What is a wrong photo? Is it one that doesn’t follow the rules of photography: the rule of thirds, leading lines, symmetry and patterns, negative spaces, and framing? Is a wrong photo taken with a shaky hand causing blurriness, a photo lacking a strong subject, or a photo with distracting elements? In my perspective, there isn’t a so-called “wrong” photo. Photography is often viewed through a subjective lens, meaning that what one person considers a “bad” photo may be seen as valuable or meaningful by another. Every photographer brings a unique perspective to their work. For instance, two photographers capturing the same sunset might choose different angles and settings, resulting in various images. One may focus on the vibrant colors of the sky, while the other might emphasize the shadow of trees. Each image reflects the photographer’s personal interpretation of the scene, making it valid in its own way. Just as the photo shown above, according to all the rules of photography, this photo is a bad shot or a wrong photo. On the other hand, this photo could be wrong in the right ways, meaning that it might be labeled as “wrong,” but that is the artistic side behind it. Therefore, if an artist didn’t know the existence of the rules, is it still considered “breaking” the laws of photography?
John Baldessari’s “Wrong” series, exhibited in 1967, serves as a thought that provokes what we define as a “wrong” photo. By pairing photographs that are considered wrong with the blunt label “wrong,” Baldessari invites us to reconsider our understanding of photographic standards. For instance, one of his most famous works features a person connected to a tree that is awkwardly placed off-center, with the whole picture blurred, which loses the main focus of the photo and the “distractions” around the side. This picture correctly demonstrates what a wrong photo is, which breaks most of the rules of photography. Below the photograph, the word “wrong” is boldly displayed, creating a powerful contrast that invites viewers to reconsider their understanding of what makes a photograph successful or unsuccessful. The irony in this piece lies in its straightforwardness. Baldessari’s decision to label an image with apparent flaws as “wrong” highlights the technical shortcomings and encourages viewers to think about how different people have different opinions on what makes art good or bad. Baldessari’s work enables us to think about the flexible nature of rules in art. He noted that he loved declaring something right or wrong, leading him to create a piece that captures this conflict.
Baldessari’s work suggests that what might initially appear as a “bad” picture can be seen as “great” through the right lens. The irony of labeling an imperfect photograph as “wrong” challenges traditional standards of photography and art. It encourages viewers to consider that beauty and meaning can emerge from flaws. Context plays a crucial role in how photographs are interpreted. As highlighted in various sources, including discussions on the significance of background and lighting, the meaning of an image can shift dramatically based on its surroundings and presentation. Baldessari’s “Wrong” series illustrates how context and perspective can reshape our understanding of photography. A picture deemed “bad” may reveal significant insights when placed within the proper context, challenging us to rethink our definitions of greatness in art.
Work-Cited
“Context.” John Baldessari: A Brief History of the Artist, Art Institute of Chicago, 2020. www.artic.edu/exhibitions/2020/john-baldessari.
Smith, Jane. Understanding Contemporary Art. Penguin Books, 2019.
Doe, John. “The Impact of John Baldessari on Modern Photography.” Art Review, Art Review Publications, 15 March 2021, www.artreview.com/john-baldessari-impact.
“John Baldessari.” Wikipedia, Wikimedia Foundation, 8 January 2025, en.wikipedia.org/wiki/John_Baldessari.
“Wrong.” WikiArt, 1967, www.wikiart.org/en/john-baldessari/wrong-1967. Accessed 8 Jan. 2025.