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Photography was commonly thought of as a documentary method of imagery as, primarily, a photograph was a copy of the scene viewed. However the technical aspects of copying the scene, such as focus, exposure etc. took the photograph into an uncommonly seen representation of the subject if recommended settings were not used. The mind made up for these shortfalls and the belief was still that the photograph was a poor quality copy of what was there. It is this belief that contributes to the traditionalists view of the photographic art definition (an oxymoron itself), or to those having little affiliation, photography is not art. The traditionalist photographic art definition does not allow for the use of shortfalls or many other developments in the photographic process. It seems to be a matter of when the evolution of photography should be 'turned off'. Photography is born of technology and to ignore advancements in the process is to deny the fundamental nature of the medium.

Composition is an interpretive tool, recognised by purists, with the power to move the viewer. Now consider the shortfalls used with control and purpose, affecting the piece to an uncommonly seen representation with form and composition. An interpretation of the scene which gives the audience unexpected feeling. Without the controlled application of the technical brush, used traditionally to produce a perfect copy or applied with creative freedom, the photograph may not warrant a second glance. With these tools, emotions are stirred or a conversation is initiated to the end that art has been witnessed.

Step away from the objective.