How do you gather ideas for your photography? It would be impossible
for anyone to say that they don’t gather inspiration and ideas from the
imagery around them. I’d love to share with you the process with which I
gather ideas for my sessions and how I use other photographers’ work to
inspire my own.
I’ve always sung the praises of Flickr.
I logon every day (even if only for a moment) to check what my contacts
have uploaded and grab a couple glimpses at Flickr’s ‘interestingness’
of the day. I also love to Stumble
and find new photographers around the web whose work I can appreciate.
So what’s a photographer to do when they find something they’d like to
keep in their mind for their next date with the camera?
I keep a file on my computer called ‘inspiration’. It’s divided into
subfolders for all different categories I feel they best belong to. When
I’m preparing for a session, I go into the folders and pic a couple
(and ONLY a couple:) shots which inspire me. It used to be that I would
pick shots I’d like to try to copy verbatim but I soon realised that I
was spending all my time worrying about the exact pose in the photo that
I was missing out on other shots. Now, I use my inspiration to guide me
in a general direction. Sometimes, I’m able to rip off the whole thing
which looks good, but doesn’t exactly feel magical. Other times,
something completely different comes out of it and that’s the most
rockin’ thing of all.
So here are a few inspiration vs. end result shots and what I was thinking when I took them.
1.} This is quite a common concept for couples, but this image (left)
was the first time I’d ever seen it done. And mine (right) was my first
photo taken in my first ‘real’ photo shoot as a ‘professional’. I was
so nervous about the session that I made a file of images on my ipod and
copied them verbatim. Although lacking in inspiration of my own accord,
it was an excellent first experience.
2.} This is an excellent example of how my Flickr browsing has
changed from copying concepts to being deeply inspired by them. It
wasn’t until I was browsing my inspiration folder to write this post
that I realised that the image (left) felt strikingly similar to the
image I took last week of this couple. When you soak in great
photography and squeeze yourself once in a while, great photography will
come out!
How do you utilise other photographers’ work to inspire your own?
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Tuesday, January 28, 2020
Viral video - Inspiration for all you videographers and your next video project. 44,836,375 Facebook views.
How to Overcome Photo Envy and Become a Better Photographer
You’ve got a goal to become a better photographer. Along the way,
you’re going to have to confront your weaknesses. Photo envy is one of
the greatest weaknesses a photographer can face because it is a weakness
that hurts other people.
If you regularly feel jealous when you see another photographer’s good photos then you probably suffer from photo envy.
Photo envy will make you bitter and pessimistic. When envy takes
root, it leaves you feeling inferior and resentful at other people’s
success.
I’ll show you how to overcome photo envy so that you can get on with becoming a great photographer.
The one time I forget all about photo envy at a photo session. That’s because my only concern is for
my subject.
How do you know for sure that you have photo envy?
Admiring another photographer’s work and aspiring to be as good as
them is not envy. It’s natural to be captivated and inspired by other
people who are better than you.
You’ll know photo envy by its tell-tale effect on your emotions. The test is simple: if you take an immediate
emotional turn for the worst when you see other people’s good
photography, then you suffer from photo envy.
You probably first noticed your photo envy while scrolling through social media.
A really good photo posted by a friend or another photographer took you
by surprise. You felt a terrible sinking feeling in your gut and chest.
You’re jealous.
Perhaps you regularly have beaten up by thoughts of inferiority, or
even felt hopeless or like crying? You wonder how they can be so
skilled, and why they’re getting all the attention. You think, “when
will I finally get noticed.” What does it take?
The stakes
You’ll be tempted to think that simply becoming a better photographer
or getting more business is the solution to your photo envy. But it’s
not.
Envy is a weakness within yourself and the only way to cure it is to face it directly. And you must overcome photo envy before you become a good photographer.
If you don’t overcome envy before you become a better photographer, you’ll simply become a good photographer
with a harmful weakness. You’ll naturally take out your resentment on
other photographers, not to mention your friends and family.
Even
though I don’t think about photo envy during a session, I know the next
time I’m on social
media, I’ll see a photographer’s amazing photos and
feel envious again. So I employ my regular
tactics to defeat photo envy.
How do you overcome photo envy?
You don’t have to be jealous, inferior and resentful forever. Follow this plan, and you will overcome photo envy.
Envy is something that needs to be overcome in the moment. Remember, you’re good at spotting moments as a photographer! Here is how to overcome photo envy.
The very second you feel envious of somebody’s photography, stop what you’re doing. Stop
scrolling, stop clicking and stop thinking about yourself. Now get
ready because you’re about to tell the photographer how much you love
their photos.
Whether you’re envious of a friend or a competitor, you need to send
them a personal message immediately. Do not put it off for later. Simply
send them a message letting them know how much you enjoy their photos.
After all, the reason you’re envious is that they’re so good.
If you’re not sure what to say then try something like this:
Hi there, I just wanted to tell you how amazing I think your photography is! Your images never fail to wow me. How long have you been into photography?
Overcoming photo envy is that simple.
I
know that becoming a more skilled photographer isn’t enough to deal
with my photo envy.
Becoming a better photographer out of spite isn’t a
good game plan.
Be a better person and a better photographer
Why does this method work so well? Because you’re retraining yourself
to be a good person. Envy has become automatic when your response
should have been admiration and encouragement.
When you tell the person how much you love their photography you will
notice the feeling of envy leave your body and good feelings will flow
in to replace it. Just wait until they write back and compliment you.
Every time you’re scrolling through Instagram, Facebook, Pinterest,
etc and you feel envious, send a personal note right away telling them
how much you like their photography. Pretty soon you’ll be an
encouraging person rather than an envious one.
But you can take all this a step further.
With
my photo envy under control, I’m free to pursue my goal of becoming a
better photographer.
When I go to a session, I have a toolbox of
creative elements that I use. I’ve
memorized them so I
don’t have to overthink it. I can focus on my
subject and know that I’ll get home with some good
photos.
Lead the locker room
Telling the person (especially competitors) how much you love their photography is the key to overcome photo envy.
But you can do better than “not be envious.” You can become a generous leader among photographers.
Backlight is one of my favorite creative ingredients.
Let’s think about a locker room for a moment. You likely experienced a
locker room or a change room in high school, so you know what a
humiliating experience it can be. Inferiority and envy can run wild and
then spill out beyond the locker room.
If you follow sports, then you hear about the rivalries in the locker room and how it can bring the whole team down.
But when somebody steps up to lead the locker room in a good
direction, everything changes. When somebody is an encourager and a
problem solver, then envy and rivalry burn out. If anyone chooses to
remain miserable and envious, they quickly lose their place in the
locker room, they’re ignored until they’re just gone.
I always look for some interesting gesture in the moment.
Now let’s get back to the world you’re a part of. Would you like to
be an important part of your photography community rather than just
sitting home and feeling jealous about how everyone else is doing? Then
step up and lead the locker room.
Be the encourager in online forums and Facebook groups. Start an
in-person group to help new photographers or unite photographers that
act like competitors.
I don’t mean that you have to be a traditional leader. You
just need to bring order to the chaos. Pump out positive energy and
watch it chase envy and rivalry away. A simple compliment from you might
be what helps another photographer overcome their photo envy.
By this point, there isn’t a shred of envy left in you. You are happy
to see others do well. In fact, you even start making others look good.
Be a shameless promoter of others. Look for good photographers and share them with the world.
It could be as simple as showcasing them through a guest post on your blog or social media.
But how can you make your competition look good and expect anyone to remember you? You simply have to trust that when you make others look good you will not be forgotten.
Envy can’t touch you when you do this.
Along with backlight and low angles, I love a photograph with texture. This helps your photo to pop.
Up your game every step of the way
We’ve almost forgotten about your real goal, which is to become a
great photographer. That’s actually the easy part! You figure out what
you wish you could do and learn it!
Find an ebook, course, or mentor who can show you. Learn, practice, refine, celebrate.
I used to be jealous of photographers who had beautiful light in
their photos. I had no idea how to achieve that look and didn’t know
what to do about it. Eventually, I had an opportunity to learn the
skills I was surprised to see that there was no magic involved; all I
had to do is learn.
You’re on a journey of becoming a better photographer, but pay attention to who
you become along the way. Becoming a better photographer will not make
you less envious. You can let photo envy take root and bring you down.
Or, you can overcome photo envy by being an encouragement to others.
Lead the locker room and make a lot of other photographers look good.
Whenever you feel a twinge of jealousy, get in touch with that
photographer and tell them how great their photos are. This is how you
overcome photo envy. Do you have any other tips to overcome photo envy? If so, share them with us in the comments!
Processing a RAW file can allow a photographer to bring out the full range of tones in an image.
Often when I’m looking at photos in forums online, or interacting
with photographers in person, inevitably someone will proudly claim that
the image in questions is “Straight out of the camera”. Almost without
fail, this leads to a huge discussion as to the merits of
post-processing images, with those on the side of
straight-out-of-the-camera images acting as if those photographers who
process their images are somehow in the wrong, or are being deceptive.
There are merits to both sides, to be sure, but what’s amazing is how
staunchly both sides defend their positions. At times the discussion
becomes more heated than “Mac versus PC” or “Canon versus Nikon”. Having
been on both sides of the debate, due to the nature of the work I’ve
done in the past, I can understand both sides. However, I can also say
that both sides can be somewhat misguided in their arguments at times.
Processing? NO!
Photojournalists
covering sports or other news are often advised not to process images,
and some
news agencies outright forbid it.
Those who oppose any post-processing sometimes argue that it is a
crutch, that they don’t need post-production to fix their images,
because they get it right in camera. That said, there are plenty of
reasons why you might not want to process your images, purity of the
image aside. In the photojournalism world, image manipulation beyond dodging and burning, contrast, and color correction, is a big no-no.
Every few months a story shows up in the photo industry news websites
that tell the sad tale of another photojournalist who lost his job or a
contest because he or she removed or added an element from an image. In
the photojournalism arena, this is understandable. Your job is to tell
the story visually, and removing or adding elements in an image changes
that story. So in that case, it’s best to keep the manipulation to a
minimum. Some news agencies have forbidden their photographers from
using the RAW format at this point, to reduce the chances that the
images have been drastically altered. The goal here is truth, and while
the photographer has already added their spin to it by making important
compositional and exposure decisions at the time of capture, that’s
where it should end. Editor’s note: long time National Geographic and Magnum photographer Steve McCurry is under fire for this very issue right now. What are your thoughts on that, is he in the wrong or is it a witch hunt?
Event
photographers who shoot thousands of images in the course of a few
hours often choose not to process images due to the amount of time it
takes.
Another time where processing images is probably not a great idea is when you are covering large events.
For instance, in a past life, I owned a studio that specialized in
covering youth sports events, such as soccer and baseball tournaments.
On the average Saturday afternoon, it was quite common for me to capture
several thousand images on my own, and I often had a team of three or
more photographers working for me! Speed is the key at these events, so
it’s important that the images be sellable to the participants and their
parents as soon as they are shot. This means exposure, white balance,
contrast, and saturation must all be good straight from the camera. As
soon as a game ended, those images were loaded immediately onto our
server to be previewed by customers and participants. There was no time
to adjust that many images individually. Finally, there are those who simply prefer not to do that much work on a computer with their images.
The act of capture satisfies their creative urges, and they are happy
with their images. There is nothing wrong with that. Some might say
that working in this manner ensures their exposures are correct in every
way when the image is made, which is certainly an admirable way of
practicing the art of photography. This philosophy of course, also
allows you to go out and do more photography, and spend less time on a
computer.
Those who choose not to process get their images correct in camera,
because to them there is no post-processing option. It helps them be
better photographers at the time of capture, because they must pay
attention to the details of the exposure, check their histogram, adjust
white balance, and apply the correct picture style.
Post-Processing is Part of the Photographic Process
Landscape
photographers process RAW files in order to pull as many tones as
possible out of the
image, preserving shadow and highlight detail.
Often, when I hear the words “I get it right in camera,” it often
sounds to me like “I don’t know how to use Photoshop.” True or not, for
those on the side of post-processing, the photographic process doesn’t
end at the press of the shutter button, in the same way it didn’t end
for those of us who once shot film, then ventured into the darkroom to
develop film and make prints. Those who have never been in the darkroom
will likely never understand exactly how much manipulation could be
achieved in the darkroom, from color and contrast adjustments, dodging
and burning, to masking and photo compositing.
The truth is, there has NEVER been such a thing as a “straight out of the camera” image.
(With possibly the exception of slides, but they can still be altered in the printing stage.)
Even for those today, who choose to not use Photoshop or other image
processing applications, the image is far from being straight out of the
camera. You’re simply letting your camera do the processing for you.
When you choose a picture style, you’re telling your camera how to
handle color, contrast, tone, and sharpness. You can create your own
styles as well, manipulating color and contrast in camera to your own
liking. Simply because the image wasn’t touched on a computer doesn’t
mean it wasn’t processed, or manipulated. Knowing all of this, doesn’t
it sound foolish to say that an image straight from the camera hasn’t
been processed?
Let’s
get this out of the way quickly: Post-processing is not a crutch. If I
look at an image on the back of my camera and say “I’ll fix it later”,
then it’s already a bad image, and no amount of processing is going to
correct it. I am a staunch proponent of shooting RAW, for many reasons.
As an avid landscape photographer, I know full well that the camera can
have problems handling a scene with a lot of dynamic range, such as a
sunset. I use optical filters on my lens to help with that, but there
are still times when the image out of the camera fails to capture the
image I saw with my eyes.
Close attention to the histogram is essential, ensuring that I have
all of the tones I need to work with, careful not to clip highlights and
shadows. This is very similar to Ansel Adams’ zone system. I know where
objects in my scene should register on the histogram, and I adjust my
exposure to ensure that’s what I get when I open Photoshop. As Ansel
Adams once said, “Dodging and burning are steps to take care of mistakes
God made in establishing tonal relationships.” The same is true for
color correction.
This
side-by-side comparison shows what is possible when processing a RAW
file. On the left is the
image straight from the camera, using the
Standard picture style. On the right, the same image
processed in Adobe
Camera RAW.
As a landscape photo artist, I do not consider myself a
documentarian. While I’m not personally a fan of compositing images
together to create the finished piece, I do believe that all darkroom
tools are on the table. This starts with RAW processing, and continues into Photoshop, where I will use adjustment layers, filters, and masks
to bring the most out of my image. My intent is to bring out what I
felt when I was at the scene, capturing the image. Very rarely, for me,
does a camera do that without a little help from me.
This
is the tool palette in Adobe Camera RAW. Each slider is a separate
control over the image, and each tab across the top represents another
set of controls, enabling you to get the most out of the image.
Finally, and this is my biggest reason for shooting RAW when it is
feasible, is the purity of the data. If you are capturing JPEGs straight
out of the camera, the camera has already decided to throw away a good
portion of the data you’ve captured. JPEGs are 8-bit files, across three
color channels. For each of the three color channels (RGB) the camera
is converting your image, at the time of capture, to 256 shades of gray
per color, leaving your image with 16.7 million total possible colors.
In addition, the image is compressed, and redundant data is discarded.
This compression is lossy compression, and every time you open and do
anything to your image, such as removing a dust spot, and then save it
again, you are throwing away more data. Eventually, artifacts will
appear in the image, ruining it and making it unusable.
Today’s RAW files are 14-bit files,
meaning each color channel contains 16,384 shades of gray. This means 4
trillion total colors are available in the image. Issues such as
banding and artifacting, which can arise when using JPEGS, are nearly
nonexistent issues when editing a RAW file. I’ve seen JPEG banding in
portraits where the skin tones change, and I’ve seen it happen in
landscape images where the sky transitions from a vibrant blue to a pale
orange at sunset. It can happen to any image. So even if I plan to do
nothing to my image but remove a dust spot, it’s worth starting with a
RAW file that requires some processing. Even if you oppose
post-processing, it’s quite easy to apply a picture style the same way
the camera does, and export a JPEG.
Portrait
photographers often choose to process images to allow them to create a
feeling about their subject, in addition to allowing them to retouch the
image, and make their subject look their best.
Honestly, there’s no right or wrong way to work with your images.
After all, a photographer’s work is very personal to them, and everyone
chooses to work in their own way. When I can, I prefer processing my
images and getting the most from the file. When the situation calls for
it, I will shoot JPEG, knowing full well I won’t be able to make
adjustments later, so I make sure it’s right when I push the shutter
button.
What do you prefer, and why? Do you process or not?
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Monday, January 27, 2020
Viral video - Inspiration for all you videographers. 226,750 views on Facebook. Enjoy!
Cartier-Bresson and Stieglitz – Study the Masters of Photography to Become a Better Photographer
There is an unnervingly common trait among photographers, image
makers, picture people, etc. Sometimes we forget that the reason we have
access to such awesome gear and techniques, is because those who came
before us in our trade figured them out, practiced them, advance them,
and then left us a legacy of knowledge. The further we go back through
the history of photography, the more prevalent this apathy becomes. What
do you have to learn from someone who used a camera less advanced than a
garage door opener? Well, as it turns out, we stand to learn a lot.
Maybe not from a technological standpoint, but rather in a more
intangible way that’s more difficult to appreciate, and easy to miss.
This is not to say that you can’t improve your photography from
studying the methods of some of the masters. Their gear was varied and
less advanced, but that only makes their work more extraordinary, and
their skill even more humbling.
Henri Cartier-Bresson
Image by Gertrude Käsebier
Even if the name doesn’t ring some little bell in your memory,
chances are you most likely have viewed his work at some point. He was
literally the inventor of the photojournalistic style… let that sink in
for a minute or three. Before Cartier-Bresson, proper street photography
as we know it and “still life reportage” as he called it was not a well
practiced, or validated form of photography.
Born into a relatively well placed upper-class French family in 1908,
Cartier-Bresson, like so many well known photographers, didn’t start
out intending to be such. Painting was his major pursuit before picking
up a camera. That all changed in 1931 when he set his eyes upon a photograph made by Hungarian photographer Martin Munkacsi.
It was an image of three young boys in the surf of a lake in Africa.
Cartier-Bresson said that he “couldn’t believe such a thing could be
caught with a camera” and that he “suddenly understood that a photograph
could fix eternity in an instant.” The photograph drove him to
relinquish painting, and start making photographs. He was thoroughly a
recorder of the spontaneity of human experience. There is much you can
learn from Henri Cartier-Bresson to improve all aspects of your photo
making.
Lessons you can learn from Henri Cartier-Bresson:
Strive to be invisible
When you’re working as a photographer it doesn’t take long to
understand that humans tend to drastically change once they realize they
are being photographed. Their mannerisms, expressions, and appearances
all become noticeably different. Conspicuousness steals away realism
very quickly if you are not careful. Cartier-Bresson understood this and
moulded himself into somewhat of a photographic ninja. He shot with
relatively small cameras, usually Leica 35mm Rangefinders.
You have to understand that most photographers of his time were using
larger format cameras which practically screamed “Hey, I’m making a
photograph of you!!!” Anonymity allowed him to capture the essence of
any scene in a way that was raw and unobtrusive.
Cartier-Bresson went so far as to conceal all the shiny surfaces of
his gear with black paint to further decrease his footprint as a
photographer. You might not want to go that far, but it will help you to
capture better images if you blend into your surroundings. Plan for
your sessions in a practical way. Don’t take more gear than you need,
and keep a low profile. Try to wait until you’re ready to make an
exposure before you raise your camera. Practice using your camera’s
controls and memorize their placement. Also, avoid using a flash if it
will likely interfere with your subject. Cartier-Bresson supposedly
never used a flash for his images as he saw them as impolite and
distracting. Photography, especially photojournalism, depends on the
earnest capture of life in all its beauty, and regrettably, its
occasional misery. Try to keep it real, literally.
Compose in camera
I know, I know. You’ve probably heard this before, and are most
likely tired of having that phrase hurled at you. I feel your pain. I
would always roll my eyes any time a seasoned photographer or well
intentioned writer would talk about the importance of getting things
right in-camera. Let’s be real here. It’s so easy to crop an image on
the computer instead of using the camera’s viewfinder. It’s so much more
convenient to salvage a less than correctly exposed image than to think
through your aperture and shutter combinations. Post-processing photographs
is a wonderful thing. Completely changing a photograph, however, is not
always ideal. Cartier-Bresson was absolutely anti photo manipulation
and believed any photograph should be cropped in the viewfinder before
it was captured. Nearly all of his photographs were printed full-frame
and even included about one millimeter of the unexposed negative so that
his finished prints sported a thin black border to further prove the
absence of cropping.
Any image is only as good as the ingredients put into its making. So
try to put the best possible ingredients into your work so that your
finished product will be something you will be proud to display and say
“I made this”.
Focus as much on the art as the science
What we do as photographers would have been considered magic in an
earlier time. Even at the basic level it is an amazing science. We
record light that is completely unique and fleeting. You will never make
the exact same photograph twice. The science of image making is an
essential part of our creative process, but it must never be viewed as
the only part.
Surprisingly, Cartier-Bresson expressed, on multiple occasions, his
almost complete lack of interest in the more technical portion of making
photographs. The developing and printing of his negatives, actions so
carefully controlled and guarded by most serious photographers of the
time, were valid only to him in the cases where they allowed more effective expression of his vision.
He saw the camera as a tool, and development and printing as merely a
means to a much anticipated end. He said “people think far too much
about techniques and not enough about seeing”.
You can lose your direction during the of making an image. Sometimes
we let technical perfectionism overshadow our initial vision. Thorough
knowledge of your gear is essential to grow as a photographer. However,
like Cartier-Bresson tells us, don’t allow yourself to become so focused
on your tools that you forget your craft.
Alfred Stieglitz
Alfred Stieglitz was born into this world on January 1, 1864 and left
it on July 13, 1946. Anything else that I can tell you about the impact
of man’s life upon the world of photography and creative art will fall
unbelievably short of the full measure of gratitude we owe him as
photographers. That’s not hyperbole. Before Stieglitz, photography was
not considered a form of artistic expression. There were no real schools
of photography, and it certainly was not considered high art on the
level of painting and sculpture. Stieglitz gave artists an outlet to
show their work to the public, and was the catalyst that helped begin
the careers of many celebrated artists including the paintings of
Georgia O’Keeffe, and the legendary photographs of the great Ansel Adams. Stieglitz was always open to new techniques and innovative thinking towards art.
His work is removed from our time by nearly a century, and many of
the technical mechanisms he used are now obsolete. Still, there is much
insight to be gained from Alfred Stieglitz, and his contributions. We
can learn from his approach to the art world as a whole, to better
ourselves as photographers.
Lessons you can learn from Alfred Stieglitz:
Express yourself when you can
Stieglitz created a series of images called “Equivalents”.
It is a collection of photographs that show a variety of different
cloud formations. Each image was a self-reflection of the thoughts,
emotions, and experiences that he was feeling at the time the frame was
exposed. That made each image unique to only him. He was the only person
who truly understood how he felt during each release of the shutter. So
go out and photograph something that makes you happy. Share it with
others if you want, or just keep it for yourself. Go and make photos of
something that is only beautiful, or meaningful to you. The act in
itself is very freeing.
This spot has special meaning only to me. I made this photo for myself and no one else.
You might be thinking “I express myself with all my work”, but really
think about it for a moment. Do you ever make a photograph and
immediately consider how it might be accepted or rejected by other
people? Do you sometimes share an image that you personally think is
outstanding but no one else seems to care about? We have all done it
more often than we might comfortably admit.
Break the rules if you want
Simply put, any photograph that has ever been produced, resulted from
of a combination of the following variables: size of aperture, shutter
speed, depth of field, focal length, image receptor sensitivity and
composition (film, digital sensor, ect) and that’s all. The key to
making a great image is putting all those pieces together in such a way
that they convert what was only visible within your own mind, into a
photograph. Those are the only iron clad rules in photography. In the
end it’s you who make the choices and operate the camera.
Don’t be afraid to think outside the box!
Some really great work has resulted from stepping outside the
mainstream. There are many stunning images that completely ignore the
rule of thirds, leading lines, horizons, and so forth. Never completely
cast aside guidelines, but don’t convince yourself that you are
permanently tied to them either. Learning, and practicing, the tested
and proven building blocks of strong photography will help you greatly.
Just remember that ground breaking work often arises from the bending of
rules.
Look for inspiration everywhere
Stieglitz promoted all art forms. He opened galleries to display the
works of painters, sculptors, and of course photographers. He didn’t
limit himself to only photography, or painting or to works fashioned
from stone and clay. Instead, he drank it all in. He recognized that it
was all tangled together and intertwined.
As photographers we are able to almost instantly project what
sometimes takes other artists days or weeks, or even months to create.
However, this relative ease of creation can gradually place blinders on
our creative thinking. We can reach a point when we only look at other
photographs for inspiration. That kind of thinking limits our scope as
artists. This mindset is especially dangerous for new photographers and
can lead to frustration, disappointment and even worse, emulation that
festers into plagiarism.
Don’t let yourself have artistic tunnel vision. Begin to look for
inspiration everywhere to fuel your photography. Black and white
sketches, paintings, wood carvings, architecture, kids finger-painting –
everything has the potential to give you a smack of creativity that you
can mould into photographic inspiration. The truth is that you really
never know what will inspire you.
Please share your questions and comments below. Have you heard of
these two masters before? Have they influenced your photography?
Photography can be mischaracterized as a “safe” medium. More often
than not, photographs are geared towards improving the way we view the
world and ourselves. Generally speaking, photography appeals to the
lighter side of our senses. Whether it’s the calm aesthetics of a serene
landscape or a hauntingly sublime portrait of an elegant model, when we
think of photography, we immediately think about all the ways it can
make the world seem more beautiful and more safe.
But the world isn’t always beautiful. The world isn’t always the safe
and secure menagerie of perfection we often see displayed in the
photographs on social media and other corners of the internet. For all
its effectual nature, photography, which displays only the
conventionally pristine faces of our world, is at best, a blissful
half-truth and at worse, blatant hypocrisy. We are surrounded by
uncomfortable realities that are easier ignored than embraced or even
acknowledged.
This leads me to the work and life of a photographer who is
surrounded by as much controversy as she is by her works enigmatic
magnetism. In this edition of “Lessons from the Masters,” we take a
close look at the photography of Sally Mann. We see why and how she has
become such an oddly iconic herald of the merits of unconventional
photographic content.
Mann’s photographs epitomize the harsh internal conflicts we all face
in our work and our lives as we walk the fine line between tactful
self-expression and creative freedom. We’re going to find out what
lessons we can learn and apply (or avoid) to grow as photographers.
In 1951, the girl who becomes Sally Mann was born in the small southern town of Lexington, Virginia where she still lives today.
Her path to photography was first facilitated through her physician
father (also an artist) with whom Sally would have an admittedly complex
relationship throughout her life. She holds a BA and an MA in creative
writing from Hollins University in Virginia. It is remarkable to note
that Sally Mann has never formally trained in the craft of photography.
Although she has produced work across all photographic mediums, she
gravitates toward photographing things closest to her home in the
southern United States. The large body of her photographs centers around
the investigation of death, sensuality, history, childhood, and the
visceral (often painful) realities of life.
Many of her most known photos are products of antiquated photographic
techniques such as wet plate collodion. She captures these using an
antique 8×10 view camera with equally-aged lenses. Incidentally, this
type of photography plays an enormous role in one of the most important
lessons we will learn from Mann.
Sally
Mann has published numerous books of her photographs as well as
produced multiple major exhibitions and is a Guggenheim fellow. She has
been the subject of two documentary films with one nominated for an
Academy Award and the other an Emmy.
In 2001, Mann was named “America’s Best Photographer” by Times magazine.
Now, let’s look at some lessons we can learn from Sally Mann.
Photographic opportunities are everywhere
We are fortunate today as photographers in that we can make
photographs at literally any time. Through the progression of
photographic techniques, our cameras have become smaller, cheaper, and
generally more qualitative than ever before.
And yet, we sometimes find ourselves at a loss for what to photograph.
I’ll admit, I’m guilty of this mental photo block myself. Sometimes
we can convince ourselves that we need to “go somewhere” to make photos.
It’s easy to forget that it’s not necessarily the location or the
subject matter that makes for a great photo. Instead, it’s how we inject
our own creativity into the making of the photo that truly matters.
In the case of Sally Mann, the majority of her work takes place on and around her property, with concentrations on simple subject matter.
The lesson:
The next time you feel like there’s nothing to photograph, remember
to look a little deeper at the things surrounding you at any given
moment. Light transforms textures and can produce incredibly dynamic
compositions from even the most common subjects.
As a measure of solidarity, I made three photos using my cell phone
here in the room where I’m currently writing. They are incredibly basic
objects: my hand, a spoon, and a book, with the entire process only
consuming about ten minutes. I made all of these using available window
light and then quickly processed them in Adobe Lightroom Mobile.
Much like Ed Weston
and his simplistic photos of common objects, Sally Mann teaches us that
it can pay to look deeper at the things we encounter every day.
Embrace the flaws
Nothing is or ever will be perfect, especially our photographs.
Coming to terms with the truth that perfection is unattainable is a
constant difficulty that we all must face as photographers. Sally Mann
takes this one step further by actively welcoming flaws and
imperfections into her work.
Many of Mann’s most iconic works carry a measure of impurity, which
somehow lends itself to completing the total impact of the photo.
From
one of my own photo projects. A sheet of 4×5 film shot in the Mojave
desert and developed
from the back of my car. Complete with dirt,
scratches and water spots.
Sally Mann refers to this mercurial facet of her work as the “angel
of uncertainty” in reference to the somewhat unpredictable nature of the
photographic processes she employs. It’s this complete surrender to the
happenstances of the work that gives Sally Mann’s photos their unique
qualities.
The lesson:
Try to strike a balance between proficiency and cautioned spontaneity
when you make your photographs. Keep in mind that a “perfect” photo
doesn’t exist and try not to become so preoccupied with your technique
that the creative nature of your work suffers.
Allow yourself to be yourself, and that will shine through in your
photos. Welcome all the little intricacies and glitches, which come
along with making photographs, and you will likely find more enjoyment
from the images you make.
Recognize the power of photography
As much as Sally Mann’s work is revered by some it is reviled by
others. Her expressions of death, decay and especially her highly
controversial images of her children have made here somewhat of a
polarized figure. It speaks to the incredible power held within
photographs which can move people in a multitude of directions.
Photo by Adam Welch
The lesson:
Photography is not just a two-dimensional art form. The power of photography can transcend the medium itself with many legendary photos serving as a model for social and environmental change.
To that end, we must always remember that our work can affect our viewers on levels we might not fully comprehend.
It’s true that we can impact the lives of those who see our photos in
a positive way. Yet, it is also true that our photos can have the
opposite effect and can potentially cause pain. In the case of Sally
Mann, the public reception may include entirely different attitudes than
was originally intended.
In closing…
No matter if you’re a professional or hobbyist, being a photographer
today means constant reminders that our photographs could always be
better. If we only had this or that piece of gear, or maybe if we travel
to this place or that, our images will somehow finally reach that
magical Nirvana we always hoped they could achieve.
And then we have Sally Mann – a photographer that has managed to
become arguably one of the most influential photo makers of the last
fifty years.
She seems to defy the conventions of today’s photographic climate by shooting close to and in her home using tools and techniques that are more than a century old.
Her work is famous – and at times, infamous.
In fact, many of her more notable works can’t even be shown within this article. Yet, the work of Sally Mann
reminds us all that we are making photographs with similar intentions;
to express ourselves using whatever means satisfy us most.
Perhaps the greatest lesson we can learn from Sally Mann is that we
all share a common complexity best translated through photographs in the
absence of words. That somehow we find perfection through imperfection,
and that we are all mortal.
It’s easy enough to develop the illusion that the legendary names
venerated throughout the history of photography were somehow so
different from ourselves. While’s it’s certainly true that the
photographic climate has changed, we still share the same passion for
the art as those who clicked shutters fifty years or even a century ago.
Many of them faced the same challenges, inspirations, successes and
failures as we do. Perhaps that’s why I love learning more about the
giants of photography and applying lessons from their work to my photos.
In this installment of “Lessons from the Masters,” we’re going to
take a closer look at the work of the estimable Imogen Cunningham. Her
determination and herculean achievements placed her working alongside
other formative photographers of the 20th century. The contributions she
made to photography as an art helped shape the photographic landscape
we know today.
Named after the heroine of the Shakespearean play Cymbeline, Imogen
Cunningham entered this world on April 12th, 1883. Born to rather
paradoxical parents (her father a spiritualist and her mother Methodist)
in Portland, Oregon she was a self-described “ill-tempered” child.
When she was 18 years old, she saved enough money to purchase (via
mail order) her first camera in 1903, a 4×5 type, along with a box of
glass plate negatives. She then began teaching herself how to make
photographs. Cunningham knew photography would be her life’s work
although her path would not be a direct one.
Following her graduation from the University of Washington with a
degree in Chemistry in 1907, Imogen worked with Edward Curtis at his
Seattle studio. There, she honed her skills in the darkroom while
printing his iconic images of Native Americans and the American West.
Two years later, Cunningham received a $500 grant which enabled her
to continue her studies abroad in Germany. During this time she
developed theories on photographic chemistry still practiced today.
On her return to the west coast from Europe, Imogen made a familiar
pilgrimage which other notable artists of the time often made and
ventured to New York City for a meeting with the legendary Alfred Stieglitz
at his “291” gallery. Stieglitz introduced her to Gertrude Käsebier who
was the first professional female commercial photographer at that time.
After this influential meeting, Imogen committed her energy to
photography. She opened a studio in Seattle, Washington and soon made a
name for herself through portraits.
It
was this studio where Imogen made her living while finding time to
delve into more personal work before relocating to California in 1917.
Unfortunately for us, she left the majority of her photographs and
negatives behind, so there isn’t a large wealth of examples from that
period of her career. In 1929, the Film und Foto Exhibition in
Stuttgart, Germany, included a ten-piece selection of Cunningham’s work.
The fabled Group f/64 would form a few years later to which Imogen was a
founding member. Other founding members included her friend Edward Weston as well as Henry Swift, John Paul Edwards, Sonja Noskowiak, Ansel Adams and Willard Van Dyke. Over the years, Imogen Cunningham’s body of work would be as eclectic as it was groundbreaking.
After living an extraordinary life of photography, Imogen Cunningham
passed away on June 23rd, 1976 in San Francisco, California at the age
of 93.
Now that you know a little bit about the person, let’s dig a little
deeper. We’ll look at a few of the many the lessons you can learn from
the life, work, and attitude of Imogen Cunningham which can help to
improve your photography.
Extend your range
Imogen Cunningham’s choice in subject matter was ‘diverse’ to say the
least. From her earliest pictorial work to her self portraits and
nudes, it’s safe to say that the idea of sticking to one subject or even
one genre for that matter was not something that held back the creative
spirit of Imogen Cunningham. She believed that photographs presented
themselves to her organically.
She seldom went “looking for things to shoot,” instead preferring to
allow the subject matter to appeal to her aesthetic awareness. I mean,
come on, she was even one of the early practitioners of street
photography before there was street photography!
Many of Imogen’s most iconic photographs gravitated towards the use
of light and shadow to present common scenes in an extraordinary way by
accentuating texture and shapes. She could look past what a subject was
to see what it could be. This beautifully simplistic aesthetic is one of
the reasons so many Cunningham prints carry a timeless appeal.
Sometimes we find ourselves concentrating so vigorously on obtaining a
particular photograph that we overlook other opportunities to produce
great work. While it’s true that we can and should visualize how we want
the final image to appear, the process is often helped along if we
remain flexible.
Don’t allow yourself to be mired down by one particular subject or
location. This is especially true for us today while bombarded by social
media accounts producing visually similar photos according to a theme
rather than personal expression. This leads to an almost unconscious
dulling down of creativity.
My own still life photo of lilies making use of light and texture to bring out the subtle elegance of a
simple subject.
Photograph anything and everything that you please – even if might not fit with what you generally shoot.
Feel the fear…then do it anyway
One of my favorite quotes from Imogen Cunningham goes like this:
“…you can’t expect things to be smooth and easy and
beautiful. You just have to work, find your way out, and do anything you
can yourself.”
Without a doubt, Imogen was a strongly independent, capable and witty
woman who pursued her work with an intensity of purpose. At the same
time, she was human. She faced challenges, hardships, and fear just as
we all do.
The key to overcoming your self-doubt is to keep moving forward. I
think that’s what Cunningham was getting at here. It’s not that we
should strive to be fearless but instead work to be tireless in the face
of fear or our lack of confidence.
When it comes to photography, there will always be areas where we
don’t feel as knowledgeable or proficient as we would like. However,
that shouldn’t reduce you to thinking you will always feel that way.
Take it from Imogen. Work hard and accept that you won’t always find
yourself in easy situations. But never, never, never give up.
Interface with other photographers
Surrounded by other photographers, like many other defining artists
of her time, Imogen loved discussing all aspects of photo work. As a
founding member of Group f/64, she understood the value of sharing ideas
and concepts with other photographers who approached the medium with
the same zeal as she did. They learned from one another and worked to
further the craft.
One of the most enlightening and enjoyable things I have ever done in
this regard was to start the ongoing ITOW (In Their Own Words) Project.
This project consists of interviewing other photographers that I either
know personally or interact with on social media. The insights gained
through these discussions continue to help deepen my own appreciation
for the way other people see photography.
By Seth Doyle via Unsplash
Whenever possible, take the time to get to know other photographers
and discuss photography openly and honestly. This doesn’t mean you have
to strike up a conversation with anyone you see is carrying a camera,
but it’s always interesting to examine how other people go about making
their images and why.
Worldwide
communication has never been more extensive or readily available. We
have the capability of connecting with people whom we would have never
known existed otherwise. One of the greatest assets we have for growth
in our work is by interacting with other people who appreciate the value
of photography.
Parting thoughts on Imogen Cunningham
Having been fortunate enough to view some of Imogen’s original
prints, it’s easy for me to understand why she was, and still is, one of
the most influential and accomplished photographers of all time. Along
with other pioneering photographers, we owe a debt of gratitude to
Imogen for helping advance photography to the incredible medium we know
today.
The lessons we can learn from her work extend well beyond the
photographic. She helped show that beauty is found in places and objects
we see every day and that we can accomplish almost any goal – no matter
how distant it may seem.
I urge you to learn more about Imogen Cunningham, her photographs and her wonderful example of living a full life. Author’s Note: I would like to extend my immense appreciation to The Imogen Cunningham Trust for permitting the use of many of the photographs presented in this article.
More Lessons from the Masters of Photography: Edward Weston
In any art form, we have those who seem to transcend the medium
itself. Those who by their very accomplishments earn the respect and
admiration of those who view their work. We call these esteemed
individuals “Masters”. In photography, there great names that we hold
high because their photographs move us on some emotional, nearly
spiritual plain. We see these people as masters of photography not
simply because of their level of technical skill but how their
application of those skills makes us feel. At the same time, we strive
to reach that same level of proficiency.
In this installment of Lessons from the Masters of Photography, we
are going to examine the work of Edward Weston. We will look at the
photographs and also the man to see what valuable lessons they can teach
us about photography.
Edward Weston
Edward Weston by Fred Archer- 1915
Weston was born in Highland Park, IL on March 24th, 1886. He began
photography at the relatively young age of 16 when he was given a No. 2
Bulls-Eye camera by his father. The camera used 3 ½ inch roll film and
Weston used the incredible little box to make photographs around Chicago
where he spent a large portion of his childhood.
After moving to California in 1906, he worked as a surveyor and began
working in photography essentially as a “door-to-door” photographer. A
couple of years later, Weston would return to Illinois to attend the
Illinois College of Photography where he became proficient in darkroom
and camera techniques. Finally, in 1911, he opened his first studio in
Tropico, California. The rest, as they say, is history.
Edward West went on to become one of the most dominating forces in
the world of photography and is now considered by many to be one of the
first great American photo makers. His work ranges from landscapes to
fine art nudes and still life. In this article, we’re going to look at a
few of the many lessons you can learn from the great Ed Weston, one of
the Masters of Photography.
There are no Rules
How many times have you stopped yourself from placing a horizon dead
center in a composition because it isn’t generally considered correct?
Have you worn out the Rule of Thirds?
Do you always want to retain detail in the shadows each and every
time? If you ever don’t make a photo in a certain way because it isn’t
the “correct way”, then you are limiting yourself and your work…and Ed
Weston would likely agree with me.
Weston believed there were no set “rules” to composition, He saw
photography as a progression in self expression and would photograph the
scene or subject based on what he felt, not necessarily based on any
set rules.
When you photograph, always remember that while there a few technical
constraints the majority of the creative side of your photograph is
completely up to you. Be like Edward Weston and don’t hold back just
because what you want to do is unique.
Beauty is Everywhere
If you look at some of Weston’s most celebrated works, you’ll see
that they consist of everyday items that you might have in your home
right this second; lettuce, sea shells, even a toilet. In fact, what is
considered to be one of his most famous photographs is nothing more than
a bell pepper.
Pepper #30 by Edward Weston, 1930/Image courtesy Sotheby’s
Weston made the everyday commonality of objects disappear. One of my favorite quotes by him is as follows:
“This
then: to photograph a rock, have it look like a rock, but be more than a
rock. Significant presentation – not interpretation.”
What’s Weston telling us here? Is he just being overly dramatic as
some of us photographers tend to be (as my hand slowly raises)? Or is he
saying that we should see the things around us not only as what they
are but also what they could be?
Beauty and therefore photographic material surrounds us all. Don’t
overlook something because it appears simple. Instead, attempt to see
its beauty photographically and learn to use your camera to show that
quality in your work.
Use Simple Techniques in a Grand Way
Something I found surprising as I learned more about Weston is that
most of (if not all) of his photographs were contact prints. This means
that the negative is placed directly on top of or in very close contact
with the printing paper. A contact print is the same size as the
negative it is birthed from and in the case of Weston that was usually
8×10 inches.
Can you imagine that? All these great photographs were printed with
extremely simple methods using nothing more than a negative, a piece of
paper sandwiched in a wooden box, and light. The magic happened when
Weston would add in the most important thing of all; his immense skill.
You see, Weston might have used simple tools, but the way in which he
used them made all the difference. In your photography, never forget
that amazing things can come very very simple means.
The important thing is learning how to use the tools you do have
expertly. Don’t believe me? That Pepper #30 from earlier…it was shot in a
tin funnel on Weston’s kitchen table.
Some Final Thoughts on Edward Weston
I realize as I close out this article that it is March 24th, Edward
Weston’s birthday. Oddly fitting as I think back on the legacy and
lessons he left us to help better ourselves as photographers.
Weston was a master of making the simple profound. He used simple
techniques and wasn’t afraid to bend the accepted “rules” in order to
get the photography he saw fit. As you continue on your photographic
journey I urge you to learn more about Edward Weston and his wonderful
work as you discover more ways to become a better photo maker.
Read other dPS articles on the masters of photography here:
