention does not follow.

Any post – processing to the images was applied not. All below-mentioned photos are given in such kind, in what they were received from the film scanner (except for the function, used in some cases, Resize).

Fig. 3. Euphorbia Leuconeura. Pentax SMC FA 50. Resize 1:5

In a fig. 3 the photo of my home pupil Euphorbia Leuconeura, or is given, speaking simply, молочая беложилкового. For reception of the image was used объектив Pentax SMC FA 50 mm. In a fig. 4 same objects is photographed объективом ИНДУСТАР 50-2 50 mm.

Fig. 4. Euphorbia Leuconeura. ИНДУСТАР 50-2 50. Resize 1:5

In a fig. 5 and 6 the large fragments of the same images in scale 1:1 (are given that is at absence of operation Resize).

Fig. 5. Euphorbia Leuconeura. Pentax SMC FA 50

Fig. 6. Euphorbia Leuconeura. ИНДУСТАР 50-2 50

In a fig. 7 and 8 two unpretentious still-lifes are given which also can help to develop own representation about тессарах and планарах (within the framework of the declared accuracy).

Fig. 7. A simple still-life. Pentax SMC FA 50. Resize 1:5

Fig. 8. A simple still-life. ИНДУСТАР 50-2 50. Resize 1:5

Conclusions

Traditionally in section « small unscientific researches » I do not do(make) any conclusions. Think, look and decide(solve).

Yes the good luck accompanies you!

I. Some words about figure of optical system
The question on figure объективов always is интригующе bewitching. Among technical questions of a photo it is impossible to find other similar aspect, around of which very many legends, errors, false interpretation and превратных of representations would be developed(unwrap). At the same time, any man having though any experience of photoshooting, begins to not deny that fact, that different объективы differently display a reality. The reasons this phenomenon has some. And main is, that объектив basically can not display a point of object as a point of the image. Объектив always carries out function of the converter any of points of a reality in a dim stain of this or that form and this or that size. And it is fair in the attitude(relation) as points which are taking place in focus, and points in area нерезкости.
The situation in addition is complicated хроматическими by distortions: the mentioned above dim stain besides other depend and on length of a wave of light. Therefore dim stain being an image of an initial point, can get also additional non-uniform colour distortions.
Ещ ё one essential factor — correct transfer of contrast, that is difference in light exposure of various points of the image.
Also is important to understand, that all mentioned above circumstances can differently be shown for:
1. Different sites of the staff (centre and periphery);2. For different areas нерезкости (нерезкость before a point exact фокусировки and behind her).
The set also forms all these неидеальностей figure of optical system.
The ideal optics has no any specific figure. She will transform points in focus to points of the image, and point outside of focus — in the in regular intervals painted circles of the same colour. Besides it, the ideal optics without distortions passes contrasts. But, fortunately or unfortunately, the ideal optics does not exist.
One important conclusion follows from all вышесказанного: it is objectively impossible to say, that any figure is perfect, and any another — is ugly. One can like one неидеальности, another — others. The judgements about aesthetic value of this or that figure (set неидеальностей) are always subjective. It is not good and not poorly. It is simple the fact of the validity, environmental us.
By virtue of that of a stain, in which the initial points are washed away, are rather small, figure of optical system is the thin characteristic and not always obviously rushes in eyes. He is swept most up in the field of strong нерезкости, as in these zones of a point are washed away in a rather large stain.
But, certainly, any figure of optical system is not capable to transform an apple into a pineapple, and Бабу Ягу in Кощея Immortal. The photo вс ё was and остаётся a quite good means for registration of the objective validity.; -)

II. Some words about a brick wall
Among the trivial tests of photographic optics the shooting of a brick wall borrows(occupies) the special place.; -) As far as such test is expedient from the point of view of an estimation of figure?
To estimate figure by result of such test — business ungrateful(thankless). But I, certainly, am far from announcing shooting a brick wall by vain expenditure of time. Such test, for example, not bad reveals дисторсию of optics and variation of sharpness on the area of the staff. Sometimes, on such pictures it is possible to notice traces хроматических аберраций. But for complete representation about figure it is desirable to photograph plots with extended areas нерезкости.
III. Planar ® and Tessar ®

The optical circuit Planar ® was developed in 1896 by the doctor Рудольфом (Dr. Paul Rudolph), working in the company Carl Zeiss. Such circuit allows to create светосильные объективы of high quality. Besides other she gives many opportunities for elimination various аберраций.
Сво ё the name Planar ® has received for the ability to form the flat image fine suitable to recording environment(Wednesday) as a photoplate and a film.
Planar ® and until now остаётся by one of the most widespread optical circuits (in view of various updatings).
Fig. 1. Planar ®
In 1902 the same doctor Рудольф has received the patent on ещ ё one successful optical circuit: Tessar ®. Объектив, executed on such circuit, consists of four elements. From here there is also his(its) name: тэссера — till four.
The basic advantages of this circuit: compactness and high резкостные of the characteristic. Last circumstance promoted occurrence of an epithet « орлиный of an eye », widely used for the characteristic it объектива. The compactness too has appeared is claimed: for example, many несветосильные телеобъективы were designed under this circuit.

Fig. 2. Tessar ® If to abstract from subtleties, in the first most rough approach(approximation) of distinction between тессаром and планаром it is possible to formulate as follows. If the compactness is the paramount factor, on the first place leaves тессар. The truth, large светосилы from him(it) to expect difficultly. If for the sake of светосилы we are ready to bring compactness in a victim, superiority(championship) — for планаром.
At more careful approach it is possible to discuss more thin things, for example, such as figure. To such analysis we now also shall proceed(pass) (within the framework of declared « of the unscientific approach »).
IV. The photoimages
So, I hope, with you have remained ещ ё of force after the so vast introduction?; -) If so, is perfect. It is high time to begin viewing the photoimages.
Unfortunately, I have no original pair объективов Tessar ® and Planar ® from Carl Zeiss. Therefore let, first of all, to present you the participants of the test:
1. In quality планара acts объектив Pentax SMC FA 50/1.4. In the essence it квази-планар with the rather high characteristics.
2. To a role тессара is invited ИНДУСТАР 50-2 50/3.5, being by almost copy legendary объектива from Carl Zeiss.
The shooting was conducted on a film KODAK GOLD 100. All photos were made from a support at диафрагме f/3.5. The received films were scanned on the scanner Minolta Dimage Scan Elite at the sanction 2820 dpi. The given scanner not too successfully consults(copes) with display of thin gradation in dark zones. Therefore on артефакты in the field of deep shadows to pay attention does not follow.
Any post – processing to the images was applied not. All below-mentioned photos are given in such kind, in what they were received from the film scanner (except for the function, used in some cases, Resize).

Fig. 3. Euphorbia Leuconeura. Pentax SMC FA 50. Resize 1:5
In a fig. 3 the photo of my home pupil Euphorbia Leuconeura, or is given, speaking simply, молочая беложилкового. For reception of the image was used объектив Pentax SMC FA 50 mm. In a fig. 4 same objects is photographed объективом ИНДУСТАР 50-2 50 mm.

Fig. 4. Euphorbia Leuconeura. ИНДУСТАР 50-2 50. Resize 1:5
In a fig. 5 and 6 the large fragments of the same images in scale 1:1 (are given that is at absence of operation Resize).

Fig. 5. Euphorbia Leuconeura. Pentax SMC FA 50Fig. 6. Euphorbia Leuconeura. ИНДУСТАР 50-2 50In a fig. 7 and 8 two unpretentious still-lifes are given which also can help to develop own representation about тессарах and планарах (within the framework of the declared accuracy).

Fig. 7. A simple still-life. Pentax SMC FA 50. Resize 1:5

Fig. 8. A simple still-life. ИНДУСТАР 50-2 50. Resize 1:5
Conclusions
Traditionally in section « small unscientific researches » I do not do(make) any conclusions. Think, look and decide(solve).
Yes the good luck accompanies you!

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