I received a little bit of flack from my post 7 Things I Love About VSCO. Some folks commented that post-processing shouldn’t be about unexpected results—it’s about control! At least that’s what they say.
Part of what I love in art is the experimentation and imperfections. I don’t know about anyone else, but my eyes glaze over on perfectly Photoshopped photos or expertly realistic drawings and paintings. One of my favorite albums ever is recorded in his bedroom on an eight-track and vocals that would make any studio exec cringe. But it’s raw and it’s real and it’s amazing. I’ve often wondered what it would sound like with a higher-end production value with an orchestral background but twenty years later, I’m sure it would have lost its charm and heart.
I realize some photographers using VSCO are truly trying to replicate an exact coloring to match their film equivalents they may be shooting concurrently during a wedding or portrait shoot. For me, I don’t always know which film pack I want to use on a new set of photos. There’s something fun about seeing what the options hold depending on which camera I’m using, what kind of light I’m shooting in… even what season it is.
While I’m still waiting to buy a new mirrorless camera, I took my bulky Canon 5D and Canon 50mm f/1.4 USM to take some snap shots.
These aren’t perfect photos—but they are mine.
(And for the curious, color photos were processed with VSCO pack 1, Fuji800 and black-and-whites with VSCO pack 0, Tri-X+1 -C.)