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.
Previous image | Next image |
Original digital capture
Processing for the Project
It's often best if the images in a project have a similar aesthetic. The trick is to have them look like they belong in a group without being repetitive. This week will be a look at five images processed for a project.
What I saw that I liked:
At first, I tried (above) to include this image as one that would provide context for the project.
What I don't like in the picture:
The more I looked at the above, the more I felt it didn't succeed ad context and instead looked like an odd duck that didn't fit the rest of images in the project.
What I learned:
I like the composition of the above. Liking and image, however, is less important than what it contributes to the project or how it is a distraction in the project. Sometimes it's necessary to eliminate images that otherwise might be a favorite.
Once I added the image at left to the project, it was clearly the better choice compared to the image above. |
|
