For me, it's a combination of:
1. the pleasure of using finely made devices, and
2, The thrill of the hunt when looking for the shots in the field, and
3. the artistic experience in the post processing, originally in the
darkroom and later in PS.


On Thu, Mar 31, 2011 at 3:56 PM, steve harley <p...@paper-ape.com> wrote:
> On 2011-03-31 11:39 , Collin Brendemuehl wrote:
>>
>> The question is:  How do we better our photography and get past cliche
>> images?  Can we take it more seriously without falling into either the trap
>> of elitism or the trap of demanding a certain level of commitment from
>> others?  (That's the motivation behind my recent technical criticisms.  We
>> can do better without burning ourselves out.)
>
> [answering before i look at the other responses]
>
> it's the same as with any art form (for those of us who pursue photography
> as art) -- there is no one way, but it's important to be true to oneself, to
> practice, and to search for what you have to say; many people (including me)
> also see their art as a form of play
>
> personally, i take a lot of flower shots, mainly because i'm putting them in
> a database of my gardens; on the face of it this is separate from my
> "artistic" pursuits, but while taking flower shots i practice seeing, and i
> practice technique; i also think there is always more to see in any subject,
> so sometimes i just work my yard, looking for new things and new ways to see
>
>
>> Sorry about the rant, but cliche images bother me deeply.
>
> cliches are part of the process -- for one thing there are practice subjects
> that are very cliche, but which can help develop technique and vision; the
> other aspect is that it takes work to recognize cliche, and there is a risk
> of seeing everything as cliche, so i personally feel there's a bit of
> "dancing" to do with cliches -- embrace them, twirl them around, make fun of
> them, let them humble you, but also hone your awareness of when the dance is
> over
>
>
>
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-- 
Steve Desjardins

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