This is the trouble with cheating: there are no acceptable rules, or laws. It could be a smile, or dancing to a song that you considered to be indefinably 'ours'. It can feel like cheating to go to a restaurant that you used to go to with someone else. Keeping photographs of exes can infuriate, like retrospective cheating.
Of all liars the most arrogant are biographers: those who would have us believe, having surveyed a few boxes full of letters, diaries, bank statements and photographs, that they can play at the recording angel and tell the whole truth about another human life.
With the work that I do as a director, I've got dialogue, camera movement, and character blocking to help create a tone to the piece. In photography, those elements are somewhat void so that tone becomes a bit more subtle but still equally important.
I feel as if I've been fairly successful with maintaining a cohesive tone between the work I make as a photographer and as a director.
Photography is a way of feeling, of touching, of loving. What you have caught on film is captured forever... it remembers little things, long after you have forgotten everything.
I may be wrong, but the essential illustrative nature of most documentary photography, and the worship of the object per se, in our best nature photography, is not enough to satisfy the man of today, compounded as he is of Christ, Freud, and Marx.
Not all paintings are abstract; they're not all Jackson Pollock. There's value in a photograph of a man alone on a boat at sea, and there is value in painting of a man alone on a boat at sea. In the painting, the painting has more freedom to express an idea, more latitude in being able to elicit certain emotion.
Digital photography is, by definition, unfinished. You don't feel that after every 24 or 36 shots you have to change your film - you know you can go on for ever if you want. You can see the result immediately, and find out if your original idea is worth going on with or not, whether it can be corrected, whether it can be improved.