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 :-)

I can listen to you for hours you are a great storyteller and photographer . Thank you Martin Pierre Costa Cape Town

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 KZfaq pieces that make me think. Thank you, Martin.

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

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..

Relatable, I totally agree...

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…….

This one was the best. It was so personal to the photographer, and it made me go back and observe some of my photos.

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.

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.

Truly deep and solid advice!

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 !

A brilliant talk - thank you !

Simply brilliant advice, thank you Martin!

What a brilliant lecture!!!! Thank you, Sir.

Thanks Martin, Very helpful.

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.

WOW mesmerizing

Spectacular video! Thank you!

Thx Martin... a very inspiring video and so true!

Thanks

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.

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.

Excellent Thanks ☺️

Serendipitous conversation, Martin👏your concluding remarks are, for me, the nub of this topic.

Luv listening to you, you are so honest and inspiring! Lots of thanks from Onrus.

Man, this was some valuable information.

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.

Comparing an artist to a chef. Does a chef make food that he thinks people might like or does he make food that he or she likes. I like to think of myself as both photographer and chef and I make pictures and food that I like. It impossible to know the taste or emotional connection of others. I believe this can be said about all Art be it music, fictional books, poetry, dance, etc. Thanks for sharing and I learn and enjoy your videos

Great lessons learnt from thinepisode. Thank you for letting me connect to my photos ❤

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 😊

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.

Cheers. There is a lot to think about.

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.

Great video. Thanks, Martin. Greets from the Northern Suburbs ;)

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.

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.

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.

Interesting, since I leave my photographs for months before I process them for fine art. I can't do that for photographyvsessions of people.

Smae with a photo edit. Wait a while & take another look.

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

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.

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!

😊 Promo sm