During my study of photography, I collected many images that are often called “discarded images” or “rejected photographs.” These images were not always rejected because they had clear problems. More often, they were left out because they did not fit certain hidden editing standards, aesthetic rules, or narrative needs.

How is the value of an image created? Who has the power to decide whether an image is kept or discarded?

Based on these questions, I created an experimental project titled Discarded Image Blind Box. In this project, participants were invited to randomly pick images from a sealed collection of discarded photographs. They did not know what the images looked like before choosing them. After that, they decided which images they wanted to keep. They were also asked to arrange the selected images in order and explain the reasons for their choices.

In this process, the project moves away from judging whether an image is “good” or “bad.” Instead, it focuses on the act of looking itself. It aims to show how personal preference, cultural experience, and hidden bias can shape the value of an image. It also raises further questions about ways of seeing in photo editing and image-based storytelling.

As part of the research, I first conducted one-on-one interviews with 20 participants. I then carried out a three-month field study within the photography team of a mid-sized internet company. Through these practices, I use discarded images as a starting point to explore how ways of seeing create meaning. The project also lays the foundation for my further research on image selection, editorial power, and the aesthetics of failure.