There is value in obtaining some distance from your work so as to see
it objectively. But there is also value in reviewing your work very
soon after you do it so you can learn what it is you did on the shoot.
Both are necessary.
I review all my shoots as soon as I return to my desk afterwards. I
look to see what I did wrong and what I did right, I often do a quick
sort and grade effort, maybe pick a few for immediate printing and web
display.
Then I move on and continue working. I go back and review what I
picked, and what I didn't, at a later time depending upon what project
I am interested in pursuing then. At that point I find that some of my
picks aren't interesting to me any more, and some of my rejects are.
What I pick, and why, ultimately depends on what photo project I'm
putting together. The project has embedded within its concept what I
intend to do with it ... for exhibit, competition, etc etc.
Godfrey
On Oct 6, 2008, at 12:44 PM, John Celio wrote:
Back when I was an art student and was in my first photography
class, my
professor (Alice Shaw, www.aliceshaw.com) was giving a slide show
about
famous fine art photographers and their creative processes.
One photographer she mentioned, whose name I wish I could remember,
would take photos and process the film, but not look at the negatives
for about a year. This would help to remove sentimental attachments
he
might have with the images and allow him to more objectively select
photos to print. This struck me as a very good idea, especially
since I
always feel immensely sentimental about things I create, even if
they're
bad.
So, while I have been slowly rebuilding my website's gallery since
last
winter, I've been trying to apply this philosophy to my own work. I
have been taking lots of photos this year, but not really doing
anything
with them (aside from a few exceptions, such as the birth of my
nephew).
Working with photos that I took in college and after has helped me see
just how bad some of the photos are that I used to think were great.
It's difficult to resist the temptation to work on this year's photos,
but I keep telling myself it'll be worth it in the long run.
What sort of philosphy do you have when working with your photos, both
old and new?
John
--
PDML Pentax-Discuss Mail List
PDML@pdml.net
http://pdml.net/mailman/listinfo/pdml_pdml.net
to UNSUBSCRIBE from the PDML, please visit the link directly above and follow
the directions.
