Quote Originally Posted by ParkerSmithPhoto View Post
You don't mention what format you shoot, but I think the large formats can be very restrictive for many people. It is a rare photographer who can compose ULF with the skill of a Kenro Izu; most ULF shooters, I think, "why bother?"

Medium format and smaller can be very liberating, allowing you a lot more room just to play and see the world without every frame having to be a masterpiece. Changing formats can have an extremely refreshing effect on your vision.
Medium format. I've seriously felt recently that 35mm would better suit my sensibilities, as I'm starting to favour a more fluid compositional style. MF is a strange one in a way (the limbo format?) in that, with 35mm, you think of shooting from the hip, LF; meticulous compositions. I've found it difficult to get a handle on where exactly between the two MF sits comfortably, in approaching composition. Since moving to 67, it's almost as if I'm pretending to shoot LF. The viewfinder becomes restrictive in this mindset - it's aggravating when elements aren't quite kissing for example, or details that seemed inconsequential in the viewfinder become distracting when you see the negative. I've come to the conclusion that it's a fools errand to be too fastidious about composition with MF. Balance is perhaps more critical.

But anyway, I've come to understand, somewhat late in the game, that the most important thing with any deep investigation in photography is your concerns outside of it.
I've made a decision to get into a better mental place, and probably geographical, before carrying on with any intention, because I'll probably end up with psychosis.

I've found this, which is a very helpful read for anyone really, about subject matter:

http://www.lenswork.com/obpexc.htm