Graphics Reference
In-Depth Information
CHAPTER 11
Consider this chapter to be like the bonus track on a CD from your favor-
ite band. It wasn't in the plans for the original book, but I had many great
little nuggets of information left over that didn't otherwise fit into the
book but that I really wanted to share.
There's not a great way to tie them all together, so I'll just share them
in a stream-of-consciousness sort of way. I hope you find them influenc-
ing your corrections in important ways.
Starting Off
Bob Festa describes how he approaches a shot: “When I throw up a shot,
the first thing I do, before I talk to anybody, is kind of peer into the cor-
ners of the negative and look for my visual signposts; my references in the
shot that I look for. I'm actually looking for handles in the film like, 'What
would I bring forward? What would I drop back? Is there a white light
reference in the shot? Would I sniff around and try to find that and try to
find a reference to create a quick dynamic image that we can start to talk
with? Basically, I look for signposts that point to balance and white, then I
also look for traditional photographic techniques—stuff I can either bring
up or bring back. Getting the blacks to a malleable area and getting the
whites to a malleable area. When I first put up a shot and get it balanced,
I use the blacks and whites almost like a throttle on a motorcycle. Kind
of revving the engine to see what you've got. I use the master gains and
master blacks to get a feel for how it behaves.”
You really have to push it around to somewhere you don't want to
go to find out where you do want to go.
- Bob Festa, New Hat
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