View Full Version : Insights That Have Influenced Your Photography
neil poulsen
2-Mar-2013, 11:30
What are insights that have had an influence in your photography? This could be how you see images, take photos, produce photos, display photos, etc. Also, why do they have meaning for you, how do you apply them?
Two that come to my mind are the following:
>> Expose for the shadows, develop for the highlights.
This is the basis of the zone system. When I heard this, I understood the zone system better.
>> I'd rather have two exposures that are correct verses two that are incorrect. (Paraphrased from Ansel Adams.)
In "bracketing" Ansel Adams (from my readings) would take two photos at the same exposure. In this way, I believe that he could later adjust the development to bring in the highlights where he wanted them. So, he would want want both sheets at the same exposure. Typical bracketing involves under and over exposing the negative. So, whichever is the "correct" exposure, two "incorrect" exposures remain.
Very neat I thought. This also helped me understand the zone system.
C_Remington
2-Mar-2013, 11:39
"I'd rather have two exposures that are correct verses two that are incorrect." ??? Huh?? What the hell does that mean?
Anywho...
1. Only show your best work.
2. Envision the final print before you trip the shutter.
"I'd rather have two exposures that are correct verses two that are incorrect." ??? Huh?? What the hell does that mean?
I thought Neil explained it rather well.
For me, it was the realization of what "photograph the light" actually meant. I had only heard that for decades, and then my own internal "light bulb" finally came on ...
More recently, I have come to realize that I want to make pictures without having to travel like a tourist to get them. I end up taking the same photos of photogenic places that have already been taken. Working closer to home (or AT home) may still be making images that have already been made, but it's cheaper and less time consuming.
"I'd rather have two exposures that are correct verses two that are incorrect." ??? Huh?? What the hell does that mean?
Anywho...
1. Only show your best work.
2. Envision the final print before you trip the shutter.
Have to totally agree, that however means strict editing later and sometimes what you think are your best images may not be appropriate (I'm talking in terms of exhibitions & publications).
I'd add having a purpose when you shoot, a potential use for the images. You set yourself a goal / project discover or set the boundaries and shoot, it's amazing then how things come together compared to shooting at random.
Ian
C_Remington
2-Mar-2013, 12:58
I guess I still don't get it. Who would want to incorrect exposures????
If it's worth doing, it's worth doing well. Much as I enjoy photography as a pastime, I take little enjoyment from doing a half-assed job when I know I can do better.
John Kasaian
2-Mar-2013, 20:11
If it's worth doing, is worth doing poorly.
You can't do the thing well if you haven't experienced doing the thing at all.
If the scene you are thinking of shooting is front lit, get back in the car.
Alan Gales
2-Mar-2013, 23:12
Never be afraid of making a mistake.
Alan Gales
2-Mar-2013, 23:14
Mistakes are what you learn from.
Alan Gales
2-Mar-2013, 23:22
Here's one that applies very much to the newbies and in fact applies to us all as well.
Shoot, just shoot!
Merg Ross
2-Mar-2013, 23:32
Consideration of the concept that "It has all been done before".
Herein lies the challenge confronting every creative photographer. I once wrote Aaron Siskind that I had a portfolio of "new" work to share. He wrote back, with emphasis on "new". From then on I referred to my work as being "recent". I think this is worthy of thought.
Alan Gales
3-Mar-2013, 00:50
Consideration of the concept that "It has all been done before".
Herein lies the challenge confronting every creative photographer. I once wrote Aaron Siskind that I had a portfolio of "new" work to share. He wrote back, with emphasis on "new". From then on I referred to my work as being "recent". I think this is worthy of thought.
It's worthy of a lot of thought.
Thanks so much for sharing, Merg.
Tebbiebear
3-Mar-2013, 04:34
I guess I still don't get it. Who would want to incorrect exposures????
No one, but thats what happens when you bracket a shot. One "correct" exposure and two incorrect ones. One over exposed and one underexposed. I have never really understood bracketing or the thought process behind it. I guess when I first got into photography I was a poor high school student and thought it was a HORRIBLE waste of, to me, very expensive film. By the time I could even think about having enough money to bracket my shots. I was competent enough that it was not really needed.
"Practice makes perfect."
No, it doesn't. If you practice a skill and make mistakes, you'll repeat the mistakes.
Practice perfectly.
--P
Brian Ellis
3-Mar-2013, 07:55
Better to end the day with good memories than bad photographs (i.e. don't make photographs just because that's what you set out to do)
John Kasaian
3-Mar-2013, 09:12
Better to end the day with good memories than bad photographs (i.e. don't make photographs just because that's what you set out to do)
I like this---especially with 8x10 film going for $4/sheet!:)
If there's nothing to see, you're not looking.
Intimate subject familiarity greatly aids the endeavor of making good images.
Michael Graves
3-Mar-2013, 10:27
The only insight that has really affected the way I approach photography is this. Only two opinions matter when it comes to my final images. Mine and my wife's. Not necessarily in that order. With anyone else, I assume the "interested expression", nod sagely and say, "I'll have to give that come consideration." And sometimes I actually do.
Bruce Watson
3-Mar-2013, 11:16
>> Have the courage to honor your convictions.
Two examples. One, I'm no longer afraid to look at a scene, see that I want from it, set up on it, and in the final evaluation (or at any stage prior), decide it's not going to work for me. Then I tear down my setup and walk away without burning any film. That was an interestingly difficult lesson for me to learn -- I processed a lot of film of mediocre images that I didn't really want just because I'd already put in some work.
Second, I'm no longer afraid to look at a scene, see what I want from it, set up on it, and wait for it. I've got an excellent (IOW, it does just about exactly what I want) photograph on my main wall that illustrates this. I set up on a shot and the light wasn't right. Rather than waste film on something I didn't want, I waited for the light. I hiked a ways up through the rocks to a point where I could see the horizon, and I could see that when the sun set it might possibly peek under the cloud deck, probably just for a few minutes at most. Took just less than two hours. Wife not happy. Cold. Getting dark. Looking like rain. And right at sunset, I got about two minutes of light (I don't know exactly how long; I was busy ;-). I was able to verify my exposure, check my lens settings, and make two exposures. By the time I got a new film holder in place, the light was gone for the day. One of the photographs I'm most happy with, and my wife readily admits it was worth the wait.
everything changed two different times
I bought a circuit photograph of train mechanics circa 1948 in Los Angeles and, except for their crazy hats - they were dressed as a train mechanics might dress today - - which got me thinking that while mens fashion changes very slowly, womens change like twice a year... so I started photographing women in what they wore for work - documenting changes maybe
which got me to photographing people instead of what I was before - which was dirt & rocks and such...and street scenes
the second thing that changed everything was when I was photographing women at this 'function' - the amount of room I had was very cramped - I ended up taking photos that included the background stand and sandbag, part of the umbrella, and gaffer tape I was using to hold stuff down - intending to crop it out in the final print
but when I made some full frame proof prints - I saw how much better it was with those elements left in the print
now..I don't go too much out of my way to include stuff like that - but I don't shy away from it when they creep in
Terry Christian
6-Mar-2013, 10:39
Trust the process.
In other words, respect the fact that you have to walk before you learn to run. You may get frustrated, but someone else has been there before and used their same frustration to invent whatever it is that is causing you grief. That means you need to learn and appreciate the fundamentals before you think you can do better. That solid grounding in the basics will only help you.
Jac@stafford.net
6-Mar-2013, 11:35
My original field was urban daily newspaper work, and later work more like photojournalism. I never got into fine art photography.
My mentor of almost fifty years ago was, of course, a powerful influence upon me. He emphasized vision and honesty, and at the same time his mentor was W. Eugene Smith who I knew only by his work. That mentor went on to great success - eventually in fine art work.
Much later when I learned much more about Eugene Smith, his manipulation of photos, his staged work, and his drug-addicted lifestyle. I was shocked so that influences from Smith and my mentor have evaporated. I'm starting all over at almost seventy years-old.
.
I've always enjoyed this bit of insight by Minor White,
"Photograph things not only for what they are, but for what else they are."
Further to that, Paul Caponigro, White's student, has often commented that the photographer must "not let the camera reveal just what the eye picks up, but what the heart picks up as well".
These thoughts are particularly inspiring to me and represent some of the most important qualities of a fine photograph.
C. D. Keth
6-Mar-2013, 22:07
A professor I had in school often told us (I'm paraphrasing), "Inspiration is bullshit. I don't want to hear about bullshit. I want to hear about work."
Merg Ross
6-Mar-2013, 22:51
A professor I had in school often told us (I'm paraphrasing), "Inspiration is bullshit. I don't want to hear about bullshit. I want to hear about work."
He got his wish; there is an abundance of uninspired work on view these days.
He got his wish; there is an abundance of uninspired work on view these days.
Did he really get his wish ? The "abundance of uninspired work" would imply he did not !
C. D. Keth
7-Mar-2013, 16:05
He got his wish; there is an abundance of uninspired work on view these days.
I'm not sure you get what he was saying.
I'm not sure you get what he was saying.
Chris,
Actually, I did. I was waiting for someone to comment.
If that was his "wish" and it is represented by an "abundance of uninspired work" out there....
Then, clearly, there's a place and a need for inspiration..
Perhaps the concept of inspiration isn't such "bulls--t" after all. Just a thought !
Consideration of the concept that "It has all been done before".
I didn't pick up a camera for over 20 years, self–convinced that it had all been done before. It took a dispassionate academic to convince me that my views were my own and no one else's. I still struggle against the ignorance of many, but I know the true origin of my compositions.
1) There's no such thing as a perfect print. I once saw an AA print at a "Print Viewing" that was peppered with dust spots.
2) That old canard about the wastebasket being the best darkroom tool.
3) It's ALL about the light, and it's ONLY about the light.
I'm not sure you get what he was saying.
It seems to me that that may have been a poorly paraphrased version of success being 1 percent inspiration and 99 percent perspiration, a not so gentile reminder to students seeking a shortcut to success that rigor and commitment also count for a lot.
Jac@stafford.net
7-Mar-2013, 20:36
Perhaps the concept of inspiration isn't such "bulls--t" after all. Just a thought !
Perhaps the professor was just tired of students who thought their rationale substituted for outcomes. Today we have a generation of students who think they should get credit for what they believe rather than what is true - graded for bullshit. It is the fault of high school educators so terribly concerned about students' self-esteem that nobody fails. They are not ready for college.
--
Jac - retired with over thirty years in higher education
Insights? If after a time you still haven't succeeded . . . throw a big wad of money at it. :)
Merg Ross
7-Mar-2013, 21:09
Chris,
Perhaps the concept of inspiration isn't such "bulls--t" after all.
Thank you. That is exactly the point I was making.
Insights? If after a time you still haven't succeeded . . . throw a big wad of money at it. :)
I prefer the Homer Simpson version: "If at first you don't succeed, give up. It probably wasn't worth doing in the first place."
Merg Ross
7-Mar-2013, 21:47
I didn't pick up a camera for over 20 years, self–convinced that it had all been done before. It took a dispassionate academic to convince me that my views were my own and no one else's. I still struggle against the ignorance of many, but I know the true origin of my compositions.
When I first photographed at Point Lobos with Brett Weston in my teens, the idea of, "it has all been done before", bothered me. Here I was at a place photographed by his father, by Ansel by Minor, and most of the Group f/64 folks. Brett, and I remember the day, simply said, "Merg, it has all been done before, but perhaps not your way or my way. Make it yours". He, of course, had the fame of his father to overcome, and Brett made a different statement with his camera. Never, ever, because it has been done before, forsake what might be original with your vision. That was an early lesson learned. Not a single subject has been exploited to its fullest by the camera, nor will that ever be the case.
Great, great thread. Lots to learn here.
[QUOTE=ROL;999597]
Never, ever, because it has been done before, forsake what might be original with your vision.
Not a single subject has been exploited to its fullest by the camera, nor will that ever be the case.
Those are great thoughts to live by !
Thank you, Merg
C. D. Keth
7-Mar-2013, 23:40
Chris,
Actually, I did. I was waiting for someone to comment.
If that was his "wish" and it is represented by an "abundance of uninspired work" out there....
Then, clearly, there's a place and a need for inspiration..
Perhaps the concept of inspiration isn't such "bulls--t" after all. Just a thought !
Maybe my paraphrasing ruined it but I always took it to mean that you can't wait for inspiration, you have to work through your conceptual problems and through that work you will find what many people call "inspiration" but what is really just intimate understanding of yourself and your work.
Originally Posted by ROL
Never, ever, because it has been done before, forsake what might be original with your vision.
Not a single subject has been exploited to its fullest by the camera, nor will that ever be the case.
Those are great thoughts to live by !
Thank you, Merg
FYI: That is NOT my quote. It is Merg's. (He posted it, not I – not that there's anything wrong with it). Please watch your quote copys.
Kirk Gittings
8-Mar-2013, 09:23
Here is a recent insight based on a fascinating interview I saw recently with Alan Arkin (who I had the profound pleasure of meeting one time). It may not resonate with anyone else. It is deeply personal.
In my youth, I was obsessed with photography much to the detriment sometimes of my relationships etc. I believed photography was the reason for my existence. Now in my 60's, as I belatedly approach maturity, photography has become a reflection of my existence.
... Not a single subject has been exploited to its fullest by the camera, nor will that ever be the case.
Well, I guess I knew that extrinsically, but growing up a child of alcoholics, I had yet to convince my self-critical self of that intrinsically. Still, I've always tried to look at both sides of the coin. While I watched many "peers" become successful behind the camera during my self imposed hiatus, only a precious few whose work I thought was as good as I could have done myself, I believe that time spent without glass lensed eye, honed and sharpened my appreciation of light in form without mechanical distraction. When the time finally became available to take up the craft unconditionally, years of stored mental imagery (visualization) came flooding out in very focussed form. To what end seems a much further bridge to cross.
Here is a recent insight based on a fascinating interview I saw recently with Alan Arkin (who I had the profound pleasure of meeting one time). It may not resonate with anyone else. It is deeply personal.
In my youth, I was obsessed with photography much to the detriment sometimes of my relationships etc. I believed photography was the reason for my existence. Now in my 60's, as I belatedly approach maturity, photography has become a reflection of my existence.
Well, just to be funny, I was going to post one sarcastic word (and emoticon) to that sentiment, ARGO. (:p, see the film for reference), but that dovetails so nicely upon my last post (your post as yet unseen before mine). How dare you say just the right thing?!? :)
Kirk Gittings
8-Mar-2013, 10:08
Well, just to be funny, I was going to post one sarcastic word (and emoticon) to that sentiment, ARGO. (:p, see the film for reference), but that dovetails so nicely upon my last post (your post as yet unseen before mine). How dare you say just the right thing?!? :)
I can see from your first post above that we share a lot in terms of similar family history and the resulting effects.
Maybe my paraphrasing ruined it but I always took it to mean that you can't wait for inspiration, you have to work through your conceptual problems and through that work you will find what many people call "inspiration" but what is really just intimate understanding of yourself and your work.
That's very understandable and, I'm sure, very true for many of us. I liken it to breaking thru a plateau and coming to a new understanding of something (or yourself) as a result of constant exploration.
Thanks for the thought.
Dennis
FYI: That is NOT my quote. It is Merg's. (He posted it, not I – not that there's anything wrong with it). Please watch your quote copys.
Thanks for your correction, ROL. Don't know how I managed to do that, but it was late at night ! I should have gone to bed earlier --- my apology to Merg and ROL.
I've corrected the text below ---
----------
Originally Posted by Merg Ross :
"Never, ever, because it has been done before, forsake what might be
original with your vision. "
"Not a single subject has been exploited to its fullest by the camera,
nor will that ever be the case."
-----------
Originally Posted by DennisD:
"Those are great thoughts to live by !
Thank you, Merg"
Mark Sawyer
9-Mar-2013, 11:52
Re: Insights That Have Influenced Your Photography :
1.) I love pixies! :)
2.) I hate pixies... :(
Beyond that, I generally keep a six-pack of inspiration in the icebox and a bottle of single-malt insight on the counter... :rolleyes:
AndreasT
9-Mar-2013, 17:55
"My camera makes great photos", is a load of rubbish.
cosmicexplosion
9-Mar-2013, 23:55
The best camera in the world is the one you have with you.
cosmicexplosion
9-Mar-2013, 23:56
Shoot now or forever hold your peace.
kev curry
10-Mar-2013, 01:43
It is deeply personal.
In my youth, I was obsessed with photography much to the detriment sometimes of my relationships etc. I believed photography was the reason for my existence. Now in my 60's, as I belatedly approach maturity, photography has become a reflection of my existence.
That's a lovely way of looking at things.
I'll adopt that.
Bernice Loui
10-Mar-2013, 11:02
We are the sum of our life's experience's, good, bad, and every possible thing in between. Once the image creation process tools (camera, lens, film, digital or what ever else involved) have been mastered to a good degree it is up to the individual to use these tools to share their life's experiences in the images or any other art they create.
If we improve our selves as members of the human family and gain a truer understanding of humanity and the human condition the images we create reflect this sensitivity in the art created.... Others will notice what has been created.
Ask our selves how sensitive we really are to the noun we used to create that image ?
Are we giving voice to these nouns or are we using these nouns as an extension of our own ego ?
So many times image creators (photographers in this case) spend and focus so much time, effort and resources searching for that golden widget that is claimed to produce that special image for them, yet the golden widget never existed to begin with.. the magic comes from within, not from some material device as the device is merely a means to an end.
Bernice
Kirk Gittings
10-Mar-2013, 13:42
That's a lovely way of looking at things.
I'll adopt that.
Thanks.
cjbroadbent
10-Mar-2013, 16:01
The realisation that I was not much good at anything else.
Brassai
11-Mar-2013, 07:00
1. Good photography is mostly about using the Light well.
2. All Light is good; it's the photographer's job to find how to best use it.
3. There are just as many photo opportunities at night as there are in the day.
Doremus Scudder
11-Mar-2013, 10:04
A few things I say to myself over and over:
Don't bother with a photograph unless it works on multiple levels.
The most important thing in photography is what is what you point the camera at.
Being original is overrated; especially for it's own sake.
Go ahead and try it.
Photography is just a medium; it needs content.
And of course, Ansel Adams' quote about sharp photographs of fuzzy concepts...
Best,
Doremus
Greg Miller
11-Mar-2013, 10:14
Once the image creation process tools (camera, lens, film, digital or what ever else involved) have been mastered to a good degree it is up to the individual to use these tools to share their life's experiences in the images or any other art they create.
I think this statement is especially important. Mastering the technique/technology/process allows the creative process to flourish. If the brain is focused on f-stops, shutters speeds, Scheimpflug principles,... then the left hemisphere of the brain will be dominant. Only after the technical process is second nature can the creative right hemisphere of the brain become dominant. And that is when the creative photographers within can take flight.
Kirk Gittings
11-Mar-2013, 10:42
I agree completely. I have started shooting some video commercially and the technology is so new to me that it overwhelms my creativity.
neil poulsen
11-Mar-2013, 11:46
I'll add another.
Perspective is camera position! Combine this with framing, and one has two powerful tools for creating images.
Also, selecting focal length is part of framing, deciding what parts of the scene should be included or not included in the image.
I think I got this from Ansel Adams, when he spoke in his books about the importance of selecting camera position.
No highlight can be brighter than the paper it’s printed on.
This may seem so simple and obvious as to not warrant mention in this forum, but it was not something taught to me by my mentor and it is not something I learned from a book. When I realized this for the first time, it completely changed my approach to making placements and ultimately lead me to embrace the practice of metering and developing for the high values while letting the low values fall - a practice in contradiction with the axiom that one should meter for the low values and develop for the high ones. I am not recommending my adopted approach to others. I am merely saying that it works well for me given the kinds of things I shoot and the conditions under which I tend to shoot them. In that sense, the realization I share with you tonight was highly influential in my work as a photographer.
N. Riley
http://normanrileyphotography.com
Bernice Loui
11-Mar-2013, 20:10
Slight changed in camera position (height_up-down, side to side_LH-RH, this can be a matter of fractions of an inch) has a very significant effect on the image. This along with focal length to control front to back perspective has a very strong effect on how the finished image looks.
Ideally one should have a pretty good idea of where the camera position needs to be along with what focal length lens is required to achieve the finished image in mind before setting up the camera.
One of the bad habits zoom lenses common on smaller formats tends to create is using the zoom to frame and compose rather than using the zoom to fine tune the image in mind after the initial focal length and camera position has been established.
One if the skills learned from using a view camera is knowing camera position, focal length required for a given image and making that single exposure result in a good finished print.
Bernice
I'll add another.
Perspective is camera position! Combine this with framing, and one has two powerful tools for creating images.
Also, selecting focal length is part of framing, deciding what parts of the scene should be included or not included in the image.
I think I got this from Ansel Adams, when he spoke in his books about the importance of selecting camera position.
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