Making the Shot: Your Guide to Creating Stunning High-Speed Splash Photos Without Flash

By: Rick Ohnsman

The making of one of my most successful shots started with a little photo play on a hot summer day, and a try at some high-speed splash photography.
The image above, “Red Bell Splashdown,” went on to win first place in the Corel International Food Photography Contest.
Let’s take a look at the “making of” methods used to create the shot so that you too can have fun with this quite simple technique.

Freezing motion

There are essentially two ways to freeze motion with a camera:

1. Use a Fast Shutter Speed such that the “sliver of time” you are capturing is very short and the object being captured moves very little, if at all, during the extremely short duration the shutter is open, or
2. Use the very Short Duration of a Flash so that the object you are photographing gets illuminated for a very small sliver of time. The duration time of an electronic flash can be extremely short. For example, a Speedlight like the Canon 580EXII at 1/128 power is less than 1/19,000th of a second!

I’ve used the flash method, and indeed it can produce some dramatic results. I will perhaps show that process and the results in a future article. For my splash photos, however, I wanted to keep it simple and do it outdoors where water splashes wouldn’t require any clean-up or endanger my photo gear. When I did these shots, I was using my Canon 50D which has a maximum shutter speed of 1/8000th of a second. I figured this should be enough to get the job done.

Let the sun shine in

Obviously, getting a proper exposure with a very high shutter speed would involve several possibilities:

1. Use a fast lens with a wide aperture – I was shooting with a Canon 50mm f/1.8 prime lens, so a wide aperture was possible. However, I still needed a decent depth of field, so opening it up all the way wasn’t a good option.
2. Use a high ISO – Cranking up the ISO can aid in getting a fast shutter speed but at the penalty of more image noise. I didn’t want that if I could avoid it.
3. Shoot in very bright light. Normally, shooting under mid-day summer sun would not be something a photographer would do, but in this case, blazing sunlight (and lots of it) was the perfect solution.

The set-up

I wanted to use colorful subjects for the shoot. Bell peppers – easily found at the supermarket in red, yellow and green – seemed a good choice. I also picked up some other colorful fruits – strawberries and limes. To accommodate the size of the objects and also give me a flat glass “window” to shoot through, a 10-gallon aquarium was just right.
Wanting to get light not just from above but from below as well, I put a large 5-in-1 reflector on the table where I wanted to shoot, silver side up. I placed the aquarium on top of that out in the bright noon sun. I filled the tank with water about halfway and allowed the bubbles to settle out while I set up the rest of the equipment.

I put a pepper in the water and let it float while I took a look through the camera to frame the shot. I could see I would need a plain and preferably dark background, so I put a piece of black paper behind the tank. The paper was still too bright with the direct sun on it, so I used another reflector, black side down, at the back to the tank to shade the paper backdrop. I had my camera on a tripod and moved it to get as much of the front of the tank in the frame as I could, being sure I could focus that close.

To be able to drop my subjects into the tank and also trigger the shutter, I rigged up a Youngnuo RF-602C radio trigger so that I’d be able to fire the camera remotely. A wired remote with a long enough cord could have also worked.

Camera settings

I put the camera in Manual Mode. To get a good combination of the fast shutter speed needed, decent depth of field, and not too high an ISO, I found that shooting at ISO 400, F/6.3 and the key – fast shutter speeds between 1/2000 and 1/3200th of a second was about right. Letting a pepper float in the tank where I anticipated it to be when dropped, I set the focus and then locked it in manual. I also put the shutter in high-speed continuous mode so for each drop I’d get a burst of about 5 shots.

Splash-down!

So, good to go, I dropped the peppers, strawberries, and limes, trying to fire the bursts in synchronization with my drops. My wife Kathy came out to join in the fun and did some of the drops. We quickly found it was necessary to squeegee and wipe the front of the glass between shots to clean the drops off the front of the glass from the previous shot. So it went: drop, shoot, squeegee and repeat. For each drop, one frame of the 5-shot burst might be good, but often not. Timing is crucial. With practice, while we gained some skill, luck was still a huge element. There was lots of shooting to get the keepers. We tried it with the peppers and fruits in different combinations too. I easily made over 200 shots that afternoon.

Cleaning up your act!

Straight out of the camera, the raw shots were less than impressive. Of course, Raw files look flat, and so I knew they’d improve greatly with a basic Raw edit. There were also more drops, splashes, bubbles and other particles in the water than I wanted. However, the important thing – the action – was properly frozen and sharp!
My Red Bell Splashdown image used settings of ISO 400, f/4.0, 1/3200th sec. The rest was using editing tools to adjust the exposure, get good rich color and deep blacks, and eliminate distractions. My editing tool of choice is usually Adobe Lightroom. With the Adjustment Brush and the Spot Removal Tool, I was able to clean up the image to create the impact I was after.

Other considerations and possibilities

With any photo shoot, it’s always a good idea to critique your work and consider, “What might I have done better? Differently? What variations might I want to try?”
Seeing I had used a shutter speed of 1/3200th for my splash shots, I was curious how much difference there might be at the maximum shutter speed of my Canon 50D which is 1/8000th. I didn’t want to set up the fish tank and all of that for this second experiment, so I tried something simpler.
This time, I poured liquid into glasses in the bright summer sun. This process was simple enough. I clamped the glasses in a stand, put up a black backdrop behind them, set up the camera in a similar fashion to the previous splash shots, and did the pours. This time my settings were ISO 400, f/3.5, 1/8000th of a second.
When checking the shots afterward, it was apparent that the freezing effect was even more pronounced. However, at such a wide aperture, my depth of field was much more shallow.

What might I try next time?

I’d like to give different color backgrounds a try. Using black made editing much easier, and when cleaning up the shots, it was simple to “black out” any distracting elements. I’m not so sure that would be as easily achieved with a color background. Trying it with a white background for a high-key look might also look interesting.

Of course, using different objects for the splash photos is also fun. In fact, we did do that when during the splash photo session my Mini-Schnauzer, Schatzi, wanted to play and decided to bring us her favorite ball. Looking at the “face” on the ball, I thought it might be fun to try it in a splash drop as we’d done with the peppers. When seeing the result – which looked like the “creature” was exhaling bubbles during a dive – it made me laugh.

So, give this high-speed shutter technique a try. Take it outside in the bright sun, crank up the shutter speed as high as you can and have some fun. It’s a great way to improve your camera skills, learn the relationships between ISO, Aperture, and Shutter Speed, and then test your editing skills when tuning up your shots. I’m confident you’ll get some images of which you’ll be proud.

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My Edited Video

How Aesthetic Differs from Style and Why it Matters

A Post By: Stacey Hill

A question often seen in photography groups and forums is, “How do I develop a photographic style?” or, “How do I know what my style is?”
What they are really asking about is more to do with the aesthetic look of their images. How can they create images that look uniquely theirs and are identifiable as such? How do they get consistency in the way their images look?

Style and aesthetics are two sides of the same coin, similar but different.
Photographic style relates to the way you physically create your images – the mechanics behind how you shoot and the way you physically set up to shoot.

• The camera, lens, and focal choices you make.
• Camera settings used to create your images.
• What you choose to shoot and some of the ways the images are composed.

Aesthetics encompasses the way your images look and how they make the viewer feel.

• Your choice of color – tones, colors, contrast.
• Subject choice – do you always shoot the same kind of subject?
• Subject placement and composition – is the subject often posed or placed in a certain way in the overall composition?
• Editing choices – what choices do you make when editing that affects the image outcome?
• Creative decisions – what creative choices do you incorporate when crafting and editing your images?

What are aesthetics?

According to Britannica, aesthetics is the philosophical study of beauty and taste. It is closely related to the philosophy of art, which is concerned with the nature of art and the concepts in terms of which individual works of art are interpreted and evaluated.

Why Does it Matter?

This matters to us as photographers because we want our images to be judged as visually appealing. We want them to be seen as beautiful. How that expresses itself in our digital world is usually in likes, and sometimes comments.
But most of all, in a world that is saturated with millions of images posted every day (Instagram alone has over 95 million images uploaded daily) it can be a struggle to even get your image seen, let alone commented on.

It almost becomes a competition, the most extreme location, the most stunning sunrise, the most colorful sunset, the most adorable kids, the cutest puppy or kitten, the most romantic wedding shot. Fads come and go as a particular image or look becomes popular, people rush to emulate it.
Yet the question then becomes – do you want your images to look like yours? Or do you only want the attention that comes from copying a style or look that is momentarily popular?

Developing a Style

There are many articles on this subject you can read, many are full of vague advice, some are more specific and more helpful – and of course, different people learn in different ways. It’s my opinion that you can have a style but not necessarily an aesthetic, and quite possibly the reverse as well.

What do I mean by having a style and not an aesthetic?

Say you are a landscape photographer – you have loads of landscapes shots – often shoot wide-angle, and get low to the ground to add some intimate foreground interest. Lots of mountains, lakes with pretty rocks, sunrise and sunsets, the occasional selfie in your tramping gear for a change. Yet how do they all look?
If you line up all your favorite or best shots do they all look similar? Are they composed consistently? Is the lighting tone and angle usually the same? Are the colors of similar saturation or vibrancy?
Of course, as you proceed along your own personal photography journey you will learn new things and incorporate them into your techniques. Accounting for that growth, are they a group of images that look and feel like they were created by the same person?

Perhaps the physical elements of the image and the way they were composed and shot are consistent. A tendency to set up your tripod in a certain way, a specific lens choice, a commonly used focal length, a preference to shoot at a certain time of day or in defined lighting conditions – that is your style.
The way that they look in relation to color, light, tone, intensity, clarity, subject, etc. How the view is made to feel when they look at your image – that is your aesthetic.

How do you shoot?

When you shoot, what is your approach? Do you have an idea how you will compose the image in your head already? Is there a certain kind of light you want? Are you traveling on a limited timeline and can only snap and go?
If you have time, depending on what you shoot, is there a concept already in mind? Do you know what you want to shoot, how you might shoot it, and what the final image should look like?

When you have that final image in your mind, do you then set out to shoot to achieve it specifically? Or perhaps you aim for it but come away with something different, which is okay because it is still a good image.
Do you compose your images consistently? Are you thinking about how elements in the image interact with each other, what the light is like and how it will affect your image? If the situation isn’t perfect can you adapt or will you shoot regardless?

Is your voice present in your images?

When you copy a style from someone else, or if your editing consists solely of adding a filter and posting online – how are you making the image yours? Where is your voice visible in the image? What about the image ties it to other images you have created?

When people see your work, does it remind them of other images of yours, or of someone else’s?
How comfortable are you trying to create an image using someone else’s style or method? Does it have the soul and the spark that you want it to?
When you start out on your photography journey it’s common to try shooting images similar to those that inspire you. It gives you an objective, an obvious goal to aim for. As your skills develop, and you start to produce work consistently, you will then have the knowledge and ability to be more creative.
One thing I’m pretty certain of is that you cannot produce amazing images unless you are truly connecting with your subject (if it’s landscape, travel or street photography this may encompass the greater environment). You can be technically very competent with a camera, but unless your image has true soul embedded within it, people will struggle to connect to it, as a result.

Putting that soul into your images requires you to create with your voice, your vision, your unique view on whatever that image is about. The more you tune into that creative voice in your head, the closer you will come to your personal style and aesthetic.

Identifying your aesthetic

Are there images that you’ve seen online that particularly appeal to you with regards to how they look? Do they resonate with you and inspire you to create your own variation? Put together a collection of those images and analyze them for both style and aesthetic.

What specifically about their look appeals to you?

• The way light is used in the image.
• How colors are managed – are they vibrant and intense or muted and subtle?
• Contrast – do they have high dynamic contrast or is it softer?
• Color or black and white?
• Strong and bold or soft and gentle?
• Sharp or softly focused?
• Appealing subjects or abstract?

What visually pleases you in an image? What do you find beautiful? How do you express that in your own work?

Then take a look at your own body of work

Pick out some particular favorites of yours, then compare them to other images of yours that people like. Something I find frustrating is the images I like the most are not the ones other people like. It’s possible we get too emotionally attached to some images for external reasons.
When you do the comparison and look at what you like and what other people like in your work – is there a pattern? Can you see visually what works and what doesn’t? Is there variation across your different styles?

Honing your aesthetic

If you have undertaken the exercise above, the next stage is to assess your images for their aesthetic look. Are you happy with it? Do they have the feeling that you want them to have? If now, what is missing?

When you compare your images to that of some you admire, are you happy with the comparison? Is what you see a representative of your creative choices?
It can be difficult to see our own work objectively, so maybe find a friend and ask for their opinion. I find the viewpoints from non-photographers as powerful as they see the world very differently than I do. It’s a great learning opportunity.
Changing or tweaking your aesthetic might be as simple as changing your editing process. You may opt for a very different look for a certain group of images as an experiment. What you shoot and the way you shoot it in your style may not vary at all, and it all changes in editing.
Or you may decide to have some goals to shoot more consistently, perhaps the quality and tone of light, your subject matter, and the way you frame it.

Some examples from my personal experiments

There are a lot of dark moody food photography images that I love and I’ve spent around a year trying to figure out how to shoot in that style. The way I would set up and stage a shot isn’t any different from a standard or a high key image, it’s the same studio, camera, tripod, lens, aperture, and focal length combination. So my style is pretty consistent.
Where it differs relates to the way the image is lit and exposed and how I edit it. It’s deliberately done for a dark intense mood with rich colors and lots of shadows. My aesthetic in lighting and editing these images is very different as I want a specific style, and I can replicate it consistently too.
Doing some fine art self-portraits, inspired by Brooke Shaden, has been a great learning experience as everything about them entirely relates to the aesthetic. Using color, light, and shadows deliberately to create a specific feeling or emotion in an image is challenging.


Eventually, I found that the aesthetic that worked best for me is a very high-key bright white image that still has enough contrast and detail to have depth and interest. A particular aesthetic choice is to use mainly black and white tones with subtle splashes of another color, usually red. But the way I shoot these images is no different from a properly exposed image. The way I compose them, and set up the camera to shoot is the same.

Conclusion

Figuring out the difference between how you shoot something and the way you make it look is a pretty subtle difference (I expect many comments telling me there is no difference at all). However, given that I have shot landscapes, birds, wildlife, macro, still life, food, and fine art self-portraits, you can look at my catalog and identify the style elements pretty clearly. As my skill and experience grew and began to try different things and be more creative, it becomes easy to identify my specific aesthetic choices too.
Yet if you combine a bunch of different images together, there are still the common style threads linking them visually. They feel like a group of shots from the same person, with the same eye. It’s taken me about 10 years, and it feels like my style is finally beginning to be its own thing.

Many photographers shoot lots of different subjects. A landscape photographer might also do macro shots of flowers, with the occasional bird and wildlife images captured while on location. A wedding photographer has all the people shots as well as churches, gardens, interior event shots, and close-up details. Sometimes different subjects require you to shoot technically in different or certain ways.
Despite the differences required, if your aesthetic is actively engaged, the images will still be uniquely and identifiably yours.
In the rush to make everything the same as what is popular, don’t forget that unique has its own appeal as well. That there are many millions of people viewing your photos and the way you specifically create your images is special for some of them.

Maybe for commercial reasons you can’t always go in a particular direction for everything. But try and make time to explore a project and try that thing you have had tucked away in the back of your mind for ages (as I know you do!).
Embrace your vision, your voice, and your unique way of seeing the world, whatever that looks like. Stylistically and aesthetically.

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Batteries and Backups: How to Shoot Off the Grid

A Post By: Sara Sheehy

Road trips, and other “off the grid” travel adventures are a time for slowing down, for finding the unexpected, and for reconnecting with the world around you. Unfortunately, for us photographers, they can also be a time of anxiety and frustration. How can you keep your camera charged so it’s always ready when inspiration strikes? How can you handle batteries and backups of your photos so they aren’t lost in the mix before you return home?

As a consummate road-tripper and photographer, I’ve spent many years fine-tuning how to keep my camera charged, and my photos safe, for weeks of off the grid travel. Here are some tips to help you do the same.

Charging 101

Many cameras, from point and shoots to DSLRs, are powered by lithium-ion (Li-ion) batteries. Li-ion batteries are small, lightweight, rechargeable batteries that can tolerate hundreds of charge and discharge cycles.
They are recharged by an external charger, which comes with your camera when you purchase it. That charger plugs into a wall via a two-prong plug and feeds off your house’s Alternating Current power (also called AC power).

Here’s where charging off the grid gets tricky. Unless you’re staying nightly in a hotel room, two-prong AC plugs (and the charging capacity to power them) are hard to come by. In order to keep your camera battery charged, you will need to adapt.

Essential Charging Gear

Start out by purchasing a universal Li-ion battery charger. Universal chargers can hold almost any kind of small Li-ion battery, and come with a two-prong plug as well as a 12-volt Direct Current (DC) adapter. This adapter is cylindrical and fits into your car’s 12-volt port (traditionally called a “Cigarette Lighter” charger).

If you plan to drive for long distances each day and are only looking to recharge a camera battery, this may be all you need. If you plan to charge other devices—tablets, phones, and laptops—or won’t be driving, you’ll need a power bank.

Power Banks

Power banks are essentially big batteries. They receive a charge, either from a wall outlet or an alternative source like solar panels, and hold onto that charge until you need it. Power banks vary greatly in size, weight, and capacity.

Small USB power banks are perfect for powering cell phones and tablets. Depending on their capacity, they can recharge a phone or tablet anywhere from two to eight times.
Though they are harder to find, some small power banks also have a two- or three-prong port for plugging in a Li-ion camera battery charger. For quick trips where a little backup is needed, these power banks are just right.
If a little backup isn’t what you’re looking for, it’s time to call in the big guns. Portable power stations range in size from 150 to 1250 watts and are designed to be a full-service power solution. Power stations offer three-prong ports for AC power, multiple USB ports, and a 12-volt port.
They can charge camera batteries, laptops, tablets, and cell phones with ease (charging capacity varies by model).

Portable power stations are relatively large, as well as heavy. To illustrate, they are great at a campsite but too bulky to hike comfortably into the backcountry. These power stations are recharged by plugging them into a wall outlet, or by connecting them to solar panels and allowing them to charge for 8-12 hours.
If you’re looking for serious charging power, or plan to be off the grid for long stretches, a portable power station is a wise investment.
Note: Portable power stations cannot be brought on airplanes, though smaller USB power banks often can.

Photo Backups

Is there anything worse than returning from travel and finding your image files are corrupted or missing? A savvy photographer will avoid this scenario by doing daily backups of their images.

Backing up images online to the cloud is an option if you have fast, reliable Wi-Fi at your disposal. Set the backup to happen overnight, and you’ll wake up knowing your images are safe.
Fast Wi-Fi is hard to find. Hotel and coffee shop connections are often sluggish, so always be prepared with another backup plan. If you’re traveling with a laptop you can either back up the images directly to the computer or carry a rugged external hard drive. If the images are critical, such as a wedding gallery or a shoot for a client, back up the images to two different locations.

When traveling without a laptop, invest in a portable backup device like a Gnarbox. These small drives have an SD card slot and will copy and store all of the card’s images. Again, if the shoot is extra-important, be sure to back up the images to at least two locations.

Keeping your camera and other devices charged while on the road can be a challenge, but is made easier with a few pieces of essential gear designed to meet your charging needs. Together with regular backups, you can take images off the grid with ease and peace of mind.



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Flattering Photography Poses

3 Fun Backgrounds for Portraits and Photo Booths You Can Create at Home

By: Erin Fitzgibbon

Bring out your Creativity

With our phones becoming an essential tool in our lives, we’ve started integrating them into our daily routines. We use them to document events and milestones, and then share them on social media.
One trend that seems set to continue is having photo booths at events and even gatherings. Guests are invited to shoot photos in front of a fun background to help document the memories of that special day.
And photographers are always looking for great studio backdrops to help make portraits interesting.
Keeping both scenarios in mind, I’ve put together three examples of easy-to-create backdrops that can be used in all sorts of situations. So whether you’re a serious portrait photographer who wants to create something unique for your business or a creative individual who wants to give your guests with something fun during an event, here are step-by-step instructions for creating some pretty cool backgrounds.

1# String and a Theme

For this creative effort all you need is a lot of string and some paper clips. I’ve used this technique with everything from displaying art to creating a fun backdrop  for portraits in support of Down Syndrome awareness.
(The creases in the fabric can easily be removed in Photoshop. I just wanted to show exactly how it looked.)

Created using some friends’ socks, two pieces of white fabric and some push pins.

The steps are quite simple.

1. Get some string. (I’m partial to either black string or brown hemp-based string.)
2. Using strong tape or hooks, run the string back and forth across the area you’ll be shooting. This works best on a blank wall or a plain backdrop cloth. (If you don’t have a backdrop cloth, iron a bed sheet and hang it up using thumbtacks.)
3. Attach whatever theme items you’ve chosen at random places along the string using paper clips.
4. Take some test photos to make sure you like the look of your backdrop.

I hung the socks from the string using bobby pins.

Here’s a background we made for a school. The design was created for World Down Syndrome Day. Everyone was encouraged to raise awareness by wearing crazy socks. So we created this simple background and then took photos of the students in front of the socks. It was easy to set up, and a lot of fun to shoot.

2# Paint Splatters and a Tri-Fold Display Board

Remember those tri-fold display boards we all bought to make our science fair projects? Well, here’s a backdrop you can make using that school day staple. It’s also easy to transport – just fold it up and away you go. It’s also a great way to use up any paint you have sitting around in the basement. 

I used some acrylic paint and a palette knife for this background. I decided to smear it this
time, but you can also splatter the paint.

1. Buy a tri-fold display board (black or white) from the dollar store.
2. Choose some paint colors that go with your theme (or use whatever you have lying around in the basement). If the paint is too thick to splatter, adding water can help make it more pliable.
3. Take the tri-fold board outside (or put down a lot of newspaper on the kitchen floor).
4. Using a variety of brush sizes, randomly drip, splash or flick paint onto the tri-fold.
5. Let it dry for several hours before moving the board.

If you load the knife with a few colors and drag it across the palette you get lots of mixing and 

color variation.

Here’s the full tri-fold display board. While the background isn’t very big, it’s quite portable. However, it does limit how much you see. But keep in mind you can always use a zoom lens and have your subject stand at a distance from the background. After all, a lot of DIY is about making do with what you have.

A simply white tri-board can be really useful. And in a pinch it can also be used as a reflector.

3# Brown Paper and Old Books

For this one you’ll need a roll of craft paper, which you can either hang from a studio backdrop or improvise by taping it to the wall. But you’ll have to be gentle with this backdrop, and if your guests or clients aren’t careful they could easily rip the paper.
Next, choose some books that have significance to your event. If it’s a baby shower, old children’s books might be a good choice for the background.
(I realize that some people think dismantling a book for a backdrop is blasphemous. Personally, I think it’s a great way to give it another purpose instead of having it just sit on the shelf. If this really bothers you, use newspapers instead.)

1. Gather up old books you won’t be reading again, or visit the library and ask for any damaged books they’ll be throwing away. Flea markets and garage sales are also great places to find books.
2. Cut pages out of the books that you find visually appealing
3. Glue the pages to the long strip of brown craft paper you hung up
4. Apply as many pages as you see fit. (You may want to use only a few pages, while someone else may want to completely cover the brown paper.)
5. Carefully adjust the roll of paper so guests can easily stand in front of your backdrop

I used pages from an old Writer’s Market to create this background. The nice thing is I
can roll it up and take it anywhere.

I also like the look of this background with a black and white treatment.

A classic black and white portrait in front is quite pleasing.

Other Ideas

Here’s are some more ideas for backgrounds.

1. Run party streamers diagonally down the wall in a variety of colors.
2. Hang homemade snowflakes from the ceiling.
3. Hang Christmas lights behind a bed sheet for a glowing look.
4. Collect fall leaves and glue them to brown paper.
5. Use old rolls of wallpaper and drape them behind your subject. (No gluing required.)

There are countless ways to create an inspiring look for portraits. Don’t be afraid to be creative and use items you have lying around the house. And please share your ideas and examples. We’d love to see what items you use to make something truly fun and creative. 

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How Journal Writing Improves Your Photography

By: Mat Coker

The obvious way to improve your photography is to study photography. But once you’ve had some success with the main principals of photography, you’ll be eager to go deeper and learning more photography principals won’t get you there. Rather than piling on more and more knowledge, you first need to go deeper with what you’ve already got.

Use journal writing to pull yourself out of a rut as a photographer.

Journal writing is the best way to go deeper with your photography. Through journal writing you discover what you’re actually struggling with, hone your creative vision, and measure your growth over time.
Great minds throughout history have kept a journal of some sort. A journal is like a laboratory where you can get messy with your thoughts, vision, and creativity. You can work things out in the pages of your journal and bring them to life in the real world.
Journal writing will take you into a deeper creative mindset, helping you do far more with those photography skills you’ve learned. The problem is that many photographers aren’t sure what to write in their journal.
Here are several ways to use your journal to achieve deeper creativity with photography:

1. Don’t worry about writing well

Allow your journal writing to be a complete wreck.

If writing well comes easily for you, then go ahead and write well in your journal. But if writing doesn’t come easily for you, do not try to write well.
You’re not writing for the sake of writing well, you’re writing to stir up your creativity and improve your photography.

“There are a thousand thoughts lying within a man that he does not know till he takes up the pen to write.” – William Makepeace Thackeray

2. Write to get out of ruts

As photographers, we find ourselves in a rut every now and then. We become dissatisfied with our photography, our photos don’t excite us anymore, and we begin to hate picking up the camera. If this hasn’t hit you yet, be ready. It seems to come out of nowhere, and can be devastating.
Ruts will cause you to quit unless you figure out how to get out of them. Your journal is the perfect place to do that.
At first, it will be difficult to be honest with yourself as you write. You’re always hiding what you really think from other people, and it’s rare that you actually go deep into your own thought process. But you need to be honest in order to get yourself out of a rut.
I hit a rut a couple of years ago and discovered these things about myself through journal writing:

• I have no vision
• Photos I love the most feel raw
• I wish I could be a kid with a camera again
• The idea behind a photo is more interesting than the photo itself
• I’m so awkward when it comes to people
• Chaotic photo sessions are my favorite
• Unless I’m working, I don’t pick up my camera anymore
• The things that used to excite me don’t
• I don’t know what to say about my photos
• Do I hate photography?

As negative as many of those thoughts sound, I learned a lot from them.
I learned that I love to explore the world with my camera. There is joy in finding a chaotic scene, looking for patterns, and then bringing some order or beauty to the scene through my photos.
Sometimes you have negative feelings for different reasons than you think. I didn’t actually hate photography, I just had blocks that I didn’t know how to get past. Once I got things out on paper, I could see what was standing in my way.
In the middle of my photography rut, I took a camping trip with friends. I decided to just follow the kids around and join in the play with my camera. Being able to do whatever I want, even exploring crazy ideas, seemed to make all that frustration and hatred of photography melt away.

To me, simple things like kids eating dirt are a joy to photograph. I included the whole door 

of the trailer to make him look smaller.

I came in close to see that he is covered in mud.

Finally, I pulled back and dropped to a lower angle to make the shoe mat part of the scene.

If there is something that really bugs you about your photography, or you have a vague sense of disappointment in your work, writing in your journal will help you identify your specific frustrations.

3. Track your improvement

If you don’t track your improvement, you will have no idea how you’re doing.
When you’re tracking a goal, it’s better to measure how far you’ve come rather than how far you have left to go. It can be discouraging to look ahead at how far you still have to go, but encouraging to see how far you’ve already come.
Tracking your improvement will help you to understand how far you’ve come on your journey. Many people are discouraged simply because they have no way of seeing how far they’ve come. Write it down so that you can see.
I felt stagnant with my family photo sessions so I began tracking how I felt, what went well, what went wrong and ideas that I had toward improving.

I had in mind Robert Capa’s idea, “if your pictures aren’t good enough, you’re not close 

enough.” I got as close as I could to that teeter-totter.

4. Clarify your vision

“Vision is the art of seeing things invisible.” – Jonathan Swift

Vision is an aspect of photography that very few people work to develop.
We can see with our eyes and organize our photo according to the rule of thirds, but how do you see things that are invisible? How do you put invisible things in your photo?
Writing in my journal helped me to see the invisible things that I already love to photograph.
Spontaneity, chaos and awkwardness are not things that you can see, though they can be expressed visually. It’s in the fleeting expression that a portrait subject gives, the unpredictable nature of toddlers, even in the ability to push through and photograph a bridezilla well.
Prior to journaling, I had no vision – after journaling (for a few months) I could finally see. My vision is about bringing order and beauty to raw, chaotic scenarios through my photography
You can take your photography to new places and new levels once you have vision. You will gain vision when you write about invisible things and can see them in front of you.

I’m pretty sure you’re not supposed to photograph moments like this. But “accidentally 

falling into the water” is just the sort of awkward moment I’m after. Anything to get out of a rut.

5. Quotes

Keep a list of your favourite photography quotes, they’re likely a clue to who you are as a photographer.

On improvement

“Your first 10,000 photographs are your worst.” – Henri Cartier-Bresson
“If your pictures are not good enough, you are not close enough.” – Robert Capa
“The eye should learn to listen before it looks.” – Robert Frank
“I don’t just look at the thing itself or at the reality itself; I look around the edges for those little askew moments – kind of like what makes up our lives – those slightly awkward, lovely moments.” – Keith Carter

On portraits

“The most difficult thing for me is a portrait. You have to try and put your camera between the skin of a person and his shirt.” – Henri Cartier-Bresson
“When you photograph people in color, you photograph their clothes. But when you photograph people in black and white, you photograph their souls!” – Ted Grant

On the camera

“The camera is an instrument that teaches people how to see without a camera.” – Dorothea Lange
“For me, the camera is a sketchbook, an instrument of intuition and spontaneity.” – Henri Cartier-Bresson
“The camera is an excuse to be someplace you otherwise don’t belong.” – Susan Meiselas
“Don’t pack up your camera until you’ve left the location.” – Joe McNally

On the nature of photography

“I tend to think of the act of photographing, generally speaking, as an adventure. My favorite thing is to go where I’ve never been.” – Diane Arbus
“Taking pictures is like tiptoeing into the kitchen late at night and stealing Oreo cookies.” – Diane Arbus
“The mission of photography is to explain man to man and each man to himself.” – Edward Steichen
“I realize more and more what it takes to be a really good photographer. You go in over your head, not just up to your neck.” – Dorothea Lange

Your favorite quotes are a clue to who you are as a photographer, and they’ll help you see that you’re not alone in your approach to photography.

A lovely moment.

A slightly awkward, lovely moments.

6. Dream up the future

Dream big in the pages of your journal. While you’re at it, dream too big. After a little while of dreaming too big, you’ll be far more capable of doing those big things you never thought you could before.
You’re already working through frustrations and tracking your progress toward goals. This means that you’re learning to create the process that helps you achieve those (too) big dreams.
Maybe you’ve got this wild idea of taking a long trip and documenting your journey. You’ve got yourself fired up within the pages of your journal. But is it realistic in real life? Probably not. Can you afford it? Can you handle it? Not likely.
Go ahead and feel the frustration of dreaming too big, and having that dream start to fade away. Feel it until you realize it as a deep frustration. Now work through that frustration in your journal. Fight your way to make it real.

Thanks to my journal, I almost signed the lease on an expensive studio space. But backed out at the last minute. I had dreamed a little too big.
However, I’ve grown a lot as a photographer since then. I kept working through my frustrations and weak points. One of the problems was that I didn’t have a proper vision for the studio. So I’ve been refining my vision and building a community of amateurs and professionals whom I will share my studio with. I’m building something now that will already be alive and ready for a studio.
I dreamed too big. But now I’m quickly growing into that dream thanks to my journal.

7. Don’t write at all

Your journal isn’t only for words – put sketches in it too. Even if you can’t do it well, a basic sketch can help capture an idea you have for a photo. Don’t be concerned about buying proper pencils and a sketch pad. Just cram everything in your journal.
You might even consider printing your “sketch photos” to put in your journal. Sketch photos are the photos you take on the way to capturing your final image. Sketch photos are a way of photographing a scene in a variety of ways, making subtle changes until you get your photo just right. Sometimes the process takes a few minutes, but it could take months or years.

The perfect journal

Many people will avoid writing until they find the perfect journal. They’re waiting to find a journal that inspires them to write. Perhaps a hand-crafted, leather-bound journal with beautifully textured paper. After purchasing such an exquisite journal, they’re still not able to write. Don’t let this be you. You don’t need a nice journal, you just need to get your thoughts out (get the nice journal later on).
You don’t need to feel good to journal. In fact, journaling when you feel miserable may be more helpful. Get it out and written down. Confront it, and begin to grow as a photographer.
The perfect journal is messy, full, and always in use. And it will help you to become a better photographer.

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