fredmiranda.com
Login

Moderated by: Fred Miranda
  New fredmiranda.com Mobile Site
  New Feature: SMS Notification alert
  New Feature: Buy & Sell Watchlist
  

FM Forums | Photo Critique | Join Upload & Sell

1       2              end
  

Archive 2011 · How do you approach photography?

  
 
airfrogusmc
Offline
• • • • • •
Upload & Sell: Off
p.3 #1 · How do you approach photography?


Most things created are not art.




Jan 14, 2012 at 08:17 AM
dmacmillan
Offline
• • • • •
Upload & Sell: On
p.3 #2 · How do you approach photography?


AuntiPode wrote:
Just remember, most art isn't great art. I suggest making art that pleases yourself is a reasonable goal.

Amen! I guess there are different motivations. Some want to share what they've seen. Others have an internal yardstick and they strive to create images that "measure up" to that. I believe for most it's a little of both.

I spent years where my livelihood depended on external measures of my work. I strived to please myself first, since I'm my harshest critic. It was nice to move on to making my living another way and getting back to only having to try to please myself. I don't need external validation and I don't seek it.



Jan 14, 2012 at 09:36 AM
dmacmillan
Offline
• • • • •
Upload & Sell: On
p.3 #3 · How do you approach photography?


RustyBug wrote:
Even John Lennon wasn't born writing great songs ... he progressed as he pursued, i.e. developed, not instinct.

How do talented people progress, though? I was with you until "developed, not instinct".

I don't think you can draw a hard line between the two. To me progressing or maturing is based on a feedback loop. Those who improve, especially quickly, do so because their instinct or talent or whatever you want to call it allows them to see and refine and move forward. Practice and talent feed on each other.

Not to oversimplify, but I guess the less natural talent, the slower the process, sometimes to the point there is no progress. There's a local "professional" photographer who is no better now than he was 20 years ago. Once in a blue moon he'll luck into a decent photograph, but it's pretty much a fluke. As I told my students, it's one thing to take a good photo when the stars are aligned and you're feeling good and the light is just right. A professional can perform at a high level day in and day out, overcoming less than ideal conditions and turning out good work when they feel bad or uninspired.



Jan 14, 2012 at 09:52 AM
Bob Jarman
Offline
• • • • • •
Upload & Sell: Off
p.3 #4 · How do you approach photography?


dmacmillan wrote:
How do talented people progress, though? I was with you until "developed, not instinct".

I don't think you can draw a hard line between the two. To me progressing or maturing is based on a feedback loop. Those who improve, especially quickly, do so because their instinct or talent or whatever you want to call it allows them to see and refine and move forward. Practice and talent feed on each other.

Not to oversimplify, but I guess the less natural talent, the slower the process, sometimes to the point there is no progress. There's a local "professional" photographer who is
...Show more

dmac,

digressing from the topic....

Good observation, but might I suggest we not denigrate the pro who has not progressed in 20 years. If he's a pro, and folks think enough of his work and continue as return clients (sustain his business), it works for him and that is all that really matters to him. On the flip side you have the person who leaps at every new gadget, lens, whatever (a marketeer's best dream) yet still produces marginal work - that is another matter.

You often refer to computer programming - I have (and continue) taught CS1, 2 and software engineering for 30 years at the college level. My experiences support your assertion of a maturation/practice/feedback loop model. But, I am continually amazed by some, not many, extremely bright students who struggle to grasp programming concepts. This is especially so when dealing with the notion of abstractions. With diligence and practice, this student develops into a competent programmer (good employee) but seldom evolves into the 'star' employee capable of unlimited progress, yet both are successful.

Returning to an earlier comment, I'd certainly like to see more competence in folks (especially trades, auto repair, etc.). Too often when asking I get an answer of "I can tell you who not to hire" rather than an affirmative response. Any competent person/business should never lack for work.

Now, if one judges photographs, captures, whatever, from a background of a formal art education, such as yourself (certainly not myself), I believe we owe it to ourselves to appreciate and understand the world views (schemata if you will) of artists versus non-artists are not likely congruent. And, for the most part, I believe that appreciation is manifested in the submissions, comments, re-works, and critiques offered by FM'ers, which is what makes this a special place.

My 2˘

Bob





Jan 14, 2012 at 11:34 AM
sbeme
Offline
• • • • • • •
Upload & Sell: Off
p.3 #5 · How do you approach photography?


I'd like to think I have developed some talent.
What I know is that my work has improved through learning basic concepts, technical skills, a tad of theory, a smaller tad of knowing about the works of the great photographers, and a heck of a lot of doing, trial, experimentation.
I have grown up with a mother and sister who have talent. In the sense of what appears to be a natural ability to (pre)visualize, process visually and specifically to decorate. Both received some formal training, extending their inherent capacities.
I am much more left-brained, rarely able to visualize but somehow have a capacity to find, see, appreciate elements, interactions and a fine composition. Dont see myself ever being able to do more than mimic a studio set-up by learning "the rules".
What mix of inherent capacity, learned skill and practice is need for excellence, I do not know. Obviously there is a certain baseline "talent" and ability to learn. Where creativity comes in is a whole other complex subject.

For me, I shoot for the pleasure of discovery, the joy of sharing, the goal of improving. Some stuff is meant as silly, fun. Others, my attempt at "art". Mostly an optimized capture. "Creativity" is not my strong suit, but even that extends with practice, confidence, relaxation, moving away form left brain processing.

Much has been written about The Myth of Talent. Here is an entry from Craig Tanner of The Mindful Eye (tmelive.com)
http://www.craigtannercreative.com/lightdiary/?page_id=220

Scott



Jan 14, 2012 at 01:23 PM
RustyBug
Offline
• • • • • • •
Upload & Sell: On
p.3 #6 · How do you approach photography?


+1 @ Scott's growth, it's been fun to watch and a pleasure to be at least a smidgeon supportive of.

+100 @ feedback loop, i.e. continuous development.

If I were going to subscribe to "instinct" at all, I'd agree with the inherent/innate characteristics that people have are very different regarding drive, commitment, passion, curiousity, quest, seeking and searching, exploring and experimenting, digging deeper to understand themselves, their processes, their world ... never being satisfied with status quo, always yearning for refinement and/or re-invention.

If we assign "instinct" (which it really still isn't) to those "innate" qualities, then I'd suggest that we can be VERY CLOSE to being on the same page. Learning and knowledge alone doesn't make greatness, nor do such "innate" qualities by themselves ... it is when these come together to generate such uniqueness that we see such distinguishable greatness.

IMO, the concept of "instinct" suggests fully developed from the start and does not require such effort, whereas "innate" suggests it is "in there" but requires a magnitude of developmental effort to realize its true potential ... a bit of semantics for some, but that is why I said that "developed instinct" is a bit of an oxymoron.

While the greatness of HSB wrote: "In photography, visual organisation can stem only from a developed instinct."

I'd suggest: "In photography, visual organisation can stem only from innate development."

I'm in full agreement at it takes both sides of the coin ... just that the concept of true "instinct" mitgates the necessity for development, growth, experimentation, refinement, etc. ... and I don't believe that was what HSB really meant ... rather, a need to be developed into a level of proficiency that becomes "instinct-like" is my .02 on how "developed instinct" ought to be understood.

At the heart of the matter, I'd suggest we're pretty much on the same page, just our semantics of expression provide a bit of interference. Give me a mind, and I'll teach it both how to think like a camera, and see with a vision ... with the thinking eventually falling by the wayside to autonomy (errantly referred to as "instinct" ) and the vision being all that appears to remain for the world to see, such that the world believes it to be "instinctive" ... as it should be.






Jan 14, 2012 at 02:04 PM
airfrogusmc
Offline
• • • • • •
Upload & Sell: Off
p.3 #7 · How do you approach photography?


"Chemistry, physics, and optics enlarge our scope; it is for us to apply them as part of our technique in order to see whether they can add to what we wish to express. But a whole fetishism has grown up around the technique of photography. Technique should be so conceived and adapted as to induce a way of seeing things, preferably in essentials, excluding the effects of gratuitous virtuosity and other ineptitudes. Technique is important in that we have to master it, but it is the result that counts." - Henri Cartier-Bresson


Jan 14, 2012 at 03:38 PM
airfrogusmc
Offline
• • • • • •
Upload & Sell: Off
p.3 #8 · How do you approach photography?


What Wynn Bullock had to say on the subject
"What I feel is that the picture-taking process, anyway a greater part of it, is an intuitive thing. You can't go out and logically plan a picture, but when you come back, reason then takes over and verifies or rejects whatever you've done. So that's why I say that reason and intuition are not in conflict--they strengthen each other." - Wynn Bullock



Jan 15, 2012 at 12:10 PM
dmacmillan
Offline
• • • • •
Upload & Sell: On
p.3 #9 · How do you approach photography?


sbeme wrote:
Much has been written about The Myth of Talent.

Another viewpoint by Ian Plant:
http://www.ianplant.com/blog/2011/09/26/the-myth-of-the-myth-of-talent/




Jan 15, 2012 at 12:36 PM
dmacmillan
Offline
• • • • •
Upload & Sell: On
p.3 #10 · How do you approach photography?


airfrogusmc wrote:
What Wynn Bullock had to say on the subject
"What I feel is that the picture-taking process, anyway a greater part of it, is an intuitive thing. You can't go out and logically plan a picture, but when you come back, reason then takes over and verifies or rejects whatever you've done. So that's why I say that reason and intuition are not in conflict--they strengthen each other." - Wynn Bullock

Another Art Center grad.



Jan 15, 2012 at 12:37 PM
RustyBug
Offline
• • • • • • •
Upload & Sell: On
p.3 #11 · How do you approach photography?


I think a lot of people have more intuition than they readily/initially realize ... and could learn to "go with it" more.

We see plenty of shots come through here that the shooter took, that initially looked rather mundane, yet they took it because they "saw something" ... THEN after applying some of the learned aspects of comp, etc., the rest of the world gets to better SEE what they SAW as the image is then better able to communicate it. Those are often times the ones who may have a developing "eye", yet haven't grasped "how the camera thinks/sees" ... and why the two aren't the same. ... or understand the need to translate their "eye/brain" into something that others' "eye/brain" can recognize as they did.

Those are the ones where I typically make the encouraging reminder that without their CAPTURE (based on what they saw/felt) there would be no image to improve upon.

Definitely opposing methodology and approaches abound. I tend to think that we move in & out of methodology and approach as the need/desire arises, for those who are versed in more than one. I happen to live mostly on one side of the brain, but every now & then, I take a walk on the other side (when I get in "the zone") as well.



Jan 15, 2012 at 12:37 PM
airfrogusmc
Offline
• • • • • •
Upload & Sell: Off
p.3 #12 · How do you approach photography?


Theres an interesting book about creativity by Betty Edwards titled "Drawing on the Right Side of the Brian" and trough drawing she tries to help us all to get back in touch with our creativity intuitions. Its true that when we are children we are all creative but our left brian, through school and other things, becomes in many, the dominate force because we in the west especially are not nurtured creatively. Se can all become more creative if nurtured.

As far as rules like preconceived ideas of composition, I have to agree with many of the greats on this:


"Photography is not a sport. It has no rules. Everything must be dared and tried!" - Bill Brandt

"There are no rules and regulations for perfect composition. If there were we would be able to put all the information into a computer and would come out with a masterpiece. We know that's impossible. You have to compose by the seat of your pants." - Arnold Newman

"When subject matter is forced to fit into preconceived patterns, there can be no freshness of vision. Following rules of composition can only lead to a tedious repetition of pictorial cliches." - Edward Weston

"Anything that excites me, for any reason, I will photograph: not searching for unusual subject matter but making the commonplace unusual, nor indulging in extraordinary technique to attract attention. Work only when desire to the point of necessity impels – then do it honestly. Then so called “composition” becomes a personal thing, to be developed along with technique, as a personal way of seeing." - Edward Weston

"There are no rules for good photographs, there are only good photographs." - Ansel Adams

"To compose a subject well means no more than to see and present it in the strongest manner possible." - Edward Weston

"And in not learning the rules, I was free. I always say, you're either defined by the medium or you redefine the medium in terms of your needs." - Duane Michals

"What I write here is a description of what I have come to understand about photography, from photographing and from looking at photographs. A work of art is that thing whose form and content are organic to the tools and materials that made it. Still photography is a chemical, mechanical process. Literal description or the illusion of literal description, is what the tools and materials of still photography do better than any other graphic medium. A still photograph is the illusion of a literal description of how a camera saw a piece of time and space. Understanding this, one can postulate the following theorem: Anything and all things are photographable. A photograph can only look like how the camera saw what was photographed. Or, how the camera saw the piece of time and space is responsible for how the photograph looks. Therefore, a photograph can look any way. Or, there's no way a photograph has to look (beyond being an illusion of a literal description). Or, there are no external or abstract or preconceived rules of design that can apply to still photographs. I like to think of photographing as a two-way act of respect. Respect for the medium, by letting it do what it does best, describe. And respect for the subject, by describing as it is. A photograph must be responsible to both." - Garry Winogrand



Jan 15, 2012 at 12:46 PM
dmacmillan
Offline
• • • • •
Upload & Sell: On
p.3 #13 · How do you approach photography?


airfrogusmc wrote:
Theres an interesting book about creativity by Betty Edwards titled "Drawing on the Right Side of the Brian" and trough drawing she tries to help us all to get back in touch with our creativity intuitions.

For those who haven't read this book, I heartily recommend you get a copy. I can see my copy on my bookshelf now.



Jan 15, 2012 at 01:09 PM
Photon
Offline
• • • • • •
Upload & Sell: Off
p.3 #14 · How do you approach photography?


Karen, you've started an interesting thread with your own thoughtful remarks, and made good comments in response to the observations of others. I value all of the posts, quotes and links. I will simply return literally to the subject and outline how I approach photography.
As a child, I was already fascinated by the technical aspects of photography. The idea of "instant" capture of a scene and the method of revealing an image through chemical processes in the darkroom were the two things that hooked me on doing it for myself.
However, I became aware right from the start that the photographer had infinite possibilities for the final outcome (always a print in those days), even if assigned a definite project like "shoot that person, or that bridge." As I became immersed in the process of photography, I came to realize that there was usually a kind of tension between two forces: my preconception of what I wanted to create (which sometimes might indeed be just a portrait of the way I thought someone or something "really" looked) and my (sometimes fortunate) discovery of what I had in fact captured, or of what could be created by working in the darkroom with what was there, or even of what I now saw I could capture if I shot again in a slightly different way.
So, when I'm shooting for myself (and to varying extents, even when I'm shooting for a client) I go about it this way: I play with ideas about what could make an interesting image.
As soon as an idea grabs me, I try to shoot it.
I try to pay attention to my immediate intuitive reaction to the image (digital helps this step), so that I may abandon an idea if it doesn't seem to have promise. If I like it, I'll try to be creative in thinking of ways to make it better. What's better? Something that will make me excited.
I do enjoy it when people look at my prints and are emotionally affected, but the starting point for satisfaction is always my own pleasure in looking at my own work. It's easy for me to criticize my stuff in comparison to the work of other, much better photographers, and the drive to do better next time never leaves me, but my approach of playfully looking for something creative that will tickle my own fancy keeps me motivated, and has made photography fun for more years than I care to admit.



Jan 15, 2012 at 01:38 PM
1       2              end




FM Forums | Photo Critique | Join Upload & Sell

1       2              end
    
 

Welcome back
Log in to your account