Every Picture Is a Compromise
Lessons from the Also-rans
Most photography websites show the photographer's very best work. Wonderful. But that's not the full story of a creative life. If we want to learn, we'd better pay attention to the images that aren't "greatest hits" and see what lessons they have to offer. Every picture is a compromise — the sum of its parts, optical, technical, visual, emotional, and even cosmic – well, maybe not cosmic, but sometimes spiritual. Success on all fronts is rare. It's ok to learn from those that are not our best.
This is a series about my also-rans, some of which I've been able to improve at bit (i.e., "best effort"), none of which I would consider my best. With each there are lessons worth sharing, so I will.
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Original digital capture
Film Noir Week
Film Noir is as much an aesthetic as it is a style of storytelling. I've recently been watching a lot of Film noir movies from the 1940s and decided to try my hand at creating noir images from my work in the Dakota Creek shipyard that was across the street from our LensWork offices in Anacortes, Washington. I love the mystery and tension of these noir images. All they need is Humphrey Bogart chasing a bad guy through the shadows.
What I saw that I liked:
For some reason, there are a lot of tall vertical compositions in film noir.
What I learned:
These tall compositions often have a tiny human near the bottom. The tall composition emphasizes the powerlessness of humans to resist the forces that drive the film noir plot. I could easily see a small silhouetted guy at the bottom of this image. |
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