Coloring outside the lines

I was paging through "Contact: Theory" again, this time reading what John Gossage had to say about how he selected the final negative for one of his fine art prints. Ultimately, the decision came down to a tiny detail at the edge of the frame of a single negative. When I read that, it occurred to me that most photographers probably would want to crop that little detail out, either in camera or in the darkroom, just to keep the edge of the frame tidy. I think we've all been there. 

Interesting how Gossage thought it important to keep that little detail in. Sometimes you need to compose loose, to color outside the lines. But if you never practice doing this, how are you going to be able to execute when the time comes? An interviewer once asked Charles Mingus, the great jazz bassist, how he was able to play so well when drinking. I'm sure you can guess his answer. The same way you get to Carnegie Hall.

I have a tendency to shoot these kind of 'urban exploration' scenes straight on, with the wall standing in for a canvas of sorts, I suppose. I like the composition, don't get me wrong.

But, I think I prefer this oblique view better.

There was a time when the corners and edges of this image would have bothered me to distraction. I would have assumed it was my job to crop them out, but at this particular moment, I felt that it was my job to crop them in. Plus, the windows become more three dimensional and I kind of like that. As well as the telephone pole's shadow.

Loose or closely cropped, film or digital, photography or sketchbook, I hope you have the opportunity to capture some good compositions this weekend.