I think there are two ways to look at subject matter. One photographer sees something and says, " that will make a wonderful fine print." Another photographer may see something and say, that stirs something in me to want to photograph it and make a print.

Sometimes I see something that I know will make a pretty picture. In that case, I am thinking about the final print from the moment I get out the gear. I may be thinking about what paper you will use, what developer, the filter to use etc. Such is the case with most LF shooters.

On the other hand I see images that just resonate with me. I don't know how they will turn out or how difficult the y will be to print. For those photographers the subject matter becomes so powerful that a fine print in the Adams tradition is not required or may be a detriment.

A couple of examples would be a project where I photograph old manufacturing machinery that is destined for the scrap pile or shipped overseas. I use 8x10, sometimes modify the lighting and use very long exposures, and through tests I know film, developer, and paper to get the desired results before i expose a sheet of film. Detail of the complexity of the machines and age are key and the printing is designed to enhance an almost nostalgic look.

The other is a recessed doorway I saw where leaves from a nearby pile were being swirled by the wind. the age of the door, the lighting and movement of the leaves were intriging. So I got out a 35mm and 4x5 and made some exposures. Don't know yet if they turned out or if they will even be acceptable prints, but something in me said to try to make the image.