Here's how you can reflect on and learn from your failures as a photographer.

We all have sessions that range from good, to bad, to outright disastrous. Any session that falls short of my standards is painful, but I see each as an opportunity for growth. When a session doesn't go as planned, I reflect on the days leading up to it by asking myself: What was happening in my life at that time? How was I feeling? Was I truly prepared, both mentally and physically? Even when faced with external challenges like limited space, poor lighting, or difficult personalities, I can navigate these as a professional. However, it's crucial for me to turn the lens back on myself to uncover deeper reasons for the cause. This always leads me to the answer with valuable insights and learning for next time!

Já passei por várias experiências assim e não é um bicho de 7 cabeças o profissional ERRAR, todo mundo erra, o que não pode deixar acontecer é o erro se repetir por mais vezes, viu a origem do erro tem que correr atrás pra acertar e não se repetir, já fiz diversos trabalhos que eu não gostei muito do resultado, mas corri atrás pra não errar mas, é sobre isso e tá tudo bem. =)

Indolence may be the reason of errors. For instance sometimes we prefer to take photo on hand not on tripod for tripods are heavy and hard to transport. So if our photos get blurred, this error is our outcome of work. Lack of care and indolence may not lead us to obtain a appropriate shot.

Reflecting on and learning from failures as a photographer is essential for growth and improvement. Here are some steps to effectively do so: 1. **Acknowledge and Accept Mistakes**: - Understand that failures are a natural part of the learning process. - Embrace mistakes as opportunities for growth rather than setbacks. By systematically reflecting on and learning from your failures, you can turn challenges into valuable learning experiences that enhance your skills and creative vision as a photographer.

There are no errors in art, only stepping stones. One of these stones, upon analysis, turns up as a gem or a nugget. Calling silt an error is short sighted, it's part of the process.

Feedback é FUNDAMENTAL pra qualquer coisa, eu sempre busco um feedback dos meus clientes antes do serviço (oferecer um bom atendimento) na hora do evento e o pós, pois é a partir do feedback que conseguimos enxergar aonde estamos indo bem e aonde estamos falhando, e também não devemos se apegar ao bom feedback e "estacionar" devemos ir além, e quando o feedback for negativo correr atrás e transformar em um POSITIVO.

One of the opportunity that could help us to get feedback is in exhibition. Those who come to our exhibition including common people and experts sometimes tell us something that not only can improve our works but also can be inspiring. But we have to be open to listen and let them to criticize our works even if we may know they are not completely right at their point of view or they may not know how difficulties and limitations we did bear at the time of photography. Let them to say whatever they want and do not resist. Just do listen friendly.

Seeing is not about just the eyes, it involves the entire nervous system. By sharing your work for feedback you are benefitting from the response from various nervous systems - as everyone is wired differently. What you are looking for here is the common denominator - or simply the right to stand as the only judge.

Nem sempre teremos ótimas experiências, o fracasso nem sempre é ruim pois nos ensina muito. Devemos sair da nossa zona de conforto e tentar algo novo, experimentar novos equipamentos, lentes, iluminação, estilo, uma hora dará certo. Não pode deixar a peteca cair.

As we know part of photography is experimental and part of it is learnable. In both we have to search the reason of our fault. May be our setting was wrong or the subject was unfamiliar to us. There are many photographers who are better than us and there are better equipment than we have got. But Knowing ourselves; our capabilities and our camera specifications are the key to progress in photography.

To be sure, in the visual field, we can tell when things do not work out - but we are never entirely sure why some things actually work even though we can tell with some precision what we like (or not) about a particular work - but when something works "why" is never a good question to ask as there never is a satisfying answer by the time it's all said and done. It escapes the rational. That's where experimentation comes in.

A vision is a projection, it's not real and it inevitably meets and/or conflicts with the real when it is time to express it on the physical plane. Only the real can be expressed, whether concrete or abstract. There is no place for the unreal in the physical representation of a so-called vision because the umbilical cord to the here-and-now is missing. Visions can work in art when they are kept vague, flexible and open to embracing and dancing with the real and turn into inner representations that are closer to the real.

Algo que já passei e confesso que me senti muito mal foi um ensaio de uma cliente minha onde algumas fotos saíram escuras e eu não consegui contornar a situação, ofereci um novo serviço e consegui prestar um serviço melhor que o anterior, são coisas que faz parte do nosso processo.

Concentration on our projects is important; it means the ideal picture we want to obtain should be all the time in our mind. Instead of fearing and worrying, concentrate on what exactly you want at last and smooth the procedure to get the best result. We have to look every session of photography as a procedure and get it step by step firstly in mind and then write it down on a paper to check analytically.

FOTOGRAFIA não é somente teoria, fotografia é muita prática, uns dizem que é apenas "apertar botão" mas digo que é algo que vai muito além, tem que estar sempre aprendendo e praticando.

The progression is not happen suddenly. It needs cornerstones; reading and learning as well as experimenting. If we are honest to ourselves, then we can expect to see our improvement.

In my experience, I learned that it is not all about the most fancy camera or accessories. It’s mainly about what you are aiming for when taking a picture. If it’s landscape, what are you trying to get? All you can fit in a frame or a specific focus within the frame? For portraits, how blurry did you want the background? Sometimes, you can’t get everything you want in a shot or in an editing software. It’s best not to worry about getting the perfect shot, otherwise you would be putting too much pressure on yourself, leading to a burnout.

As mentioned earlier, there are no errors in art or failures, only processes towards completion. Completion is not a goal, it is a deeply experienced sense that nothing more need be done, that all is well just as it is. It cannot be dictated as it is freely arrived at without a sense of effort. Feeling right or complete about one's self or about our work arrives at just the right time and is its own reward.

This is why a strictly documentary photograph keeps stubbornly pointing to itself while a fine art photograph keeps pointing back to the viewer, sending the viewer constantly back to him/herself. We rarely go back to looking at documentary photographs, but we hang fine art images on our walls so we can keep looking at them time and again because we resonate to them. When a documentary photograph becomes more than just about the obvious, it makes the leap into art.