John Szarkowski in the The Photographer's Eye underlines that towards the end of the 19th century, there was a deluge of pictures among which many seemed formless and accidental; nevertheless some achieved coherence even in their strangeness.
At the same time slow films and lenses created two-headed subjects or they filled entire frames with humans' diluted substance.
These errors were forgotten but some were meaningful beyond their futility and enhanced the vision of the photographers … as they looked again at the real world.
Zisis Kardianos knows that one of the learning tools of photographers are their own pictures. And since the heavy photographic plates do not bend our backs anymore, limitless experimentation can only be beneficial if fed back in its own stream.
And maybe one day we'll paraphrase John Dryden "For art may err but … photographers cannot miss"