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I prefer the vertical. but I think that this particular composition is your crutch, Bitter. Be aware of compositions that you just keep turning to, they'll suck the life out of you.
Is it a crutch or just the right choice? I think this is an interesting talking point. I brought it up the other day.
 
Personally, i like the vertical one best. I like the little square centered, with the bigger square off center and partially cut out. Dont know exactly why... It is just a more pleasing image to me. Great image Bitter!
 
I'm sure I've mention this before. While I was in a color photography class in college each week we'd bring in our slides for a critique. Early on I was getting a lot of praise for some abstracts I made at an abandoned mill. They had these huge vats that were fiberglass and translucent and had a lot of internal structure formed by layers of multiple colored dyes and places where the vats were patched and repaired, so I spent a lot of time there. However, it wasn't long before the comments started going away. Dozing off, bored by my OWN presentation, I noticed the entire class was asleep!

At the end of the semester, we had to bring in seven slides we'd taken over the course as a final review. The instructor paused, took my slides and started stacking them, rotating one here, reversing another there and then set the stack onto the light table. They lined up PERFECTLY.

The compositions were perfect. They followed every rule of formal composition, and reduced to to a predictable formula which I unwittingly repeated over several hundred exposures. It's something that I actively fight to this day, because I know that if I get back into that habit I will quickly become bored of my own work yet again.

You can make an effective image, but when you rely on essentially the same trick over and over it gets stale. It's very tempting, I keep finding myself doing this. Sometimes it's a matter of perfecting the result you want, and that's genuine and admirable, but sometimes it's just a matter of relying an earlier success over and over.

Maybe Bitter is trying to perfect this compositional theme. But if he's being drawn to it because it's comfortable, he ought to consider avoiding it, and move on.
 
Yay! Someone did it!
I like this orientation MUCH better than the first vertical one. But I still like the original better. I have no idea why--could just be the muscle relaxants. :lmao:

Clarification: I definitely blame the muscle relaxants. I got vertical and horizontal kinda confused. :lol:
What I *meant* was, that of the two landscape-oriented photos, I like the second one best. But my favorite is still the original portrait-orientation shot.
 
I appreciate this discussion, unpopular. I am very familiar with it, and the struggle.

I see the same issues with lots of landscape photographers as well. Their work as a whole starts to have a sameness. They also seem to rely on tricks and techniques that they enjoy, and are comfortable with. The only thing that changes, really, is the content. You can say the same of any artists body of work, in my mind, from my experience and exposure. Artists do grow, and you can see changes over time. You can see them evolve. You can see them try new things.

When I look to myself, I know I like order, I like simplicity, I like lines and shapes, I like color, I like how all that works together, I like things to be "clean". This is who I am at the moment.
I am, or was, more comfortable working dimensionally, thus my sculpture background, and love of working with metal, clay, glass, and wood. Thinking two dimmensionally is really fairly new to me, or at least, being reborn. When working with images, I frame them to my current sensibilities. This image could have been presented numerous ways that would all feel the same, because in the end, it is my mind trying to make sense of it. I feel I am showing you how I look at the world, or interpret it.

This is also where my personal jewelery design trends have fallen. When able (which I am not always, working for clients) to design freely, it tends to be clean, simple, polished, line, and shape defining form. When I am asked to make something rough, rustic, and primitive, I have a difficult time. I fight the need to polish the metal and make sure everything "lines up". These are pieces I am never satisfied with.

Currently I am quite happy with the imagery I produce. It is still exciting to me. I have been creating things in various materials for a long time. I have gone through phases. I know that there will indeed be a point that I will get less out of what I am doing now, than I do now, and I will look for a new way to express myself. I do force myself to experiment.

I also am not trying to be controversial, or very conceptual. I am making images that I hope are pleasing to look at, and hold the viewer for more than a quick glance. I like presenting little bits of the world that a vast majority of people look past without a second thought. My only hope is that from my work, they may start having second thoughts. :lol:

That may change. This is me today.

On the flip side, I see that I have made a difference on this forum over the years. What I do has challenged others to try seeing the way I do. Some with great success, and some not.
I think that is pretty neat. I have learned a LOT by looking at, or within, the world in a purely compositional manner. I am still learning. So is everyone here.



:cheers:










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It's not so much the theme of order and simplicity, rather these squares within squares specifically, I seem to see a lot of them lately from you - not exclusive, but enough to worry that it's a potential crutch. There is nothing wrong with minimalism in itself, but it's especially difficult to avoid compositional traps in the process.
 
Who's to say how many "square" shots he has to take to make a portfolio that he's happy w/? If David ever takes that leap, it might take hundreds of shots til he is happy w/ 10-15.





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Oh. Well, I am doing a series on squares.

Just think of them as the Half-Dome or Landscape Arch of the abstract world.
...or sunsets and blurred water.
...or gritty old wrinkled headshots.
 
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Crutch or not, David's work is very different from what I tend to shoot, and he challenges me to open my eyes (both physical and perceptual) and see things somewhat differently. As well, I think we are all seeing images from a evolving photographic journey which is very interesting to observe, and learn from.
 
I'm also doing a series of people on interesting stairs, but that's much harder.

I have several themes, sets, or series I shoot for when I go out on safari. They're always in the back of my mind.
 
I have several themes, sets, or series I shoot for when I go out on safari. They're always in the back of my mind.

I think that is how most project-oriented people do it. I can't imagine limiting myself to just one theme. What becomes interesting is when you set out with lots of ideas and find that there are more similarities between them than differences; what you thought were distinct projects actually have a common interest.
 

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