All aboard the emotional rollercoaster

Perspective is a funny thing.

I find it very interesting how two people can look at the same thing but take away very different lessons. It is because we all have our interests and we often hear what we want to hear because of it.

For some people, no matter the criticism, they reframe it as praise. For others, no matter the praise, it gets twisted into a negative. Both positions are not conducive to maximise personal growth.

When faced with criticism, rather than dismiss or identify with it, objectify it, pull it apart and investigate if there is anything of value to learn within. Often, there is and often it is not what the critic had intended as the target lesson.

Do not identify with praise either, objectify it also and see what is inside. This may sound strange but once there is a habit of feeling good with praise, it sets up the bad feeling for criticism or even, lack of praise.

This doesn't mean you shouldn't feel good or bad but that your feelings are just that, feelings. They come and go all of the time so don't get too attached to any of them.

Some people may see this view as cold but I see it as highly sensitive as once an emotion can be 'removed' from the equation, there is more chance to see what is there rather than what one wants, expects or fears. It leads to better actions.

When I bring this up with highly emotional people, they get quite upset (unsurprisingly) as they cannot imagine restricting their emotions. The funny thing is, they don't acknowledge that their emotions are restricting their thoughts.

Two people looking at the same thing, with different views.

Perspective.

On to the photo:

Perspective. This was taken at Verona station in Italy, the home of Romeo and Juliet. We met a friend of mine there for breakfast and lunch (he was my best friend in high school in Australia and we meet next in Italy, how cool is that?) and then we were off to spend the night in Venice.

Just as we were boarding, I saw this shot and even had the chance to frame it this way. For some, this would seem quite a strange composition but I like to draw the viewers eye to specific parts of the piece.

In this one, it is very difficult to look anywhere else in the picture except at the detail of the conductor on the left edge. The brain just doesn't want to fight the pull of the eye, not that there is anything to see in the rest of the picture anyway.

I also like that all of the doors are still open here too so rather than have the straight edge of the train side, it is broken and stepped down to the detail. What do you think?

Taraz
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