An interesting thought about photography as a medium is what works for one purpose may not for another. For example, the last two projects of photography for street murals, the images were of buildings and chairs, so the layout was traditional with the images in sharp focus.
Photography for surface design has different criterea . Coming from a textile background with lots of handpainting and dyeing, a sharp focus image isn’t part of the aesthetic, except maybe as a stylised line drawing or lino print. In traditional textile design, an image is printed as a repeat. Only in recent years has full colour, large scale photography been technologically available for textiles (as washable).
So how can photography be applied as a medium for decorative surfaces?
This is one of my favourite photographs, yet the foreground is dominated by out of focus leaves and a giant dark blob of colour. It probably doesn’t work as either a stand alone print or a textile repeat, yet the tree trunk is in focus just to show it wasn’t a total mistake.
The next photograph is what I’m looking for in the perfect surface design image; soft focus with a small part in sharp focus for contrast, interesting shapes, balanced dark and light, harmonious or complimentary colour, evenly spaced across the image.