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I've been an amateur photographer for 60 years, starting with borrowing my mothers Box Brownie and then my fathers Rolleiflex, when I was older. Later I had the pleasure, and the means, to be able to progress from Yashica SLR, to the finest optics such as  Zeiss and. Leica. I also bought a Hasselblad with a 120 F4. As  the quality of  lenses improved, and with time, also films, the photographs slowly took on more and more life, vibrancy and  more saturated  natural colors.. 
Photography is an art that requires technical knowledge. As Paul Cezanne said, Knowledge of the MEANS to express our emotion is ESSENTIAL, and is acquired only after very long experience.  Thus, the controls such as  DOF, perspective,  angle of shot, lighting, selection of exposure for effect,  had to be experimented with, and learnt, to  capture the emotion of the moment..  Ernst Haas said, There is no formula, only confirmations. 
Before clicking the shutter, I try to have  the composition clear in my mind.  There must be  balance and  harmony, of the  light and shadow|... the  large and the small...the sky with clouds and the land or water...the natural and the man made...the patterns, colors, and shapes. There must  be clarity and   strict composition.   I have to locate the HEART of the photograph to get the correct spot exposure reading..  To make an extra-ordinary depiction of an ordinary scene, is after all, the aim  WE are not creating art, only producing an image, that should convey the emotion/feeling/drama/life/message..
I prefer working mostly with color.   Hans Haas said, Color is joy. One does not think of joy. One is carried by it. And, after all, is not this wonderful planet  full of color..  My  guidance for composition was Andreas Feininger,  Jay Maisel, Ralph Gibon, Hans Haas and Ole Jensen. The style one develops, can ONLY  reflect ones own character, feelings, and emotion at the time of shooting, and not ANY another persons....
Digital.  Having reached the pinnacle of results from great optics such as Zeiss, Schneider, Voigtlnder and Leica, ONTO films such as Fuji Sensia, and Agfa Ultra 100, I see no point in backtracking to a medium, that  is unclear... that means lifeless, and is poorly color saturated.  Digital is still under development.
and MUST have manipulation to try to restore it to an acceptable level, in which it fails There is simply NO competition from a shot, say  using a Schneider lens onto Agfa Ultra, against the best Canon Digital, manipulated with expensive computor programs. One is alive, vibrant, sharp, and in glorious natural saturated color. The other is dreary, drab, unsharp, and lifeless.  Even on an out of focus, grainy, black and white shot, one can CLEARLY see that life and vibrancy is lost with digital, compared to say a  Leica M, or Hasselblad shot onto Ilford or Kodak.
Recommended reading and study.. The Tao of Photography, Tom Ang    The Complete Color Photographer, Andreas Feininger,  Deus Ex Machina, Ralph Gibson. This publication, one of his 26,  from  50 years as a pro, has 800 Leica M images, mostly in black and white.  Also, thanks to the internet, one can study over 1000 magical photos on each of the sites of Ole Jansen, using Zeiss/Fuji,  on,  and, Both are masters of light and composition.