The Myth of Technical Perfection: Why Your Photography Is More Than Just Specs

I am going to foreword this piece with a little exception, as some people tend to not realise that while they themselves are photographers, many people are not, or are still learning photography. There are people who will NEED the latest and greatest because of their work, and there are people who WANT the latest and greatest because they always want the latest and greatest of everything in life. If you are any of the above, this article is still worth a read as you may learn a valuable point.

In the world of photography, the discourse can often feel like a battlefield of technical specifications. Debates rage about the merits of RAW vs. JPEG, the superiority of shooting in full manual mode, and the endless quest for the “perfect” camera and lens combination. A quick scroll through any photography forum reveals a landscape dominated by talk of dynamic range, sensor size, megapixel counts, and the sharpness of a particular lens.

And yet, in the midst of all this technical chatter, we often forget the most fundamental truth about photography: it’s about the image, and the feeling it evokes.

The pursuit of technical perfection, while noble in some respects, can become a prison. We spend countless hours agonizing over settings and gear, convinced that the right combination will magically unlock our creative potential. We tell ourselves that if only we had a full-frame camera, or a lens with an f/1.4 aperture, or if we just shot in RAW and meticulously edited every image, our work would finally be “good enough.”

But what if we’ve been asking the wrong questions all along?

RAW vs. JPEG: A Choice, Not a Crusade

The battle between RAW and JPEG is one of the oldest and most fervent in digital photography. RAW proponents champion its uncompressed data, the incredible flexibility it offers in post-processing, and the ability to recover seemingly lost details in highlights and shadows. They see JPEG as a compressed, limited format, and shooting in it as a sign of amateurism.

But let’s be honest: many of the world’s most iconic photographs were shot on film, a medium that, in many ways, is less forgiving and offers less post-processing latitude than even a JPEG. For countless photographers, a JPEG straight out of the camera is more than sufficient. For those who prioritize a fast workflow, or who are delivering images for a client with tight deadlines, a well-exposed JPEG can be a godsend. If the final image is stunning, if it captures the moment perfectly and the client is thrilled, does it truly matter what file type it started as?

Manual vs. Automatic: The Goal is the Shot

The idea that a “real” photographer only shoots in full manual mode is a gatekeeping myth that needs to be dismantled. Yes, understanding the exposure triangle (aperture, shutter speed, and ISO) is crucial for any serious photographer. But a photographer’s job is not to be a human light meter; it’s to create compelling images.

Modern cameras are equipped with sophisticated and incredibly accurate automatic modes. In fast-paced situations like street photography, photojournalism, or sports, relying on aperture priority or shutter priority can be the difference between capturing a fleeting moment and missing it entirely. The world’s best photographers have mastered their tools, and sometimes, that mastery includes knowing when to let the camera do the work so they can focus on composition, lighting, and expression. If the image is powerful and effective, what does it matter if you used aperture priority to get it?

The Gear Trap: It’s the Eye, Not the Equipment

Perhaps the biggest distraction in modern photography is the relentless focus on gear. We’re told we need the latest full-frame camera, the sharpest lens, and the most expensive accessories to be taken seriously. This gear acquisition syndrome (GAS) can lead to a state of perpetual dissatisfaction, where we’re always looking for the next upgrade instead of making the most of what we have.

The truth is, some of the most emotionally resonant and historically significant photographs were taken with equipment that would be considered laughably primitive by today’s standards. A great photograph is a product of the photographer’s eye, their ability to see light, to compose a scene, and to connect with their subject. A skilled photographer can create a masterpiece with a consumer-level camera and a kit lens, while a novice with a £10,000 setup can produce a flat, uninspired image. The gear is simply a tool, an extension of your vision.

The Only Thing That Matters

So, what does matter in photography?

The result.

If you or your clients are genuinely thrilled with the final images, and you know in your heart that you couldn’t have made them any better, then that’s all that counts. The goal is not to have the perfect workflow or the most expensive camera. The goal is to create images that resonate, that tell a story, and that stand on their own merit.

So, the next time you find yourself getting caught up in the technical debates, take a step back. Pick up your camera—any camera—and go out and create. Shoot in RAW or JPEG. Use manual, semi-automatic or fully automatic. Use a pro-level camera or your smartphone. Because in the end, the photograph you create is far more important than the technical choices you made to get it.

Sure, there will be people who say “but if you’d….” and those are the ones the whole concept of this article is lost on, and the ones that probably NEED and WANT.