i dont always take the deserved time to "reply" to youtube videos, but i definitely need to share my thoughts on this. Im a wedding photographer, and i constantly capture moments that should be more important for those in the pictures than for me. Throughout my "career" i have realized that often i appreciate certain images more than the clients. I get super excited and even emotional when thinking of moments i captured that the bride and groom did't see ... but sometimes the client doesn't get as "emotional" or excited as me. I wondered if it wasn't that important for them, or if the picture wasn't as great as i thought. After a while i realized that sometimes, the reason behind it is simple: I saw the whole "scene" happen, the visual, the audio, the feelings. All my "6 senses" are capturing and absorbing information from that moment. When i look at the picture, all the feelings "collected" by my senses are brought back ... but for someone that didn't experience that moment, as much as they will appreciate the image, they were not connected to that specific moment as much as me. In 2021, right after Covid, i photographed 136 weddings. It was insane. People asked me "how can you even physically handle it?". I came to realized that there are 3 levels of stress: the physical, the mental, and the emotional. The physical stress is easy to accommodate as the body just gets conditioned to it, builds resistance, and you learn how to pace it so you don't "break your back". The mental, which i refer mostly to our patience levels, awareness, ability to keep directing and connecting with people without going crazy, and keep getting creative without "burning out", that is a bit more challenging. After time, i learned how to catch myself before hitting that "mental exhaustion limit", and learned to to relax, take a breather, remind myself to just smile, etc... Now, the 3rd one, the emotional exhaustion , that is the one that is the hardest to control, it hits when you less expect, and its the most dangerous one in my opinion. Due to the physical and mental stress of being overworked, i would find myself getting extremely emotional at times, to the point that i would be crying when seeing certain moments that most would not even be paying attention to. Sometimes my mind would go into a trance and i would be thinking of my family episodes, and almost "space out" and forgetting to take the photographs of the moment right in front of me. The craziest part is that this would carry through the editing process, where i would be looking at pictures i had taken from a wedding i had just photographed i would burst in tears. Sometimes because of the picture itself, but mostly because of the feeling it would bring. Sometimes it would make me think of all the moments i was missing out experiencing with my own family, while time capturing special moments for "people" that might not even appreciate what im doing. Anyways ... this is a long post lol ... just wanted to share my thoughts and let you know that i really connected to what you just said :-)
Really enjoyed your video, you have an easy voice to listen too and even better I completely agree about emotional attachment. I now leave images for months before revisiting them
Thank you so much for your kind words! Taking time away from your images and revisiting them with fresh eyes is a great approach-it allows for a more objective and emotionally resonant connection. Kind regards Martin
Thank-you for describing this so well I love how you explained emotional attachment to artwork 🖼️ and also what to do - wait on images. I enjoyed your stories both of the tree image and also the train track. Thank you for sharing.
I fully understand the sentiments discussed, but I'd like to argue the opposite to some degree if I may. The photographs we most celebrate as a society are those that do evoke an emotional reaction in us - but that reaction is just not the biased viewpoint of someone who was actually at the scene. For example, a sense of mystery when something is hidden is an emotional reaction, a feeling of sorry evoked by Dorothea Lange's images is an emotional reaction, a sense of awe or even disgust when viewing a piece by Edward Burtynsky is an emotional reaction, even the curiosity evoked by Edward Weston's still life pepper is an emotional reaction. I do fully agree that the photograph has to stand on its own, but emotion, in my view, is what defines it as exceptional and causes me to linger and wonder. At least for me. Competitions are a whole different kettle of fish, different by design, needing objective criteria in order to be "fair" and therefore needing to downplay emotion. Competitions are useful, but not very meaningful to me. I do enjoy UA-cam pieces that make me think. Thank you, Martin.
Thank you for sharing your perspective! I apologize if my video seemed contradictory to your views. It appears that we are actually on the same page when it comes to the importance of emotion in photography. I completely agree with you that the photographs we most celebrate are indeed those that evoke strong emotional reactions in us. Emotion is what makes a photograph exceptional and leads us to linger and wonder, just as you beautifully described with examples from Dorothea Lange, Edward Burtynsky, and Edward Weston's work. You're absolutely right; emotion is a fundamental aspect of connecting to a photograph taken by another photographer. Our personal beliefs and experiences shape how we interpret and emotionally connect with an image. In the video, my focus was on the emotions experienced by the photographer during the process of capturing the photograph. The emotional attachment we form while taking a photograph can cloud our vision and affect our judgment when evaluating our own work objectively. It's this personal connection that can influence how we perceive the value and impact of our images. Regarding competitions, I feel that they can be useful for growth and learning, even if they require objective criteria for fairness. And again, the emotions and memories associated with taking the photograph don't diminish, even in the context of a competition with stricter guidelines. I'm glad the video sparked your thoughts, and I truly appreciate your valuable insights. Let's continue celebrating the power of emotion in photography and the endless possibilities it brings! KInd regards Martin
Intelligent, thought provoking look at the externals that can bias our views of our own work. I came away from viewing this video feeling that my time had been more than well spent. Thank you!
@boatman222345 You're very welcome! I'm delighted to hear that you found the video thought-provoking and valuable. It's essential to consider external factors that can influence our perception of our work.
Martin, sooo much information to take in but very insightful. Also, want to acknowledge your courage in wanting feedback, and having people you trust. My way of assessing my work is to view it, put it away for a few days before viewing it again. Follow this process a few more times; then move on to the next piece. After that I make a determination of liking/ not liking , and if I submitted to a juried show I look at the overall judging, then let it go no matter how it does. NEXT…….
Thanks for sharing your insightful process for assessing your work John! Your method of stepping back and revisiting it after a few days is a smart way to gain perspective. It's great that you're open to feedback and have a clear approach to judging your work. Moving on to the next piece after a juried show is a commendable attitude that keeps you focused on growth. Best of luck with your artistic journey!
I must say as a photographer I have never looked at my photography in this way, having said that I never allow myself to be bothered when people fail to say they like them as they often don't, it's just not worth the upset.
Well said! Food for thought -- I"m having a FEAST! Thank you, sir. Even at 73, there is much to learn and so many new ways to improve my skills and artistic focus (no pun intended). Cheers.
I agree completely with the message in this video. I usually edit one or two images right after a shoot but leave all the rest in a folder for a long time, years even. I have discovered the same truth that only after most memories of that actual shoot have waned off am I able to dispassionately discern which ones that are worthy of an edit and a printout. Sometimes I find nuggets of gold among images that I know never was emotionally engaging at the time of capture. But because of having detached myself from the event I’m able to look at them almost as if they were not taken by myself. I completely agree with the idea that an images should be able to hold its own ground without a single word or description being attached to it. I generally dislike to attach titles to my photographs for this reason. But in many circumstances a title is compulsory unfortunately. I don’t know how many times I have seen people first look at the title before they even look at the image at an exhibition. To me that is a sad habit really. To be honest, I never participate in competitions but I do put on exhibitions from time to time and sell through galleries. I try not to favor my most recent photos when I’m picking out a collection for a new show because I know that I probably have a bias towards them in relation to older ones. That is a challenge though because I tend to work with themes and as such a current theme is always going to be much more interesting to my own eyes than older themes that I have abandoned. The only way to deal with this problem is to try to step into the shoes of the “other”, the viewer instead. The problem with that approach is that I find it much less enjoyable and much more tedious and rather confusing to pick out a collection of images for an exhibition this way. I know this is a conundrum that I share with a lot of artists of different genres, -should I show a collection of my best work or should I be bolder and present a series of images based on a theme that I’m currently engaged in? Maybe we should just save our best work for a retrospective exhibition later in life? Anyway, the important point is to reconnect with our images at a later stage and have a much more detached relationship with them. If a new fondness arise, not based on irrelevant emotional baggage, then we can start to suspect this image have a greater value also to others. Thank you for an excellent discussion on this very important topic. Mind you, I find it easier to “let go” of my emotions around a photograph of mine than a painting I’ve made though. I guess that’s because of the amount of time invested in the painting and its content is completely based on my own inner experiences and consciousness. I find being a detached painter is much harder than to be a detached photographer. Since I’m prone towards the necessity of “letting go” of clinging and attachment in all walks of life I nowadays prefer the medium of photography for the reason stated above really.
Wonderfull talk Martin ! Very clear and to the point. It really helps to understand how my emotional attachment is affecting my editing. Thanks a lot !
Thank you, Paulina! I'm thrilled to hear that you found the talk helpful and that it shed light on how emotional attachment can influence your editing process. You're absolutely right; emotional attachment can play a significant role in the choices we make during the development or editing of our photographs. It's that connection we formed with the moment we captured that often guides our decisions in post-processing. But as you mentioned, it's essential to be aware that even the technical aspects of editing can be affected by our emotions. Successfully applying a challenging technique for the first time can also lead us to put undue value on certain aspects of the photograph. Ultimately, understanding how our emotions influence the editing process allows us to strike a balance between our feelings and the artistic choices we make. This awareness empowers us to create more authentic and meaningful art that resonates not only with ourselves but also with our audience. Thank you again for your kind words, and I'm glad the talk has provided valuable insights for your photography journey! Keep exploring and creating with both heart and mind - it's a beautiful path to artistic growth Regards Martin
You refresh the mind what is a true capture in a photograph is about, even without any technical KnowHow I hear from you one underlying word, “emotion,.” Your point if I am correct, it conveys a mystery at a juncture in time only the viewer of its own individual experience can appreciate regardless who took the capture.. I like your focus on that tree whether it be the same tree or another tree that in some way resembles that experience. In my understanding, our minds have focal points throughout time, vivid as that moment in time that may or not be, there is so much detail liken the difference of raw image the actual moment captured, and a Jpeg where the fine detail is discarded. The mystery is that fine detail disregarded then draws our mind to imagine that detail that is lost. Hence, It that, that our minds play infinite variables to naturally recapture that moment in time to be as realistic as it was then. That can be frightening or pleasurable or a complex of both, as some we would prefer not to recall though much we would not like or wish a forget. Hence, a few selected captures we may adorn our walls or mantelpiece as we live in both the past, the present and inspiration or at times daunting of our future..
Richard, thank you for your input and insights. Your perspective on the emotional and imaginative aspects of photography is thought-provoking and adds depth to the discussion. Regards Martin
Always a video worth watching and nice clear explanations of your views, a supreme educator at work, thanks Martin! Watching from Cusco, Peru, ex-Cape Town, always a Capetonian 😊
Thanks Mike, nice to hear from you. and thak you so much for your wonderful comment! I truly appreciate your support and am delighted to hear that you enjoyed the video and found value. It means a lot to me, especially coming from a fellow ex-Capetonian in Cusco, Peru!
Thank you, Martin. This has been an enlightening video indeed. Now I know why a photo of mine that I like is not necessarily a favourite with social media and vice versa although most times it doesn't matter to me whether or not other folks like my photographs. I will endeavour to go forth with a clearer idea of what and how I should be photographing depending on who I wish to please. Thankfully I have a wonderful daughter who gives me honest critique.
This is a very interesting topic, eye opening, and very well presented by Mr Osner. I believe that it applied equally to other forms of art, such as music.
My wife as well is my strongest critic. She knows exactly what images she likes that i take. The examination of ones own emotional attachment and response to the images we take can often get stirred into a big pot and discernment can sometimes be impossible. Im sixty and still struggle with this on occasion. Thank you for the insightful words that if nothing else can give me pause when taking that next photo.
Thank you for your message. You are right I think with digital in the amount of photographs that we take today is half the problem it sometimes feels just too easy to keep on shooting and try to discern later. Lucky we both have wives who can see-through the emotion Kind regards, Martin
Fantastic inclusion and expression in this space- if thwarted were a social black out, it would help the world in general- Keep creative. Keep creating.
An inspiring video and a lot of takeaways. I resort to my wife for certain reviews as she has certain pre-conceptions - if I do a landscape in portrait orientation it doesn't usually get a look in - so if she says a portrait-orientated landscape is ok I feel quite pleased.
It is very same for any form of Art of Creativity work. I say Your Mind is Your Worst Enemy when it comes to Trick you. P.s. I have had a close encounter with a train. You usually cannot hear them whistle when they are close.
Absolutely, I completely agree with you. Emotional attachment is indeed a common factor in all forms of art and creative work. Our minds can sometimes play tricks on us, clouding our objectivity and influencing how we perceive our own creations. But I feel that in the case of photography, the realness and reality-driven nature of the medium can make emotional attachment even more pronounced. Being out in the field, capturing moments in real-time, makes us more susceptible to the surrounding circumstances and the emotions that come with it. Regards, Martin
I can agree with everything you say Martin, emotional attachment needs to subside and to obtain valued critique. I have one or two images that even after years still resonate all the emotion I felt at the time of taking but people do not see what I saw. I've learned to value them in a different way by just being glad I took them and the personal enjoyment I can relive again and again. Thank for your great videos very inspirational.
Hey Philip, I agree with you completely. Some images still resonate with the emotions of the moment even after years. It's the power of a photograph - evoking memories that we can relive again and again. It's a pity we can't somehow include those memories directly into the photograph. Thank you for your kind words about my videos; I'm glad they've been inspirational to you. Best regards, Martin
Ao contrário de você, quando meu filho nasceu, em uma maternidade, fiquei impactado com a sua feiura. Aos poucos, ele foi ganhando beleza, ou deixando de ser feio. Tenho certeza que minha fotografia, com o passar dos anos, melhorou, adquiri um estilo, sei alguma coisa sobre composição, mas as redes sociais, digamos, "elegem" o que é bonito para elas, a partir de algoritmos e outras formas de seleção. Meu filho está bonito hoje, ele tem 16 anos. Minha fotografia melhorou, após duas décadas. Abraços.
Obrigado por compartilhar sua linda jornada! É incrível como nossas percepções evoluem ao longo do tempo, não é? É um lembrete de que a beleza realmente está nos olhos de quem vê, transcendendo qualquer algoritmo ou padrão social. Continue capturando esses momentos e evoluindo seu ofício! Enviando abraços calorosos de volta.
Interesting talk Martin. Your insights have great value; however, I find the judging for open juried shows very inconsistent and wonder if having only one judge is a disservice to the artist, especially the ones just starting to display their work. Myself, I never put any credence in the judging choices, whether I receive recognition or not does not matter. Because, it really is a coin flip: in or out…… best , John
Hi John, thank you for sharing your thoughts! You bring up a valid and complex issue with the inconsistency of judging in open juried shows. I agree that judging is a challenging topic with many variables at play, making it difficult to achieve consistency. Having multiple judges can indeed offer better consistency, but there's a risk of bias when they influence one another during the scoring process. To address this, I believe that judges should ideally evaluate entries in complete isolation from each other, ensuring a fair and unbiased assessment. Moreover, its "horses for courses" right! Each judge may have their preferences and expertise in specific genres, which can influence their evaluations. Despite these challenges, I still believe that most judges genuinely aim to get it right . Absolutely, having only one judge can be risky, as it may lack the diverse perspectives and insights that a panel of judges can offer, leading to more consistent and comprehensive evaluations. At the end of the day, it's essential for photographers, especially those starting to display their work, to remember that recognition or non-recognition in these shows doesn't define talent or the worth. Keep creating! Best regards, Martin.
@@MartinOsner Martin, thank you for the response and your insight, I guess there are no perfect solutions,I just hope that Artist submitting work to juried shows understand that one person’s opinion is just that; one person’s opinion. My best, John
You're absolutely right, John. Art is subjective, and the interpretation and evaluation of art can vary greatly from one person to another, including those serving as jurors in shows. Each juror brings their unique perspective and preferences. It's essential for artists to remember that one person's opinion doesn't define the value or quality of their work. The art world is diverse and vast, and different opportunities and audiences exist. Keep creating and sharing your art, and your unique voice will find its place. Thank you for your thoughtful perspective, and my best wishes to you in your artistic endeavors! If you have more questions or need insights in the future, don't hesitate to reach out.
Yeah, I agree. Allowing time before processing your photographs can bring a fresh perspective and sometimes reveal nuances you might have missed initially. With portrait sessions, the immediacy often captures the essence of the moment. Both methods have their merits-it's fascinating how different subjects call for distinct creative processes, isn't it? Regards Martin
Agree entirely, Martin. But doesn't what you're saying apply to all forms of art? Besides managing my photography collection, I also oversee the archives of two artists containing 1283 digitized artworks. Throughout my career (I'm almost 70 years old), I've often been amazed by people's reactions. So utterly diverse! I still find it challenging to deal with specific responses, which, in my opinion, are unjustified. But alright, every individual is different. Thank you for your inspiring discourse.
Hey John, You're absolutely right. The concept of emotional attachment and diverse reactions applies to all forms of art. Art is inherently subjective, and people's responses can vary significantly, even to the same piece of work. In photography, the realism factor can make it easier to fall into the trap of emotional attachment. We get connected to the moments we capture, which might impact our objectivity. I expected that the video would spark debate, and I believe healthy discussions and different viewpoints enrich the artistic journey. It's intriguing to witness how people's reactions to art can be so diverse, and it can be challenging to deal with responses that may seem unjustified. Thank you for sharing your insights and your experience overseeing the archives of two artists. It's great to hear from someone with such a rich background in the art world. Art is a beautiful and dynamic realm, and our individual perspectives shape how we interpret and appreciate it. I appreciate your support and engaging in this discourse. Wishing you a creative and inspiring journey ahead! Best regards, Martin
Hey Tony! I appreciate your concern and I totally understand where you're coming from. It might have seemed a bit risky to take a photo on a railway track without keeping an eye out for trains. I'm surprised you're the first one to bring this up in the comments! In my defence .... the majority of the railway lines in the area where I was taking photos have actually been decommissioned. During the week I spent in and around the town, I hadn't spotted a single train, which is why I felt comfortable taking that shot. After this experience, I can promise you, I have been much more mindful and won't take such a risk again. Kind regards Martin
Hey Thomas, Thank you for your input! In the video, I am specifically referring to the process of selecting a photograph after it has been captured and not editing. To clarify, my focus is on making unbiased selections based on the emotional attachment we may have formed while taking the photograph. It's about objectively evaluating our work without altering the essence of the image itself afterwards by editing. Taking some time before reviewing our photographs allows emotions to settle, enabling a more clear and unbiased judgment of the images we've captured. Then for me the goal is to enhance the impact already present in the RAW data without introducing dramatic changes that can be achieved through editing. I hope this clears up any confusion, and I truly appreciate your engagement with the video's content. Regards, Martin
See the artwork featured in this video in high resolution here: fine-art-photography.com/products/solitary-tree-1
i dont always take the deserved time to "reply" to youtube videos, but i definitely need to share my thoughts on this. Im a wedding photographer, and i constantly capture moments that should be more important for those in the pictures than for me. Throughout my "career" i have realized that often i appreciate certain images more than the clients. I get super excited and even emotional when thinking of moments i captured that the bride and groom did't see ... but sometimes the client doesn't get as "emotional" or excited as me. I wondered if it wasn't that important for them, or if the picture wasn't as great as i thought. After a while i realized that sometimes, the reason behind it is simple: I saw the whole "scene" happen, the visual, the audio, the feelings. All my "6 senses" are capturing and absorbing information from that moment. When i look at the picture, all the feelings "collected" by my senses are brought back ... but for someone that didn't experience that moment, as much as they will appreciate the image, they were not connected to that specific moment as much as me.
In 2021, right after Covid, i photographed 136 weddings. It was insane. People asked me "how can you even physically handle it?". I came to realized that there are 3 levels of stress: the physical, the mental, and the emotional. The physical stress is easy to accommodate as the body just gets conditioned to it, builds resistance, and you learn how to pace it so you don't "break your back". The mental, which i refer mostly to our patience levels, awareness, ability to keep directing and connecting with people without going crazy, and keep getting creative without "burning out", that is a bit more challenging. After time, i learned how to catch myself before hitting that "mental exhaustion limit", and learned to to relax, take a breather, remind myself to just smile, etc...
Now, the 3rd one, the emotional exhaustion , that is the one that is the hardest to control, it hits when you less expect, and its the most dangerous one in my opinion. Due to the physical and mental stress of being overworked, i would find myself getting extremely emotional at times, to the point that i would be crying when seeing certain moments that most would not even be paying attention to. Sometimes my mind would go into a trance and i would be thinking of my family episodes, and almost "space out" and forgetting to take the photographs of the moment right in front of me. The craziest part is that this would carry through the editing process, where i would be looking at pictures i had taken from a wedding i had just photographed i would burst in tears. Sometimes because of the picture itself, but mostly because of the feeling it would bring. Sometimes it would make me think of all the moments i was missing out experiencing with my own family, while time capturing special moments for "people" that might not even appreciate what im doing.
Anyways ... this is a long post lol ... just wanted to share my thoughts and let you know that i really connected to what you just said :-)
Glad you enjoyed it and connected with what I said. Thanks for sharing, and good luck with your wedding photography going forward!
Really enjoyed your video, you have an easy voice to listen too and even better I completely agree about emotional attachment. I now leave images for months before revisiting them
Thank you so much for your kind words! Taking time away from your images and revisiting them with fresh eyes is a great approach-it allows for a more objective and emotionally resonant connection. Kind regards Martin
I can listen to you for hours you are a great storyteller and photographer .
Thank you Martin
Pierre Costa
Cape Town
Wow, thank you Pierre 🙏🏻 much appreciated. Regards Martin
Thank-you for describing this so well I love how you explained emotional attachment to artwork 🖼️ and also what to do - wait on images.
I enjoyed your stories both of the tree image and also the train track. Thank you for sharing.
Brilliant explanation. So helpful and thanks for sharing.
I fully understand the sentiments discussed, but I'd like to argue the opposite to some degree if I may. The photographs we most celebrate as a society are those that do evoke an emotional reaction in us - but that reaction is just not the biased viewpoint of someone who was actually at the scene. For example, a sense of mystery when something is hidden is an emotional reaction, a feeling of sorry evoked by Dorothea Lange's images is an emotional reaction, a sense of awe or even disgust when viewing a piece by Edward Burtynsky is an emotional reaction, even the curiosity evoked by Edward Weston's still life pepper is an emotional reaction. I do fully agree that the photograph has to stand on its own, but emotion, in my view, is what defines it as exceptional and causes me to linger and wonder. At least for me. Competitions are a whole different kettle of fish, different by design, needing objective criteria in order to be "fair" and therefore needing to downplay emotion. Competitions are useful, but not very meaningful to me. I do enjoy UA-cam pieces that make me think. Thank you, Martin.
Thank you for sharing your perspective! I apologize if my video seemed contradictory to your views. It appears that we are actually on the same page when it comes to the importance of emotion in photography.
I completely agree with you that the photographs we most celebrate are indeed those that evoke strong emotional reactions in us. Emotion is what makes a photograph exceptional and leads us to linger and wonder, just as you beautifully described with examples from Dorothea Lange, Edward Burtynsky, and Edward Weston's work.
You're absolutely right; emotion is a fundamental aspect of connecting to a photograph taken by another photographer. Our personal beliefs and experiences shape how we interpret and emotionally connect with an image.
In the video, my focus was on the emotions experienced by the photographer during the process of capturing the photograph. The emotional attachment we form while taking a photograph can cloud our vision and affect our judgment when evaluating our own work objectively. It's this personal connection that can influence how we perceive the value and impact of our images.
Regarding competitions, I feel that they can be useful for growth and learning, even if they require objective criteria for fairness. And again, the emotions and memories associated with taking the photograph don't diminish, even in the context of a competition with stricter guidelines.
I'm glad the video sparked your thoughts, and I truly appreciate your valuable insights. Let's continue celebrating the power of emotion in photography and the endless possibilities it brings!
KInd regards
Martin
Intelligent, thought provoking look at the externals that can bias our views of our own work. I came away from viewing this video feeling that my time had been more than well spent. Thank you!
@boatman222345 You're very welcome! I'm delighted to hear that you found the video thought-provoking and valuable. It's essential to consider external factors that can influence our perception of our work.
Truly deep and solid advice!
Much appreciated 🙏
Martin, sooo much information to take in but very insightful. Also, want to acknowledge your courage in wanting feedback, and having people you trust. My way of assessing my work is to view it,
put it away for a few days before viewing it again. Follow this process a few more times; then move on to the next piece. After that I make a determination of liking/ not liking , and if I submitted to a juried show I look at the overall judging, then let it go no matter how it does. NEXT…….
Thanks for sharing your insightful process for assessing your work John! Your method of stepping back and revisiting it after a few days is a smart way to gain perspective. It's great that you're open to feedback and have a clear approach to judging your work. Moving on to the next piece after a juried show is a commendable attitude that keeps you focused on growth. Best of luck with your artistic journey!
@@MartinOsner Martin, always a pleasure getting your thoughts on issues and ideas. Best, John
👍🏻🙏🏻
👍🏻🙏🏻
A brilliant talk - thank you !
Thanks for the encouragement! You are more than welcome!
Spectacular video! Thank you!
Glad you enjoyed it!
I must say as a photographer I have never looked at my photography in this way, having said that I never allow myself to be bothered when people fail to say they like them as they often don't, it's just not worth the upset.
Well said! Food for thought -- I"m having a FEAST! Thank you, sir. Even at 73, there is much to learn and so many new ways to improve my skills and artistic focus (no pun intended). Cheers.
Thanks Don, much appreciated. Remember, age is just a number when it comes to artistic focus and improvement. Cheers to your inspiring journey!
I agree completely with the message in this video. I usually edit one or two images right after a shoot but leave all the rest in a folder for a long time, years even. I have discovered the same truth that only after most memories of that actual shoot have waned off am I able to dispassionately discern which ones that are worthy of an edit and a printout. Sometimes I find nuggets of gold among images that I know never was emotionally engaging at the time of capture. But because of having detached myself from the event I’m able to look at them almost as if they were not taken by myself. I completely agree with the idea that an images should be able to hold its own ground without a single word or description being attached to it. I generally dislike to attach titles to my photographs for this reason. But in many circumstances a title is compulsory unfortunately. I don’t know how many times I have seen people first look at the title before they even look at the image at an exhibition. To me that is a sad habit really.
To be honest, I never participate in competitions but I do put on exhibitions from time to time and sell through galleries. I try not to favor my most recent photos when I’m picking out a collection for a new show because I know that I probably have a bias towards them in relation to older ones. That is a challenge though because I tend to work with themes and as such a current theme is always going to be much more interesting to my own eyes than older themes that I have abandoned. The only way to deal with this problem is to try to step into the shoes of the “other”, the viewer instead. The problem with that approach is that I find it much less enjoyable and much more tedious and rather confusing to pick out a collection of images for an exhibition this way. I know this is a conundrum that I share with a lot of artists of different genres, -should I show a collection of my best work or should I be bolder and present a series of images based on a theme that I’m currently engaged in? Maybe we should just save our best work for a retrospective exhibition later in life?
Anyway, the important point is to reconnect with our images at a later stage and have a much more detached relationship with them. If a new fondness arise, not based on irrelevant emotional baggage, then we can start to suspect this image have a greater value also to others. Thank you for an excellent discussion on this very important topic. Mind you, I find it easier to “let go” of my emotions around a photograph of mine than a painting I’ve made though. I guess that’s because of the amount of time invested in the painting and its content is completely based on my own inner experiences and consciousness. I find being a detached painter is much harder than to be a detached photographer. Since I’m prone towards the necessity of “letting go” of clinging and attachment in all walks of life I nowadays prefer the medium of photography for the reason stated above really.
I am pleased you agree with this discussion and thank you for sharing your thoughts! Regards Martin
Man, this was some valuable information.
Thanks so much Steve, I am pleased that you found this discussion valuable. Regards Martin
Wonderfull talk Martin ! Very clear and to the point. It really helps to understand how my emotional attachment is affecting my editing.
Thanks a lot !
Thank you, Paulina! I'm thrilled to hear that you found the talk helpful and that it shed light on how emotional attachment can influence your editing process.
You're absolutely right; emotional attachment can play a significant role in the choices we make during the development or editing of our photographs. It's that connection we formed with the moment we captured that often guides our decisions in post-processing.
But as you mentioned, it's essential to be aware that even the technical aspects of editing can be affected by our emotions. Successfully applying a challenging technique for the first time can also lead us to put undue value on certain aspects of the photograph.
Ultimately, understanding how our emotions influence the editing process allows us to strike a balance between our feelings and the artistic choices we make. This awareness empowers us to create more authentic and meaningful art that resonates not only with ourselves but also with our audience.
Thank you again for your kind words, and I'm glad the talk has provided valuable insights for your photography journey! Keep exploring and creating with both heart and mind - it's a beautiful path to artistic growth
Regards Martin
Relatable, I totally agree...
Many thanks, I appreciate it 🙏
This one was the best. It was so personal to the photographer, and it made me go back and observe some of my photos.
I am so pleased to hear that you enjoyed the video. Much appreciated🙏🏻
Thanks Martin, Very helpful.
Glad it was helpful!
Simply brilliant advice, thank you Martin!
Glad you enjoyed it! Regards Martin
Great video. Thanks, Martin. Greets from the Northern Suburbs ;)
Many thanks! Likewise, greeting back from the Southern Suburbs. :)
You refresh the mind what is a true capture in a photograph is about, even without any technical KnowHow I hear from you one underlying word, “emotion,.”
Your point if I am correct, it conveys a mystery at a juncture in time only the viewer of its own individual experience can appreciate regardless who took the capture..
I like your focus on that tree whether it be the same tree or another tree that in some way resembles that experience. In my understanding, our minds have focal points throughout time, vivid as that moment in time that may or not be, there is so much detail liken the difference of raw image the actual moment captured, and a Jpeg where the fine detail is discarded.
The mystery is that fine detail disregarded then draws our mind to imagine that detail that is lost. Hence, It that, that our minds play infinite variables to naturally recapture that moment in time to be as realistic as it was then. That can be frightening or pleasurable or a complex of both, as some we would prefer not to recall though much we would not like or wish a forget. Hence, a few selected captures we may adorn our walls or mantelpiece as we live in both the past, the present and inspiration or at times daunting of our future..
Richard, thank you for your input and insights. Your perspective on the emotional and imaginative aspects of photography is thought-provoking and adds depth to the discussion. Regards Martin
Exciting video. I too will not forget the 11th January 2016 as it was my birthday. Hmmmm......!!!
What a brilliant lecture!!!! Thank you, Sir.
Glad you liked it!
Luv listening to you, you are so honest and inspiring! Lots of thanks from Onrus.
You are so welcome Hestie!
Serendipitous conversation, Martin👏your concluding remarks are, for me, the nub of this topic.
Thanks so much Rob, I appreciate it! Please to hear the video was of value to you. Regards Martin
WOW mesmerizing
Many thanks, I am pleased you enjoyed the discussion!
Excellent Thanks ☺️
You're welcome 😊
Always a video worth watching and nice clear explanations of your views, a supreme educator at work, thanks Martin! Watching from Cusco, Peru, ex-Cape Town, always a Capetonian 😊
Thanks Mike, nice to hear from you. and thak you so much for your wonderful comment! I truly appreciate your support and am delighted to hear that you enjoyed the video and found value. It means a lot to me, especially coming from a fellow ex-Capetonian in Cusco, Peru!
Thank you, Martin. This has been an enlightening video indeed. Now I know why a photo of mine that I like is not necessarily a favourite with social media and vice versa although most times it doesn't matter to me whether or not other folks like my photographs. I will endeavour to go forth with a clearer idea of what and how I should be photographing depending on who I wish to please. Thankfully I have a wonderful daughter who gives me honest critique.
Glad it was helpful! 🙏🏻
This is a very interesting topic, eye opening, and very well presented by Mr Osner. I believe that it applied equally to other forms of art, such as music.
I am pleased you enjoyed the video and I think it will probably be the same for most creative genres.
Thx Martin... a very inspiring video and so true!
Glad you enjoyed it Debbie!
Great lessons learnt from thinepisode. Thank you for letting me connect to my photos ❤
Absolute pleasure! Regards Martin
My wife as well is my strongest critic. She knows exactly what images she likes that i take. The examination of ones own emotional attachment and response to the images we take can often get stirred into a big pot and discernment can sometimes be impossible. Im sixty and still struggle with this on occasion. Thank you for the insightful words that if nothing else can give me pause when taking that next photo.
Thank you for your message. You are right I think with digital in the amount of photographs that we take today is half the problem it sometimes feels just too easy to keep on shooting and try to discern later. Lucky we both have wives who can see-through the emotion Kind regards, Martin
Cheers. There is a lot to think about.
Agreed! I hope you enjoyed the discussion. Regards Martin
@@MartinOsner yes I did, very much. If only I were famous, I'd be famous.
😂😂👍🏻
Thanks
More than Welcome!
Fantastic inclusion and expression in this space- if thwarted were a social black out, it would help the world in general-
Keep creative. Keep creating.
Thank you for your encouragement. Much appreciated!
An inspiring video and a lot of takeaways. I resort to my wife for certain reviews as she has certain pre-conceptions - if I do a landscape in portrait orientation it doesn't usually get a look in - so if she says a portrait-orientated landscape is ok I feel quite pleased.
I am pleased you enjoyed the video and got some value out of it. Regards Martin
It is very same for any form of Art of Creativity work. I say Your Mind is Your Worst Enemy when it comes to Trick you.
P.s. I have had a close encounter with a train. You usually cannot hear them whistle when they are close.
Absolutely, I completely agree with you. Emotional attachment is indeed a common factor in all forms of art and creative work. Our minds can sometimes play tricks on us, clouding our objectivity and influencing how we perceive our own creations. But I feel that in the case of photography, the realness and reality-driven nature of the medium can make emotional attachment even more pronounced. Being out in the field, capturing moments in real-time, makes us more susceptible to the surrounding circumstances and the emotions that come with it. Regards, Martin
I can agree with everything you say Martin, emotional attachment needs to subside and to obtain valued critique. I have one or two images that even after years still resonate all the emotion I felt at the time of taking but people do not see what I saw. I've learned to value them in a different way by just being glad I took them and the personal enjoyment I can relive again and again. Thank for your great videos very inspirational.
Hey Philip,
I agree with you completely. Some images still resonate with the emotions of the moment even after years. It's the power of a photograph - evoking memories that we can relive again and again. It's a pity we can't somehow include those memories directly into the photograph.
Thank you for your kind words about my videos; I'm glad they've been inspirational to you.
Best regards,
Martin
Ao contrário de você, quando meu filho nasceu, em uma maternidade, fiquei impactado com a sua feiura. Aos poucos, ele foi ganhando beleza, ou deixando de ser feio. Tenho certeza que minha fotografia, com o passar dos anos, melhorou, adquiri um estilo, sei alguma coisa sobre composição, mas as redes sociais, digamos, "elegem" o que é bonito para elas, a partir de algoritmos e outras formas de seleção. Meu filho está bonito hoje, ele tem 16 anos. Minha fotografia melhorou, após duas décadas. Abraços.
Obrigado por compartilhar sua linda jornada! É incrível como nossas percepções evoluem ao longo do tempo, não é? É um lembrete de que a beleza realmente está nos olhos de quem vê, transcendendo qualquer algoritmo ou padrão social. Continue capturando esses momentos e evoluindo seu ofício! Enviando abraços calorosos de volta.
Interesting talk Martin. Your insights have great value; however, I find the judging for open juried shows very inconsistent and wonder if having only one judge is a disservice to the artist, especially the ones just starting to display their work. Myself, I never put any credence in the judging choices, whether I receive recognition or not does not matter. Because, it really is a coin flip: in or out…… best , John
Hi John, thank you for sharing your thoughts! You bring up a valid and complex issue with the inconsistency of judging in open juried shows. I agree that judging is a challenging topic with many variables at play, making it difficult to achieve consistency.
Having multiple judges can indeed offer better consistency, but there's a risk of bias when they influence one another during the scoring process. To address this, I believe that judges should ideally evaluate entries in complete isolation from each other, ensuring a fair and unbiased assessment.
Moreover, its "horses for courses" right! Each judge may have their preferences and expertise in specific genres, which can influence their evaluations.
Despite these challenges, I still believe that most judges genuinely aim to get it right . Absolutely, having only one judge can be risky, as it may lack the diverse perspectives and insights that a panel of judges can offer, leading to more consistent and comprehensive evaluations.
At the end of the day, it's essential for photographers, especially those starting to display their work, to remember that recognition or non-recognition in these shows doesn't define talent or the worth.
Keep creating!
Best regards, Martin.
@@MartinOsner Martin, thank you for the response and your insight, I guess there are no perfect solutions,I just hope that Artist submitting work to juried shows understand that one person’s opinion is just that; one person’s opinion. My best, John
You're absolutely right, John. Art is subjective, and the interpretation and evaluation of art can vary greatly from one person to another, including those serving as jurors in shows. Each juror brings their unique perspective and preferences.
It's essential for artists to remember that one person's opinion doesn't define the value or quality of their work. The art world is diverse and vast, and different opportunities and audiences exist. Keep creating and sharing your art, and your unique voice will find its place.
Thank you for your thoughtful perspective, and my best wishes to you in your artistic endeavors! If you have more questions or need insights in the future, don't hesitate to reach out.
Interesting, since I leave my photographs for months before I process them for fine art. I can't do that for photographyvsessions of people.
Yeah, I agree. Allowing time before processing your photographs can bring a fresh perspective and sometimes reveal nuances you might have missed initially. With portrait sessions, the immediacy often captures the essence of the moment. Both methods have their merits-it's fascinating how different subjects call for distinct creative processes, isn't it? Regards Martin
Agree entirely, Martin. But doesn't what you're saying apply to all forms of art? Besides managing my photography collection, I also oversee the archives of two artists containing 1283 digitized artworks. Throughout my career (I'm almost 70 years old), I've often been amazed by people's reactions. So utterly diverse! I still find it challenging to deal with specific responses, which, in my opinion, are unjustified. But alright, every individual is different. Thank you for your inspiring discourse.
Hey John,
You're absolutely right. The concept of emotional attachment and diverse reactions applies to all forms of art. Art is inherently subjective, and people's responses can vary significantly, even to the same piece of work.
In photography, the realism factor can make it easier to fall into the trap of emotional attachment. We get connected to the moments we capture, which might impact our objectivity.
I expected that the video would spark debate, and I believe healthy discussions and different viewpoints enrich the artistic journey. It's intriguing to witness how people's reactions to art can be so diverse, and it can be challenging to deal with responses that may seem unjustified.
Thank you for sharing your insights and your experience overseeing the archives of two artists. It's great to hear from someone with such a rich background in the art world.
Art is a beautiful and dynamic realm, and our individual perspectives shape how we interpret and appreciate it. I appreciate your support and engaging in this discourse.
Wishing you a creative and inspiring journey ahead!
Best regards,
Martin
Agree with all you say but.... Why would you sit on a railway track to take a photo and not keep a look out for trains? That's insane!
Hey Tony! I appreciate your concern and I totally understand where you're coming from. It might have seemed a bit risky to take a photo on a railway track without keeping an eye out for trains. I'm surprised you're the first one to bring this up in the comments! In my defence .... the majority of the railway lines in the area where I was taking photos have actually been decommissioned. During the week I spent in and around the town, I hadn't spotted a single train, which is why I felt comfortable taking that shot. After this experience, I can promise you, I have been much more mindful and won't take such a risk again. Kind regards Martin
Smae with a photo edit. Wait a while & take another look.
Hey Thomas, Thank you for your input! In the video, I am specifically referring to the process of selecting a photograph after it has been captured and not editing.
To clarify, my focus is on making unbiased selections based on the emotional attachment we may have formed while taking the photograph. It's about objectively evaluating our work without altering the essence of the image itself afterwards by editing.
Taking some time before reviewing our photographs allows emotions to settle, enabling a more clear and unbiased judgment of the images we've captured. Then for me the goal is to enhance the impact already present in the RAW data without introducing dramatic changes that can be achieved through editing.
I hope this clears up any confusion, and I truly appreciate your engagement with the video's content.
Regards,
Martin
@@MartinOsner I know & thanks for the reply.
Sub and like from me Martin - what a great video thank you! - resonates so much - and I haven't seen any other video cover this important subject.
Awesome, thank you! Welcome aboard!
😊 Promo sm