I like that approach! For some folks sometimes, however, the image appears in the photographer's mind's eye before it appears on the camera's sensor, and alas, somewhere along the way, the image as it was perceived did not make it!
So, waht happened? I am not talking about exposure or color issues but the beautiful scene did not come through. The photographer saw the scene, stopped his or her car, breathed in the fresh country air, listened to the waterfall, took in the aroma of the flowers- all ther senses were at work and hopefully their visual prowess was also in play. But the resulting first shot is kinda blah!
To the rescue comes "working the scene"! This is where your technical knowledge, perhaps some rules and references come in handy. Why does the scene look different from what made you stop the car and get out and shoot? Is the issue in your shot perspective, choice of focal lengh or distance, point of view, did my slight overexposure desaturate the colors, would a longer or shorter exposure prove a better interpretation of the waterfall or any one or combination of issues that need to need to be solved?
This theory or method does not only apply to landscape photography. It can be any kind of work under any kind of situation. A stilllife or product shot of a single or group of objects can preset many challenges and yo may need to work diligently to come up wit an impactful composition that will tellthe story, sell the product, or simply satisfy you artistic appreciation.
The more rules, theories, techniques, and knowledge you have in your toolbox the faster you will troubleshoot problems and create successful images.
Something else to consider. Psychologists and neurologists tell me that there are three kinds of folks when it comes to waht influences their art or craft and perhaps may othere decisions and behaviors. The are Visuals, who react to and absorb more easily what they SEE. Auditories, will respond or learn more from waht they hear or read, and Kinostetics will tend to react more strongly to what they feel or touch. The VISUALS should (?) make for better visual artists but we all still have the other senses. So, in a visual creative situation, can we isolate our visual percept for othere influences?
Even in the controlled studio or studio-like portraiture, you may need to "work the scene".Not ever subjects a model. You may see a very attractive person who is not particularly photogenic. They cou be lovely pers with great personality but once you get past ther personable attitude you fine facial asymmetries, all maner of beemishes or a person that is nervios and freezes in for of a camera. You then have your"work" on this scene, cut out for you. Get out your toolbox!
I like that approach! For some folks sometimes, h... (