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master photographers such as photo and mythology

Among all the interesting lessons that can receive a photographer one of the most transcendent is that which comes from the observation of some paintings by great masters.
Rembrandt, Caravaggio, Brueghel, and others may become limitless source of wisdom in the composition and lighting of an image.

might think, at first instance in the gap between how to make a painting with the immediacy of the photographic image, the possibility for the artist to assemble multiple images from sketches and will create adequate lighting its purposes, against the limitation of the photographer who, except for the use of computer resources, is forced to create one piece, at once, its image, or the composition of an image on a staged, with all resources under control.
How then can transmit a master of painting knowledge applicable to the photographic act hundredth of a second?

The reasoning behind this work is based on two hypotheses: the first is that the instantaneous act of the photographer is the consequence or the result of their life, all his knowledge, those who are unaware both of which emerge as in his consciousness, and appreciate the fact that details a masterpiece painting gives an enrichment capacity of vision to be decisive in framing and click.
The second hypothesis is that if some works have survived the centuries and continue to fascinate viewers is because they are made so that nothing is lacking and nothing is superfluous to pursue a perennial attraction: each element is where it should be, and this is the weight of the composition.

Rembrandt: Descent from the Cross
This painting is perhaps one of the finest examples of the value of a composition made almost entirely from the use of light.
In this play, monochrome painting, the intense illumination value on the body of Christ leads immediately look into what is the center of the work, the eye is always attracted to the lighter areas of the image and away from the darker areas.
If you look carefully at the detail of the body of Christ and of men holding it by the effect of the provision of members and lighting, what is perceived is the sense of a downward motion, a corkscrew motion: a retaining arm extends in a dead arm, the torso is linked by another arm and then another man holds her legs, and so the look and van bodies down at the ground where the body will eventually reach.
In the shadow of Christ's arm can be deduced that the torch or oil lamp is held in front of a character that gives back and appears backlit with a glowing halo around his head.
And it is this same lamp from below, "called" the body into the earth, brightly illuminating the face of Mary, fainting and sustained by men and women. This part of the scene is the "Stabat Mater", which tragically highlights the immense grief of the mother who poured over all the work.
Below is a canvas, but also lit unless the main figures on this shroud will go to rest the body of Christ and its horizontal orientation visual puts a limit descent from the Cross.
On the assumption that nothing is by chance in a work of Rembrandt, one might wonder why a more brightly lit section of the ladder, which stands out even of human figures found in the soil. One might think perhaps that the ladder is so light that you comes from the torch, but this is not a photograph, the light does not reach the ladder if there is no intention by the author to mean anything. And when you see how willing the light appears to indicate clearly that serves to bind the body with the shroud down to what will come. Establishes a connection could almost look temporary and that the succession seen in the body, bodies, and then the final destination.
In the bottom right of the painting enhanced plant, with its illuminated contours and can be assumed, with the same criteria that contain only what is necessary, that this plant reliably mark the existence of the earth, the final recipient body Christ, the fate that awaits him.
whole picture has a realistic lighting would be very difficult to find an inconsistency between sources of light, shadows and lighting levels, something Rembrandt was a great teacher. This lighting scheme, apparently with two sources, is not at any time the light source, it always seems to come from the faces, as if they light up the night. And it also has a meaning different connotations as it senses that who receives the light is able to transmit in turn, be a source of light. Fits
some reflections on the way to light: to start we see that in this, as in many works of Rembrandt, light is a narrow channel, a narrow stage amid a dense darkness and light brings a message of light to touch the subject makes it appear, the light becomes matter. Moreover, the darkness is what produces the feeling of nothingness, of non-being, and opposed everything that is illuminated is what came out of nowhere and inevitably return to nothing. Rembrandt composition conveys a message by the light of profound religious content.
uses light as an indication of where interest focus, enhances and highlights the tragedy of a face, sets the order in time, a sequence that tells a single image what will happen, in darkness envelops the scene not only to preserve its dramatic character, but to emphasize the huge difference between what was happening there at the moment, and everything that is out of the scene. The bodies, arms and hands and also directed the show looks, but they always do with a touch of light. The faces that are seen vaguely in the dark also play their important role as the mind reconstructs what is not complete and therefore works, part of the scene.

Part of the richness that can be found in this composition is found everywhere, often within reach of the photographer as well, while the artist creates his work, photographer found, also created in the moment of clicking the encounter between the self and the watching world.

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What What mythological
mythology has been systematically vilified and labeled as that which is false, illusory or unreliable. This concept is not innocent or naive, is laden with intentions that relate to the struggle between monotheism and ancient pagan religions known.
What characterizes it is mainly their mythological story of a sacred history of events that occurred in a time of origins, in a fabulous time outside history, and thus explains the existence of a reality or a fragment of reality. Mythology, in the form of dramatic events, exhibits this kind of material world events as well as a version of the forces that determine the existence of human beings.
Contact with the mythologies is permanent, despite the denial of their importance all means rely on them in a veiled way they know the strength of attraction they have on the public's imagination. Television, film and even the daily news abounds with examples of acts of universal villains, impossible feats with almost invincible heroes, heroes who, having sin of pride, expose themselves to thundering falls. If all these events arouse the interest is because they are linked to acts of universal reality, events that recognize all human beings, whatever their knowledge of myths and legends.
is why the analysis set out photography explores the elements that enrich the image and have their origin in those unconscious forces that move the viewer.

Images
The first picture shows a sculptor working, guess the dust rising from the stone and it is this light effect, together with the texture of the block and the composition of volumes, yields the overall image. But there are other elements that are struggling to be submitted to the hearing and contain a strong symbolic. The eyes, for example, are not as such but are only mirrored surfaces, the face is covered with a mask and raises a doubt about the identity of the worker, the body attitude seems to reveal an intention to fight between a man and a block of marble weighing several tons. And other elements, appear even less evident from behind as the sculpture of a reclining man, a brilliant reflection in a cross, a luminosity that seems to hide something else.
All these signs help to suggest the existence of a dramatic setting, the stone carving is one of the first works of humanity and, although this image can be seen a machine, the scene itself with the cross of light and its many connotations we lose something of the sense of time goes back to ancient times.
In the images presented in this paper, the picture makes a transposition of an act of work is a reality that tries to look like something else, into a dramatic scene.

The second picture is a guess human silhouette is doing something but what can not be identified. It is this uncertainty that compels the viewer to fill in your imagination so you can not deduct, you think of a surgeon, an alchemist, in various possibilities, but rarely succeeds in identifying a sculptor working behind a nylon on a large stone.
The darkness that surrounds the scene, the overhead light like an engraving of Rembrandt and the lack of any elements that might refer to a place or a specific time again suggest that attending a theater scene, and yet here too presents a situation in which there is no intention on the part of the protagonist, to produce a different from the real scene. The mystery of the unknown or reside in the plastic elements that make up the image. Darkness reigns at the scene forces the view to focus exclusively on the character and his work, however, leads to sense that what is observed seems to occur in a remote time in which a low light, spotlight, focused on the job site.

In the third image are hands, ropes, blankets ... the scene is something sinister or creepy, you think of bodies hidden crimes. Here too, the reality is much simpler, it just carved arms and covered by other objects such as natural situation in a sculpture studio. The rope, accidentally falls on the hands, bring a very special connotation, suggesting perhaps hands tied, captive.
In this image as in the previous general darkness raises an issue of mystery and concealment, hands and ropes come to mind are images full of meaning that the actual situation does not possess.

Except the first picture, the absence of technological elements (ie air conditioners, keyboards, digital devices, etc..) Is also an important factor to not allow the anchor of the imagination to a specific time, and this contributes to flight imagination to other representations.

These images captured several sculpture workshops led me to reflect on the power of suggestion that have the hidden elements of the image, the viewer is forced to supplement what they can not define or specify your own imagination. And it is here where this mythical concept of a search because the contents of the imagination that are associated with many times from what CG Jung called the collective unconscious which is common roots in the soul of all human beings, and these roots appear as primordial images that enrich the photographer in your search.

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Act before the camera

theater people for the camera is an embarrassment, a bad time to be spent each time they take to press or just a book.
There is no reason this aversion to the machine, the Cyclops eye that hides the eye of the photographer and executioner is impossible to know what the other what they want to capture, what is your intention.
When someone stands before a mirror can be choosing the angle, correct a pose if necessary, and, finally, just go for no trace when it was happy with the image he saw.
The mirror does not leave tracks.
When it comes to a film or video recording, the rules seem to be more clear to the actor and is also reassuring that transience.
Body image is essential for people working on the scene, exposing this image to capture a freeze without the certainty of the generosity of the photographer to find the best, is a risk that not everyone is willing running. Given this reality it
stance photographer who can take care of their responsibility and be for your model as your best, your earnest mirror, and is also the position of the actor who, by their ability, can find ways to move from a role you feel victim to another in which the protagonist.
first thing you can ask, require a person to pose for a photographer is that you look at it as it is, without a camera in hand, without excessive layers of makeup, just to establish a first link from person to person.
is imperative to divest and deprive the state of solemnity and rigidity that characterize the shoot, and allow the photographer discovers that "click focus" in the small gestures and expressions that are their own and which after being recorded by the camera, cause it means that slight smile: "yes this is mine!".
The actor can be linked in the way he does best: playing as if the photographer and the camera will be part of their range, can integrate into their world stage and play with direct gaze or not the camera, the body attitude which is centered.
Acting is action and that action can exist before the camera, without having to sit and stay still.
is the photographer who must find the time to click.