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Sometimes, it just blows me away, “You think THAT is a good frame?”, I say to myself, under my breath of course. The range of choices amongst three educated people, standing in the exact same room, can just astound me sometimes.

And it’s not as if I always think I’m right. Most of the time, it just amazes me that there’s such a range in what three people think is the best frame. I just wonder, where does it come from, in each person, to make up the sum total of some kind of knowledge bank that you’d use to choose/edit a photo session?

Sometimes, someone else, (never me) will choose a frame where the subject looks either not human, not breathing, not alive, or like a deer in headlights, but what they’re choosing from is criteria like “I like their hair in that frame”, but that’s all they can see — the hair. They see nothing in the frame. Or the frame where the person looks dead, but the AD likes it because there are no smile lines in the face, (because there IS no expression).

And even worse, as Murphy’s Law would have it, the frame that is their “absolute favorite, bar none” is the frame that’s slightly soft… Some days, you can’t win.

W. Eugene Smith: Shadow and Substance, the Life and Work of an American Photographer – by Jim Hughes. I loaned this book to a friend and she kept it for the better part of a decade before returning it (without the dust jacket – Thanks, Amy).

APE: many enlightening and revealing things have surfaced in this forum, but I really appreciate the content of this particular post. I know I’m not alone in having butted heads up against the wall of literalism way too many times. Unfortunately all too often it seems PEs give in, and then of course photographers give in, and it just trickles down ’til you look up a few months later at the pictures you’ve been making and say “What the hell am I doing?”

I always assumed part of this came from the idea that editors felt the reader was kind of stupid and had to be hit over the head with an idea that reinforced the story (or some aspect thereof) very literally: “See! It’s a guy wearing a tie in a big oak conference room! He must be Important!”

Then again it’s interesting to see how some photographers consistently slip non-literal and transcendent images through the system. I wonder if anyone ever stops Chris Buck and says “Hey, dude, what the hell was that? Where’s the conference room? What happened to this guy’s tie? What’s with the rubber duckie?”

[just an example - I don't know if Chris Buck employs a rubber duckie, but I'm sure it's possible]

‘On Being A Photographer’ by David Hurn and Bill Jay

“Creating a Sense of Place’ by Joel Meyerowitz – it has a great interview in which Meyerowitz talks about how and why he makes photographs..

Maybe it makes sense though. I think she wrote it after her relationship with Avedon fill apart. Kind of a jab at him and photography.

Wonder if she ever rethought it later when she had a much more successful relationship with Leibovitz…?