When looking at photographs (including our own), it can be rewarding to consider them without our photographic eyes. Instead, engage them simply as a viewer. The photographic eye sees elements of composition and techniques of post-processing. But unfortunately, with hardly a glance, it ultimately leads to the distinct and empty classification of good or bad.

However, a photograph is best experienced for what it is, or better yet, what it represents. Not for how the photographer made it. Do artist look at paintings and ask what brush was used?

Our approach to photography can only benefit from such an inner perspective. Then, hopefully, the technical aspects become instinctual, allowing a visceral response to what is in front of us. In this case, the sea while staying with my son in Flanders, New York. His backyard borders a bay that opens to the Atlantic Ocean.

In color, the sea can be illustrated in warm tones representing a quiet moment. However, we also know that the sea can be dangerous and threatening. In black and white, the dark skies suggest storms. In turn, of course, storms represent danger at sea.

Some minor notes on composition. The tall grass in the foreground provides a visual anchor, while the curving shore enables a leading line into the image. The home on the upper right portrays a sense of scale and adds balance.

f8 1/160 sec ISO 200 October 5, 2022