Experience has taught that Interesting is defined in the mind of the viewer. So, the first thing we should learn is discretion. Don’t be showing your pictures, indiscriminately, to everybody. Learn to recognize your audience: who will most likely want to see your images and who will not. Not everybody will find your images interesting.

Second, and perhaps most important to building good will and support within your audience, is to show only your best images. Do not show images you know to be sub-par. Do not show near duplicate images. Do not show anything that you need to explain. For example, “I know you can’t really see it, but that little grayish thingy beneath that middle bush is a Jackalope. If you could see it better, you’d see it has horns. It’s a cross between an antelope and a jackrabbit. Typically, they only live in Wyoming, so when I saw this little fella’ in Minnesota, I just had to photograph it!”

Don’t do it!  Simply don’t show it.

Discretion is the better part of valor. Be a hero. Respect your audience. Only show your best work, and in limited quantity.

Okay, steps one and two are the easy part. Now that you’ve got a handle on them, let’s move on.

Next, another somewhat obvious point: make sure you know how to use your camera. Take the time, before you need to get that one-special shot, to learn your camera. Know what each of the modes are and why you would use them. Practice a lot. It’s digital. It costs you relatively little to take lots of practice shots. You don’t have to print them. You don’t even have to keep them – but, please, do take them!

As stated earlier, Interesting is defined in the mind of the viewer; however, there are specific things that we, as picture makers, can do to improve the viewability of our images. In my opinion, there are three key factors that most anyone can learn to recognize and employee that will speedily improve your photographs’ crowd pleasing potential.

First, recognize that you – as a picture maker – have an obligation to your viewer to present interesting images. The viewer’s interest is kindled by the image maker’s interest in the subject and skill in communicating that interest.

Next, consider why you’re compelled to make the image. I call this the first look factor. Simply stated, it’s what first drew your attention to the scene or, said another way; it’s your motive for making the picture. If you can’t clearly articulate your motive, if there is no passion, your prospective viewer will likely not find interest in the resulting photograph.

Third, is the way we organize ALL visual elements in the image. There are some tried and tested tools to help us with this decision. Some people call these tools the rules of composition. I simply say: composition rules!

As I’ve stated in a previous essay, the quickest route to improved photography is to learn to compose well. True, as discussed above, composition in only one among many aspects of photography; however, no single concept well learned will more quickly raise your images from mundane to pleasing.

As photographers, our composition tool box is brimming with tools to help make more interesting, compelling images – to visually code our interest and passion in the subject so it becomes apparent to all. It could be argued that good composition is the keystone to good photography.

I’ll address composition in future essays. In this essay, I’ve provided six thought nuggets. One, the First Look Factor, may be worth a closer look. I’ve written about it previously – as it applies to the critique of other photographers’ work. It’s the same principle, just a slightly different application. Reading about it may be of value, too, if you’d like to explore that concept further.

You can read my thoughts on the art of critique by clicking here:
http://www.foxcreekphoto.com/blog/?p=12

Until next time . . .

Cheers,
-Mike.