Category Archives: Inspiration
A high school friend reminded me of an image that was on my old site but not part of this one. It is a personal favorite and one my Mother has hanging in her house. I used it as part of a blog post back in November, but today I wanted to share the rest of the story as Paul Harvey would say.
The image was made in South Africa in 2004. I was there with mentor Nancy Rotenberg and friends Dee Whittlesey and Ferrell McCollough attending a Freeman Patterson workshop. Freeman has been a major influence from the beginning of my photography journey. It was Freeman who inspired me with his creative techniques such as multiple exposures and slide sandwiches. Both techniques were used to create this image. All this is well and good, but the more important thing is the impact an image can have. This image is meaningful to me because each time I look at it, I am transported back to this magical moment and reminded of the important life lesson learned. I was there during a time when my business was not doing well. I didn’t feel I should go because I could not afford it, but my loving wife demanded I go. It was a “trip of a lifetime” she said, and “I needed to be there to learn from Freeman.” I was excited to photograph the flowers in the fields, the “secret waterfall” and other iconic scenes I had seen in Freeman’s books. And then Freeman said, we would spend a day in Nourivier, a small town of 300 people and 90 homes. I was disappointed, I had no interest in photographing people in a small desert town, but reluctantly I went. And then, after spending about an hour with the people, especially the youth, (who giggled at how tall I was) I found myself in tears, sobbing actually. Nancy asked if I was okay? I said I think so, but I’m not sure what is going on. Then on our “free day” later in the week, I had to go back! Yes, at first I didn’t want to go at all, but now I had to go back to understand that was going on. On the return trip, I realized what it was. I was there in this poor town surrounded by people who had nothing. No electricity, no running water, no shoes, tattered clothing, etc,. And here I was with $20,000 of gear on my back. I was feeling selfish for even thinking I had it bad because my business was floundering. I had a very nice roof over my head, nice clothes and plenty of food. I had all I needed, but was feeling anxious, stressed, worried, etc. Yet these people wore big smiles and were happy with what they had. Indeed, I realized I was needy and selfish and ashamed for being so, thus the tears. I was not sad for them, I was sad for m. It is this lesson I am reminded of, each time I see this image.
The woman is from Nourivier dancing at sunset on the rocks surrounding her town. I montaged (put two pieces of film in together in one slide mount) this image with a multiple exposure I made in the fields of flowers making a slide sandwich. This image sums up the essence of my journey to South Africa where I was able to learn from my hero AND from the wonderful people of Nouriver.
I find it interesting that this image resonates with so many other people. Once again this confirms that when we get in touch with our feelings and attach them to our work, we will create images that make our hearts sing!
And for my high school friend Suzanne, the image is now part of the “Others” folio on this site! :)
As Stephen said in his comment to my last post, you can’t plan on great conditions when you’re on a schedule leading a photo tour. You’re at the mercy of what is given you. As I see it, that is not necessarily a bad thing. Let me share a story. I was leading a workshop, a short weekend type. It was during the fall and the colors that year were stunning! We had not spent more than 3 hours together when a participant came to me and said they were going home. I asked why, was it something I had done? She replied, “no, its just I’m not finding what I came for.” Perplexed, I suggested, maybe you will find something better! But you see, she had an assignment for the photo club and was focused on that. The conditions and the area I picked that morning might not have been good for what she was looking for but they were great for many other things. She was simply not open to finding another right answer. I found that to be sad.
Fast forward to the Alabama Hills. We arrived late in the day during the scouting portion of our last tour. When I go to the Alabama Hills, I’m thinking about the rock formations and hoping for great clouds. When we arrived, there were no clouds. No problem, I turned around and saw this great situation brewing around Mount Whitney. Another right answer! I could have said, “I’m not finding what I came for” but instead I found something else! Its all about attitude. If you don’t think you’ll find something, you probably won’t.
Recently I featured a terrific post written by my tour partner Dan Sniffin about his ideas with regard to photo celibacy which Cole Thompson tries to live by. Dan’s article was written before we spent the week with Cole and the group. The tour started with a wonderful lecture by Cole titled “Why B&W.” In it he spoke not only about B&W but also more about his ideas on photo celibacy. But what happened after the talk was quite powerful. I asked the group to respond to Cole’s ideas specifically about celibacy. What did they think? It was one of the most stimulating discussions I’ve been part of. Some agreed, others challenged Cole with good honest questions. Some spoke about the need for a basic understanding of technique. We spoke about technique versus vision. We spoke about the value of others opinions. We spoke about rules and guidelines and much more. It was a stimulating hour of discussion! I’m not sure we resolved anything but we carried the spirit of the discussion with us throughout the week. In fact, I am still pondering on the matter and would like to continue the discussion here.
I am reading a book suggested by Chuck Kimmerle titled “Why People Photograph” by Robert Adams. These quotes resonated in lieu of our discussion.
“I really didn’t have much to teach. I didn’t even believe in it. I felt so strongly that everybody had to find their own way. And nobody can teach you your own way…. in terms of art, the only real answer that I know of is to do it. If you don’t’ do it you don’t know what might happen” Harry Callahan,1991
With regard to the blog image from the Alabama Hills. Yes, the recent tour was focused on B&W and my folder of images is 99% B&W, however, that did not stop me from processing this one in color! Why color versus B&W? I wish I had a good answer, sometimes color just makes more sense and I run with my gut feeling. In the dunes, I can’t imagine anything but B&W yet I’ve seen some wonderful images that are color. So color or B&W becomes a creative choice, there is no right or wrong.
The other day Tony Sweet emailed a picture of his Mom. He made the image with his iPhone while taking his iMom to the eye doctor or iDoc as he calls her.
Tony made a blog post about his thoughts on his image here.
These are my thoughts. Great photography creates an emotional response. This is a classic photograph that underscores the idea that it is not about the camera but rather about connection. Connection to subject, be it a person or a sand dune for that matter. This image is full of connection. Full of joy, silliness and fun. And that is clearly felt by the photographer and now by me, the viewer. Thus, Tony has created a very successful image, no matter the camera, because of the connection. I love this picture and can’t stop looking at it. Tony emailed me this morning and simply said, “I’m still giggling”. Me too!
To further cement my thoughts. Our special guest instructor for the Eastern Sierra tour last week was the amazing Cole Thompson. One of his most successful images is “The Angel Gabriel” Cole has given me permission to use it and his words below. Yes, the image is special but read the story and tell me that connection was not part of its success.
The Angel Gabriel – Newport Beach, CA – 2006
- This is the Angel Gabriel. I met him on the Newport Beach pier as he was eating French Fries out of a trash can.
- He was homeless and hungry. I asked him if he would help me with a photograph and in return, I would buy him lunch.
- The pier was very crowded and I wanted to take a 30 second exposure so that everyone would disappear except Gabriel.
- We tried a few shots and then Gabriel wanted to hold his bible. The image worked and the only
- people you can see besides Gabriel are those “ghosts” who lingered long enough for the camera.
- Gabriel and I then went into a restaurant to share a meal; he ordered steak with mushrooms and onions. When it came,
- he ate it with his hands. I discovered he was Romanian and so am I, so we talked about Romania. He was simple,
- kind and a pleasure to talk with. I asked Gabriel how I might contact him, in case I sold some of the photographs and
- wanted to share the money with him. He said I should give the money to someone who could really use it; that he had
- everything that he needed.
- Then the Angel Gabriel walked away, content and carrying his only two possessions: a Bible and a bed roll.
Now, with the idea of connection clearly in mind, pay attention to how you feel and respond to the images below.
This is a favorite image of Nancy Rotenberg. My regular blog readers will know who she is and what she meant to me. Now that you know who she is, does it affect your reaction?
The more you connect with your subject, the more those who view your image will too.
If you’re finding value in this site, might I ask that you share with your social communities? Thank you!
Why Photo Celibacy?
A growing number of photographers are practicing what is known as “photo celibacy,” where one does not use the images of another as a guide to his/her own work. Cole Thompson, among others, practices this. Most photographers commonly view the work of others to gain insight and inspiration. I’m kind of in-between. My initial reaction is that one has to start somewhere — a technical/visual foundation if you will.
I think this works for Cole, but I submit that it was a slow process for him to get to this point. In other words, what he does today didn’t “just happen” by picking up a camera and going out to capture his “vision.” He takes it for granted now, but trust me he has looked and studied a lot of work before this celibacy stage of his photographic journey. I clearly agree with him that at some point one should distance his work from others if he wants it to stand out as uniquely his.
I get inspiration from others’ work, and therefore continue to learn from it rather than copying it. To make my point, put a group of photographers together in the same place and see how many different images/interpretations/visions come forth. For me, it’s not the location or copying of someone else’s vision. It’s about what you “see” while you’re in or near that same location. That is what vision is to me.
Years ago, I wanted to capture an image of Galen Rowell’s Horsetail Fall in Yosemite NP. I researched the time of year, time of day, direction of light, and lens choice(s) among other technical information. Even weather variations were checked to increase my percentage of success. I ended up with an image similar to Rowell’s. When I look at it now all I see HIS image — not mine. This puts an exclamation point on Thompson’s theory and practice. It’s a bad idea to study other photographer’s landscapes for the sole purpose of duplicating it. There is something that just doesn’t feel right by doing so.
However, I don’t consider looking at the work of other photographers as “contaminating” either. I see them as building blocks, thereby layering my knowledge and technique. We would not be human if we didn’t feel the angst when we see superb photographs. So much so that often we feel insecure and/or inadequate. This is NORMAL — and common! Another reason I agree to some extent with Cole Thompson’s philosophy.
So taking famous landmarks is fine in the beginning (as you build your foundation), but working to find alternatives and originality — your vision — remains the ultimate objective of an artist. To illustrate my point here (below) is an alternative image of the classic shot of the alpenglow on El Capitan in winter light (above).
I’m including a story I wrote about the making of this image (below) as I believe it helps convey my thoughts.
A Reflection of Yosemite
Many of Yosemite National Park’s landmarks—Yosemite Falls, Half Dome, and Glacier Point—I have photographed on many occasions. But on this cold December afternoon in 1988 I wanted to capture the stillness of this renowned national park. I found it when I stopped at Valley View in Yosemite Valley’s west end, a tourist favorite. I was very fortunate to have the place to myself.
By then the Merced River was cloaked in its familiar deep-blue shade leaving two of Yosemite’s most identifiable landmarks, El Capitan and Cathedral Rocks, glowing in magnificent light. From experience I knew this type of light is fleeting and rare. I also knew instinctively how little time remained before this light would vanish and immediately searched for compositions that symbolized what I felt.
Scanning the river through my camera’s viewfinder I noticed a colorful spot of reflected light. Isolating an area no larger than a common sheet of binder paper I found a granite boulder jutting upwards through the surface of the river surrounded by plates of ice. A leaf nestled gently into a shallow notch in the protruding rock, seemingly frozen there in time. The combinations of light reflected from the precipice of El Capitan and the cobalt-blue sky bathed the now-silent Merced River in breathtaking contrasts of warm and cool colors.
This memorable moment of solitude ended abruptly when a car appeared in the parking area behind me. A couple got out to admire the view that lay before them marveling at the golden glow atop El Capitan as it crept slowly up its enormous rock face.
As I worked in the shade they became aware of my presence near the river’s edge. In an attempt to avoid an intrusion on my privacy I heard him quietly ask her, “What’s he taking a picture of?”
I glanced back and noticed the woman standing behind me on her tiptoes looking over my shoulder from a short distance away, apparently puzzled by what I saw that she might have missed. Her curiosity drew her in even closer as she stood silently behind me in the bitter cold winter shade.
When the sun set and the sky turned its inevitable gloomy gray the couple walked back to the warmth of their car. Once again he asked her, “What was that guy taking a picture of anyway?”
“Nothing really.” she said. “It was only a reflection.”
© Dan Sniffin – June 6, 2001
Dan Sniffin my dear friend and tour partner. To see more of his stunning photography, please visit his newly redesigned website. www.dansniffinphoto.com
Southside Johnny getting lost in it
Fuji X-E2 – 35mm at f 1/4, ISO3200
In his most recent blog post, Cole Thompson suggested how something is better accomplished by personal vision than technical expertise. This reminded me of a friend, who, when asked if her image was captured with digital or film, would reply, “do you like it?” Inevitably, the person would answer, “I love it.” She would then say, “great!” and never answer the question at all. Essentially she was saying: Does it matter?
I think there is a difference. My friend’s point was valid, film or digital? Who cares? I agree. However, with Cole’s point, I agree in part. Vision is indeed important and we should relentlessly pursue ours. But I feel the more we understand technique, be it in-camera or in post processing, the better equipped we are to be able to achieve our vision.
Let me illustrate, if I did not understand the techniques needed for image overlay and texture work, I would never have been able to achieve my vision for the Disney picture I created a few posts back.
For me, vision and technique are intertwined. In fact, I would suggest we need to understand technique so well that we are freed from its constraints and liberated to pursue our vision. Otherwise, we might be frustrated in not being able to fulfill our vision. Another illustration. You see an image like the one below but don’t know how you might create something similar. Frustration sets in and you move on to something else.
However, if someone shares the technique, you now have the knowledge and can use it to achieve your vision. The trick is: How do you take this new knowledge and create a vision of your own?
This is where your vision becomes so important. Your objective is to take this knowledge and create something new. Something like the Disney creation above.
When I’m asked, how did you do that? I’m prone to share. I understand where Cole is coming from. He is serious about encouraging folks to chase their vision without influence from others, and I am on board with that. However, I think people are at different places along the creative path. Without a clear understanding of technique, I think it might be harder for some to achieve their vision.
“Develop an infallible technique, then put yourself at the mercy of inspiration.” Zen maxim
“One is not really a photographer until preoccupation with learning has been outgrown and the camera in his hands is an extension of himself. There is where creativity begins.”
Carl Mydans (1907-2004) American photojournalist
“I see no reason for recording the obvious.” Edward Weston, photographer
Fuji X-E2 – 35mm f/1.4, ISO 2000
Be the light. No really, be the light. Oft times we hear the masses exclaim, “its all about the light”, and they would be partly right. The quality of light is something we need to be keenly aware of. However, the light I’m speaking of is your own. The light we see is one thing, the light we bring to the act/process of image making is another thing. Ansel Adams said it this way, “You bring to the act of photography all the pictures you have seen, the books you have read, the music you have heard, and the people you have loved.” Freeman Patterson says “The camera points both ways.” It sees what it sees but is also a reflection of you. Your light if you will. By the way, this includes the bad mood you’re in, feeling tired, feeling overwhelmed, the argument you just had with your spouse, etc, etc. The energy from this kind of light may or may not be a good thing. It depends on how you choose to use it and what type of images you are making. Just know that your light whatever that is, will become part of your images.
Marty, a frequent blog visitor sent me an email about my last post. He shared something I felt would add to the discussion. He said, “Creativity can be a filter… When someone is trying to be creative (obviously not in itself a bad thing), they are to some degree actively imposing some part of their consciousness/identity/spirit/(word choice TBD) into the process, stirring up their internal dialog.
Your comments on being quiet, mindful, aware, allow the whispers of images hiding in plain sight to be heard, “ Psst, why don’t you see me? I’m right in front of you.” These images (IMHO) don’t need creativity, they just need to be recognized simply for what they are, nothing more, nothing less. Idle does not have to be passive.”
I have been pondering Marty’s thoughts all day. I believe he is right on the money and specifically can’t get this quote out of my head. “Being aware allows the whispers of images hiding in plain sight to be heard!” I LOVE THAT!!
I would add this, creativity does not need to be manufactured for the sake of being creative. Rather, we should strive to live a creative life which may not necessarily mean anything more than being idle and listening for those whispers. Other times it might mean, turning on the multiple exposures or moving your camera while making your exposure to create a swipe!
Fuji X-Pro1 18-55 lens f/8
I’ve been using social media much less. I still enjoy catching up with family and friends and find it to be a good “business” tool, however, the time I was investing was drawing me away from more important things. I also noticed that I was starting to feel competitive with regard to my photography where there is no place for competition. I was seeing others tremendous work and feeling pressure to produce equal or better quality. Feeling pressure to post yet another post showing I was still active, shooting, making worthwhile images. Then in some quiet time, I realized this is not who I want to be. Rather, I want to be able to trust. Trust in my ability to be a good photographer. I don’t want to feel the need for others accolades or approval. Don’t get me wrong, I’m human and kind words are alway welcome and feel good. I just don’t what to feel that I must receive them to validate what I’m doing. When I’m asked why I love photography, my answer is that it feeds my soul. I love the process of making photographs. I love how I feel when I’m out making images whether I get a “keeper” or not. I am finding I shoot much less now. I don’t shoot as many frames. I’m more in touch with what I’m being drawn to for subject matter. I’m more aware of the light. I’m more selective about what I want to photograph. I don’t sell much of my work, I don’t try very hard to do so either. Its just not that important to me. What is important? The experiences that I have been blessed with as a photographer. Photography has gifted me with many wonderful friends. Photography has blessed me with the opportunity to travel to places I never imagined I would. Photography has blessed me with being a teacher that I never knew I could be. This has allowed me to share my passion with others, nudging them to soar on their own wings, trusting themselves, believing they can create images that make their hearts sing! This gives me great joy and makes my heart sing.
As we approach the time of year when we are asked to make goals, might I suggest we forget about them? Yup, forget about them, at least with your photography life. Instead, I would encourage you to trust, to believe in yourself and in the creative process. Allow the creative process to happen on its own. And, know that trusting includes being okay with being idle. Nancy Rotenberg in her book, Photography and the Creative Life, has this to say about being idle. “Trusting the process also involves daring to be idle. We live in a culture that views idleness as something slovenly, lazy and non-production. It is only when you stop and reflect that you can be filled and recharged. What you photograph today could be the result of yesterday’s “idling”. The only way to know if awareness is entering your body is for you to slow down long enough to notice. Awareness gives you mindfulness. Mindfulness gives you insight.” Rather than feeling pressure to be creative, be okay with being idle, recognizing this idle time is good. Its okay to have times when you are not producing. I have written a number of songs. Oft times months pass before a new song would appear and even then, I would rewrite and change things over and over. Yet, my favorite songs seemed to come from out of nowhere and took just minutes to write. I believe they came out of inspiration, out of being idle and listening. They were not forced. Photography is much the same or at least it should be. This is really just an extension of what I’ve written about in previous posts with regard to chasing images. Be open to the creative process rather than chasing it. Trust your abilities and allow for creativity or images to present themselves. Don’t force it. For those who know me, being idle is not easy, however, as I try and practice it, I find I am more satisfied with the quality of my images.
I found this wonderful scene while leading a recent workshop on Cape Cod. The lead image is the one that I settled on as my favorite. I think the story of how I arrived at this image is worthy of sharing. I sent the image to my friend Dan who is my goto guy for feedback. He suggested the crop below as another possibility. Interesting, Dan tends to see in neat tidy compositions as he is prone to use his 70-200 with a 1.7x teleconverter. As such he will isolate and drill down. I like his crop!
Inspired by Dan’s thoughts, I decided to show Dan the original image I shot. Another right answer! (See below)
As you can see, my first shot and initial instinct was to include the water but then I zoomed in a bit and excluded the water. Hey, another right answer!
My hope is that this series of images drives home three important ideas. First, look for more than one right answer when you’re shooting. I could have made the first image and walked away, but I didn’t. I kept looking to see what else might be there. Second, work the composition both in the field and in post processing. There is nothing wrong with cropping your images! In fact, I think you’ll be surprised at how many other right answers you will find with the crop tool! And third, we all see differently. There is no one right answer, rather there are almost always more right answers and yours will be different than mine and that is just fine. So, stop thinking in terms of right and wrong and focus on what feels right and go with that!