Asher Kelman
OPF Owner/Editor-in-Chief
Michael A. Smith proposes a strict view of composition in their fine series of B&W photographs. Composition in those pictures trumps subject matter. Removing one element in these engaging pictures breaks the spell. See the thread and post # 51, in particular, here.
This idea of the critical place of composition does, I admit seem self evident, as most pictures of interesting subjects turn out to have no life of their own beyond the moment unless they have some value a mementos or some remarkable event.
I'd ask you all to consider this. Can the subject itself is be dominant and engaging that defects in structure of the picture get swept away as irrelevant?
Here's the challenge: Can you come up with museum quality collected prints of major photographers where composition is faulty but the picture itself works brilliantly and will, likely as not, outlast us?
Asher
This idea of the critical place of composition does, I admit seem self evident, as most pictures of interesting subjects turn out to have no life of their own beyond the moment unless they have some value a mementos or some remarkable event.
I'd ask you all to consider this. Can the subject itself is be dominant and engaging that defects in structure of the picture get swept away as irrelevant?
Here's the challenge: Can you come up with museum quality collected prints of major photographers where composition is faulty but the picture itself works brilliantly and will, likely as not, outlast us?
Asher