I agree with the points that Nir Shelter makes.

In particular, it does not seem to me that the young man faces a?real? dilemma.? And?having a protagonist caught between the horns of a?real dilemma is?the method par excellence? for ?creating and sustaining dramatic tension.

A dramatic dilemma is not just a predicament, it’s a particular kind of predicament.? In an authentic dramatic dilemma, the protagonist??has either 1]?two equally? desirable choices — but he can only have one.; or 2] the reward for success carries a high risk of failure??and a ?countervailing penalty or cost for failure. ?(Countervailing means equal but opposite).??The odds? are overwhelming? not in the?protagonist’s ?favor; obstacles and dangers seem to doom him to failure.? And when he fails he won’t just?be back where he started, he’ll be worse off for?having tried.

Now then.??It seems?obvious the young man does not?face a dilemma of two equally desirable choices.??He much prefers photography to farming, creative expression for himself ?to maintaining the farm for the sake of the family legacy.? So it’s a no brainer choice; hence, not a dilemma.

Nor does the logline implicitly frame?the 2nd kind of dilemma.??Certainly, as Nir Shelter indicated, the odds of? commercial success are against him.? This risk factor is necessary for?creating dramatic tension but it is not sufficient.? It’s only ?one part to a dilemma,?a ?countervailing factor.?

The other necessary?part of the 2nd kind of dilemma is the price to be paid for trying and failing. ?What will it cost him to even try?? What does he stand to lose if he fails?? (Losing his ?relationship with his grandfather does not seem to be a “?cost?of business”, the price he must pay for pursuing his dream instead of his grandfather’s. On the contrary it would seem to be a?benefit, a big bonus.)