Cruising fer snaps

[Kevin J. Kolosky]

We have all read much about the so called "creative process". How does one person see and then photograph a masterpiece while the other person drives right past the same thing because they didn't see anything there. How does one person see a good photograph in a bunch of trees while the other person just sees a bunch of trees and passes on by. Or vice versa. How do some people make and show lots of photographs that just don't seem to cause any reactions in people. Duds would be a good word for it.

Lately I find myself going out and, as they say, "cruising fer snaps", meaning looking for meaningful photographs in the natural scene (as Ansel used to say). And I get so damn frustrated becasue I will waste a half tank of gas (not so cheap anymore) and not see a damn thing. But when I sit down in the evening and look at this site, or photo books, or the internet, or videos of so called great photographers, and I will notice photographs of things that I saw while I was on that ride. And they are beautiful photographs. Photographs I would have liked to have made. But I didn't see it when I was there.

Well, enough of my troubles. How about you? When you go out looking for photographs what is your mindset. Do you say to yourself I will make a lot of exposures of everything that looks good in the hopes I will get a good one or two, or do you pass on by a lot of things that you later think might have been good.

Do you listen to music while you are driving around. What do you think about, or maybe not think about. Are you looking for certain types of things or just taking what is given to you. Do you like to go by yourself or with someone. If you go with someone do you look at their groundglass and they look at yours.

I would like to hear what your mindset is when you are trying to be (or are being) creative while you are out there driving around cruising fer snaps.

[Bill Burk]

I like to take pictures nearby, or within a mile's walk, of where I am.

The trick is to make "where I am" somewhere interesting.

[Richard Wasserman]

Your title immediately reminded me of Zappa's Cruisin' for Burgers, maybe it will help? http://www.youtube.com/watch?v=k6eEEmtZUP0

The majority of my photography is project driven, I don't cruise hoping that inspiration will strike. I always work alone as I find being with other people to be distracting. As far as mindset goes I try to keep my mind as empty as possible—not too hard considering—and SEE. Easier said than done, of course, and it takes time. I often stand around simple looking—photographs are everywhere waiting to be discovered. I often know when I have something as I have a physiological response when I find images. I can't describe it really, but I get sort of a tight and tingly feeling in my chest. OK, no jokes you guys....

[lenser]

From a technical and artistic point of view, I avoid the cruising for subjects after 10:00am to about 4:00pm or later. When the light is high and poor, it's much harder to recognize that a scene, or clump of trees, or old building or crumbling cityscape have much promise. But, when the light is low and dances across or through the subject, things start to jump out and demand attention. Inspiration usually follows very quickly.

For me, light is always the subject and what it enhances becomes a bit secondary.

[Kevin J. Kolosky]

From a technical and artistic point of view, I avoid the cruising for subjects after 10:00am to about 4:00pm or later. When the light is high and poor, it's much harder to recognize that a scene, or clump of trees, or old building or crumbling cityscape have much promise. But, when the light is low and dances across or through the subject, things start to jump out and demand attention. Inspiration usually follows very quickly.

For me, light is always the subject and what it enhances becomes a bit secondary.

Interesting, and I know what you mean about lower light. But also interesting to read Ansel and look at his photographs. He often comments that he was trying to capture the mood of the "blazing sun".

[Mark Sampson]

The term 'cruisin' for snaps' was likely invented by Fred Picker. Despite the random nature of the search that it suggests, it's not quite true. I've done a fair amount of it myself, with limited success at best, now I try to work more deliberately. So here are three ideas:
1) Have some subject matter in mind.
2) Go there when the light has possibilities.
3) Get out of the car and walk. Photographs are rarely seen from behind the wheel, and even more rarely stopped for.
Of course there are exceptions to those rules, we can probably think of some famous ones, but it's a good place to start.

[lenser]

Just my own personal taste, but I think his most successful images were often ones with either the light at a lower or at least side angle such as "Mt. Williamson", "Winter Sunrise", "Moonrise, Hernandez", "The Tetons and the Snake Rive", "Aspens, Northern New Mexico" ; or the ones, like "Tenaya Creek, Dogwood, Rain", "Lake and Cliffs","Redwoods, Bull Creek Flat", or his epic "Clearing Winter Storm" where his images were stunning compositions he could pull out of light with almost no direction or force. Only a few of his "blazing light' images really move me such as the stunningly back lit "Old Faithful" and the compositionally stunning "Church and Road, Bodega, California".

[tgtaylor]

Good images are hard to find. AA said "If you get one good one a month, your're doing good." Sometimes, though, you do get lucky. On a Sunday 2 weeks back I was driving around looking for B&W "snaps" with the P67II and got 3 on the same roll!!! Didn't realize how good they were until I printed them.

Thomas

[Jody_S]

Leave the lf gear at home, go 'cruising for snaps' with a digi p&s or a cell phone. Instant feedback and no perceived cost in pressing the shutter. I find it frees the mind to stop thinking about 'photography' and start thinking about 'images'. I personally use a bunch of crap old 35mm cameras, with expired film stock, because I still need to learn a lot about developing, too.

[Brian C. Miller]

The last time I was out "cruising for snaps" a few weeks ago, I noticed that I kept looking at things and thinking to myself, "Oh, that would be clich,", i.e., it's been photographed before. But how many concepts haven't been photographed before? Especially when it comes to something on the face of the earth. So if I ignore all negative thought, clear my mind, and just photograph what gets my attention, then I will photograph things that key into me. Of course, some stuff I've photographed just because I needed to dump film, and those turned out to be really interesting. But with LF, I never "need" to dump film, that only happens with roll film.

One thing that works for me is doing something cheaply, and not worrying about the outcome. Like bicycling around a neighborhood. This works best with neighborhoods that were laid out with alleys in the back of the houses. People don't keep those neat and tidy, so there's bound to be lots of shapes to photograph. And when I'm doing it, I'm on my bicycle, so I don't worry about gasoline cost, and it's easy to prop the bicycle up against something, out of the way.

So basically, the best thing to do is just go and photograph, no worries, no expectations.

[Kevin J. Kolosky]

I hate to keep bringing up Ansel, but many other famous, or infamous photographers, have said the same thing, which is that photographs are either made from without or from within.

And so when we make photos from within, i.e. for ourselves, or to please only ourself, it probably shouldn't matter what others think, but when one shows those photos from within to others and others don't like them or don't react to them as one wishes the human condition takes over and secretly you feel as though you didn't communicate or you failed, i.e. you didn't make a good photograph.

Again, I would be interested to hear from those who go out with someone, and whether you help each other look for things and whether you look at each others ground glass, etc. Whether you talk about what you want to see while you are looking, or talk about other things.

Is there anyone here who goes out with their spouse and both are looking to make meaningful expressive photographs.
I know Michael Smith and Paula Chamblee (sp) probably do, but it would be interesting to hear from others if they do and what their creative experiences have been while doing so.

[Randy]

I see lots to photograph as I shoot by at 45-65 mph. Often, my problem is saying to myself, "I'll stop and shoot that soon". And so often I am cussing at the person who is right on my tail making it down-right dangerous for me to slow and pull over.
I think, for me, the best solution is to walk often and carry a TLR, extra roll of film, and light meter, and that's it, unless lighting calls for a small tripod. Driving around looking for something to shoot seldom works for me.

[Kevin J. Kolosky]

I see lots to photograph as I shoot by at 45-65 mph. Often, my problem is saying to myself, "I'll stop and shoot that soon". And so often I am cussing at the person who is right on my tail making it down-right dangerous for me to slow and pull over.
I think, for me, the best solution is to walk often and carry a TLR, extra roll of film, and light meter, and that's it, unless lighting calls for a small tripod. Driving around looking for something to shoot seldom works for me.


I hear you. I can't count the number of times I have been out driving around in the rain and all of a sudden you get what Fred Picker used to call this "Squall light" where a little break in the clouds opens up and the sun shines. You get these intensely white looking buildings against an almost black sky, or intesely looking trees against that dark sky, or intensely looking water against the dark sky. But there is a million people behind you and no place to pull off, and worse yet you can't turn around to go back to what you saw that looked so good against the dark sky, and then all of a sudden the light is either gone or too much light, and the damn thing is done, and you didn't get anything!!!!

[andreios]

Well, I have adopted something similar lately as well, since it was unbearable to lug the heavy tripod an metal monorail all the time exploring new locations after we have moved out of the city.. So I am lugging medium format or digi snapshot.. But I have found that for me is essential not to drive around but walk around. Once I am on my legs walking through woods and fields I slowly start to see..

[Steve Gledhill]

Kevin,

You could perhaps take some inspiration (or at least pick up a few ideas) from Brooks Jensen's podcast series "Structure in the Creative Life" - the first of which is here (http://lenswork.typepad.com/files/lw0755---structure-in-the-creative-life-part-1-1.mp3). The rest of the series are available if you're a subscriber to LensWork Online.

It seems to me that you're suffering what he and others call PBWA - Photography By Walking Around. I do this sometimes - it can be very productive, but only if I have on the demeanour appropriate for where and when I'm wandering about. Good images rarely come when I'm straining to find them.

Also another post from his LensWork Daily highlights something that for me is must - see here (http://daily.lenswork.com/2012/02/a-morning-at-american-camp-by-david-grant-best.html). Take your time, look around, wait ... be patient.

And get out of the car and walk ... slowly.

[Kirk Gittings]

"cruising fer snaps", meaning looking for meaningful photographs in the natural scene

Sorry but in my little world....somehow "crusing for snaps" doesn't quite set the right mood for seeking "meaningful" photographs. AAMOF it kind of makes my skin crawl. If a friend asked me "hey lets go cruising for some snaps" I think I would run the other direction.....just saying.

[Kevin J. Kolosky]

"just saying. "

no need to be sorry. If you want to call it expressive photography you are certainly entitled. And if I want to call it snapshots so am I.

[Brian C. Miller]

If a friend asked me "hey lets go cruising for some snaps" I think I would run the other direction.....just saying.

Whatsa matter? You can't dig it cruising for some snaps in a lowrider? Too much bling in the camera brass? Is it the Bogen/Manfrotto wheel rims? Is it the bored, stroked, and blown V8 tuned by Carol Flutot? Is it the ND windows? Is it the SK Grimes custom grill? Is it the Norman headlights? Is it the darkcloth convertible top?

It's because when you look through the windshield that everything's upside down and backwards, isn't it?

Come on, Kirk, you can level with us!
;)

[Noah A]

Like Richard's, most of my work is also project-based. I don't really go around aimlessly looking for photos. This sometimes means I turn down a subject that might actually make a nice photograph because it is unrelated to a project I'm working on. This is fine with me, since personally I think photographs work well in series and I prefer to work that way.

I sometimes scout locations when the light is not good. I've likely researched those areas ahead of time and if possible I've checked them out on Google Maps. I've even found specific photos with Google Earth. By scouting ahead of time there's no pressure to make the perfect shot before the perfect light fades. It's sometimes tougher to see a photo in bad light, but it's a skill you can learn.

When I work in other countries I don't do this enough. I'm always on a time constraint. I would probably be more productive if I left the camera in the hotel the first few days, figured out all the shots I wanted, then returned to make the photos in an organized way. But usually when I travel I go out in the mid/late afternoon to find some photos in a particular area, then I shoot them when the light gets better.

I like to shoot on foot. I find it harder, especially in crowded urban settings, to see photos when I'm driving around. Driving is nice to check out different areas, but when I'm actually shooting or actively looking for scenes to photograph, I like to walk.

Like Richard as well, I like to work alone. But the reality for me is that I often work in countries where I need a fixer to translate, watch my back and help me get access to the communities I work in, so I've grown used to working with someone. If the chemistry is right, it can be great. It's nice to have someone to chat with during those long exposures at dawn or dusk. And someone to carry the tripod!

I don't mean to imply that driving around aimlessly for photos is a bad thing. Some folks work that way, and I'm sure it can be a fun and liberating experience. But if it's not working for you, maybe you should consider some kind of project. It doesn't have to be documentary in nature, it could even be based on visual relationships. But maybe you need some direction...

[Peter De Smidt]

Recently I bought a Tewe 4x5 zooming viewfinder. I find it very helpful.

The main thing, though, is to get out there and spend a lot of time looking for photos.

[Vaughn]

I can't see a damn thing while driving. Relationships between near-far, shapes the light is forming, etc are just about impossible for me to see while driving. I can find subjects while driving -- but not images. I prefer to walk to find the light.

No time-of-day limitations for me -- as long as there is light, one can photograph. Under the redwoods I prefer 10am to 2pm (a little later if it is not winter).

[Heroique]

I can find subjects while driving – but not images.

Thanks Vaughn for the key distinction:

Cruisin’ for subjects vs. Cruisin’ for images.

To confuse the two means you’re Cruisin’ for a bruisin’!

[Joe Wright]

Isn't language great, "Cruisin" has a whole different connnotation in a different country... you're more likely to get locked up as a result ;o)

That said, I find a drive great to recce the lie of the land in the area and then explore by foot at a time of day / year that's likely to favour the right light conditions.

[Steve Smith]

I find driving hopeless for looking for scenes as you're supposed to be looking at the road. However, travelling as a passenger on the top deck of a bus is ideal (as long as it goes where you want to go!).


Steve.

[Ken Lee]

I like to listen to music of a subtle and inspirational nature - because it's already on the wavelength I'm reaching for - but there's no special method. Different approaches work at different times: as with meditation, romance, and sleeping, we can't force things, but merely create the environment where things can happen on their own time.

During the times I went out shooting with Fred (over 40 years ago), sometimes we would talk while driving around (central New York) - or just quietly look. Coming upon a scene with potential, we'd acknowledge it and stop the car. Silence would follow. No looking under someone else's ground glass, except when teaching. Real looking would come later: critiquing the finished print.

It's OK to spend a whole day searching and not find anything. It's a bit like playing a slot machine: we just keep putting in the coins, and when we least expect it, we hit the jackpot - or not. If it happened when we expect it, we'd soon grow bored and find something else with inherent uncertainty.

That uncertainty principle is why shooting with film (b&w in particular) can be more appealing than digital when making "fine art": in spite of experience, we never really know how things will look until we're well along the process.

In Fine Art photography, uncertainty (http://en.wikipedia.org/wiki/Uncertainty) is our friend: it makes surprise possible :cool:

[Mark Sawyer]

Sorry but in my little world....somehow "crusing for snaps" doesn't quite set the right mood for seeking "meaningful" photographs. AAMOF it kind of makes my skin crawl. If a friend asked me "hey lets go cruising for some snaps" I think I would run the other direction.....just saying.

I tend to agree with Kirk...


If you want to call it expressive photography you are certainly entitled. And if I want to call it snapshots so am I.

If you want to be expressive, you need something in your mind or your heart you want to express. Cruising for snapshots is like cruising for one-night-stands in a bar. Fine if it's what you're into, but don't mistake it for something "meaningful"...

[jp]

Thanks Vaughn for the key distinction:

Cruisin’ for subjects vs. Cruisin’ for images.

To confuse the two means you’re Cruisin’ for a bruisin’!

I also tend to not find ready-to-photograph image scenes while driving, though I do keep a camera or two with me. I see scenes/subjects and think that would look nice in snow, fog, different weather, etc... Those flowers/blossoms would have been a lot nicer a week ago, etc... My mind is chock a block full of such things within a 20 mile radius of my home. Sometimes my free time and the light/weather cooperate and I return to a spot. Some spots are ready, but I'd thought of them as good portrait spots, but my daughter/sitter is busy elsewhere. Being a passenger instead of a driver is a better way to spot scenes, but either situation overlooks 95% of the potential.

Walking is the better way to "be there" with the camera. I understand extended walking is tiring carrying a ries tripod and an 8x10 and all the accessories... I carry a speed graphic and accessories in a widemouth tool bag, and a tiltall in the other hand. Much easier. I could go back with an 8x10 another time if I needed an 8x10 negative or needed to shoot it with a lens for 8x10. If I want to travel light, I take a dslr or TLR, which is far lighter than my DSLR. Walking, you can actually look around, see things at different heights, ponder, and not be a motor vehicle statistic. Walking tends to be repetitive too, which is important for understanding the photo possibilities on a route. As you begin to notice the change of seasons or change of what man has made (or is it something government made for him?) your sight and perception will increase for that route.

[Kevin J. Kolosky]

I tend to agree with Kirk...



If you want to be expressive, you need something in your mind or your heart you want to express. Cruising for snapshots is like cruising for one-night-stands in a bar. Fine if it's what you're into, but don't mistake it for something "meaningful"...


Well, I continue to respectfully disagree because the end product is what matters, and how you got there really doesn't.

Take for example the story of Moonrise, Hernandez, New Mexico. Mr. Adams tells the story that he and his friend and son were on their way back from the Chama valley after a hard day and not too many photographs. Basically he was thinking lets get back to where we are staying and get the kid fed and happy and try again tommorow. He was "cruisin" for home basically. And then, out of the clear blue sky pops up this extraoridnary scene. He steps out of the car, fumbles trying to find his meter, figures things out on the fly, and exposes a film.

Of course of course there were other times when he saw things that he came back for so that the light was better.

My point is that you can make great photographs just driving around and you can make lousy photographs when you had intentions of making great ones.

In the end all that matters is the photograph itself and really not even that so much as whether that piece of paper with the image on it caused a reaction of some sort in either your mind or another's mind. That is the true pupose, to communicate in a way other than speech or writing. Or to put it another way, does it matter if I write a letter to you with a pencil or a Mont Blanc fountain pen, or does what really matters is what I said in the letter, the feeling I put into it, etc. etc.

[tgtaylor]

Here's a "cruising fer snaps" image captured two week back:

http://farm9.staticflickr.com/8423/7591648668_e797ffb873_z.jpg

I had photographed this before on a sunny day, when the grass was green and short and two horses were standing alongside the barn, using a 6x9 transparency. While driving down coast on a foggy day I remembered this barn and decided to check it out. The grass was high and brown and the foggy overcast suggested a soft focus lens which I just happened to have with me. The horses relocated to inside the barn while I was setting up but I am pleaswed with the resulting image. Although I found two more images that day, it alone was worth the drive IME.

Thomas

[Ken Lee]

Precisely.

And a beautiful photo.

Perhaps people should post more of these, just to share what we can "stumble upon" while driving. Almost all my landscape photos are made this way.

[Bruce Watson]

And I get so damn frustrated because I will waste a half tank of gas (not so cheap anymore) and not see a damn thing.

First thing you do, is get out of your car.

[ic-racer]

How does one person see and then photograph a masterpiece while the other person drives right past the same thing because they didn't see anything there.

One person's "Masterpiece" is another persons trivial cliche.

[Ken Lee]

"How does one person see and then photograph a masterpiece while the other person drives right past the same thing because they didn't see anything there."

Because - as you say yourself - they don't see anything there. We are all different, fortunately.

Uncertainty and Relativism: the spices of life.

[Kevin J. Kolosky]

"If you want to be expressive, you need something in your mind or your heart you want to express. Cruising for snapshots is like cruising for one-night-stands in a bar. Fine if it's what you're into, but don't mistake it for something "meaningful"... "

I am quite sure that a lot of folks have made meaningful relationships from cruising bars. After all, in every relationship there is a "first" meeting.

[Mark MacKenzie]

I never even thought of Large Format as snapshots. I do have a Super Graphic and an Anny but am always disappointed hand holding and even that takes setup...

The more interesting question is whether genius (photographic or otherwise) is so inherent in some that they can forgo discipline. Personally I am a big fan of the discipline, a prepared mind as it were, which is a reference to your example of Moonrise over Hernades. I doubt anybody would call that a snapshot.

There is a book called the Outliers, The Story of Success. 10,000 times. Experience trumps blind luck...

[karl french]

Keep in mind that Weston's 1937-8 Guggenheim trips were effectively a series of 'cruising-fer-snaps' trips. Seemed like that turned out pretty well.

[Colin Graham]

I like to think of my work as snaps, keeps me from taking myself too seriously. They're just pictures, and the pile is getting plenty big. But this is from strictly a hobbyist with nothing at stake- it's always interesting to hear about other photographers' methods and routines.

Anyway, I have a new more efficient ride so I definitely will be cruising more in the future. If a place has potential, I'll just park and explore on foot.

Much as I love music and as nice as the car stereo is I tend to turn it off to keep distraction and influence to a minimum.

Generally speaking I have a more enjoyable time if I leave the house empty headed. If I go out to express a particular idea I just get frustrated and miss stuff. For me, most of the fun of photography is the serendipity, and being too focused seems to choke that off, I just feel like some asshole clogging up the scenery with a headache and too much gear.

[Peter De Smidt]

Well put, Colin!

[Kirk Gittings]

I tend to take my image making very seriously (doesn't mean I don't enjoy the hell out of it). If I don't I can't pay my bills, but even beyond that I have this inner drive to create images, its a bit like drug addiction that I have to get a routine fix. It has been with me since I was a kid but especially since mid undergraduate college. Images are what pay the bills, images are what I teach, images are what I show, images soothe my soul........

Like right now I am buried with commercial work, printing for two shows and just came bask from teaching photo in Chicago for 7 weeks. Yet today while shooting a commercial job in Santa Fe, I was preoccupied with a new personal project.

Maybe I need therapy.

[Noah A]

...

Maybe I need therapy.

Nope, you're just passionate about your work, and it shows. (Ok, well I don't know you personally, so maybe you need therapy for some other problem, just not for being a bit obsessed with photography!)

[Kirk Gittings]

I forgot, image making is my therapy........

[Vaughn]

Keep in mind that Weston's 1937-8 Guggenheim trips were effectively a series of 'cruising-fer-snaps' trips. Seemed like that turned out pretty well.

But EW was the passenger and could give all his attention to the task...

[Heroique]

First thing you do, is get out of your car.

Bruce isn’t talking about getting out of an actual car, mind you.

He’s talking about getting out of a regrettable state of mind.

Wait, maybe he is talking about getting out of an actual car.

Well, let’s just say getting out of either is good, but getting out of both is best.

[Brian C. Miller]

... regrettable state of mind.

Uh, New Jersey?

State of No: Utah
State of Yes: Nevada
(And they're right next to each other...)

[Kevin J. Kolosky]

well, I am making a 2 week driving trip from Minnesota to California and back the first two weeks of august. I have already been to all of the places before many times (yellowstone, grand tetons, snake river, grand canyon, redwoods, painted desert, yosemite, california coast, going to the sun road, Hernandez New mexico, and just about everywhere else west, including washington state, oregon, montana, north and south dakota, utah, arizona, etc, etc.

I think I will listen mostly to the Eagles, Doobie Brothers, and CSN.

And the wife is coming along to carry the equipment if I get out of the car.

I hope I see something to photograph.!

[mandoman7]

I've been cruising and getting frustrated with it lately, but its useful to examine our own thought processes during these episodes. The question arises: Just what am I looking for?

I like to follow both methods; working with a specific project where I've already envisioned the lighting and subject matter, or wandering out with some equipment and a loose plan but looking for discoveries. I look at it as exercising different parts of the brain. It seems to me that ultimately, the best shots are a combination of intent and discovery where the shooter was flexible enough to recognize serendipity, and skilled enough to incorporate it.

Looking at the some of great images in the past, when I read the photographer's accounting there often is some amount of happy circumstance that they had to take advantage of, even in studio settings. I look at shooting on the hoof as a kind of practice that has the benefit of possibly producing something useful, but that's not the main reason for going out. "Chance favors the prepared mind." Ansel said.

Playing music has some analogies where someone can play prescribed music all the time, or they play stuff they are making up all the time. When I'm playing music for people in restaurants, I have a set list and a game plan for each song, but when I'm jamming there are times when I step up for a solo and deliberately have nothing in mind just to see what my fingers and subconscious will come up with. I think being 1.deliberate and, 2. being able to think and work freely, both have there place in creative efforts.

[Colin Graham]

Nice post John.

Sorry about the previous deleted post- I was writing a more thoughtful reply, but it got too wordy and then I lost it all in a connection blip. Probably for the best. ;~)

[Kevin J. Kolosky]

Obviously, if you are trying to sell your stuff you are going to probably go out with preconceived notions. Or even if your not going to sell your stuff but want to say something with your photography like "lets save this wilderness" you are going to go out and take pictures of the wilderness.

On the other hand, what if you just want to make good photos for yourself. Really more than just snapshots (memories for the future) because you know more about photography than just pushing the button, but you don't need to say anything to anyone and you don't need to get money for them. That is kind of what I am talking about. Just making good photos for the fun of trying to make them.

It is interesting to go to the Image Sharing and Discussion part of this forum and look at all of the images there, and try and guess whether the image was really planned or whether it was just taken at the spur of the moment, and what all went into making the image.

[David A. Goldfarb]

I'm usually driven by the light. If the light is interesting, I'll find things to photograph.

Sometimes if there's a subject I've been thinking about, preferably not too far from wherever I happen to be, I'll notice that the light is right, and I'll go out and hope the light is still good when I get there.

[David R Munson]

I don't go cruisin' in the automotive sense. I've driven once in the last 3 years and have no car, so it doesn't really enter the equation. I do, however, wander at length with the intention of looking for photographs. Of course, sometimes I go out specifically to make a particular photograph or to pursue a particular thing, but my absolute favorite way to work is to just get my mind all relaxed and ready to go, then go wandering. In areas where it's safe to do so, I'll throw on the headphones, listen to whatever fits my mood, and see where my feet, mood, and the light take me. A lot of what I do is fundamentally an exploratory activity. I set out to make photographs in order to distill something from my surroundings. Rarely am I more at ease than when doing so. The equipment varies by the day, my mood, what I want to photograph, etc, and can range from half frame to 4x5 to DSLR and it's all great. I don't think I'd call it "cruisin' for snaps," but I suppose it is something I do.

[Kevin J. Kolosky]

for all of those who are offended by "cruising fer snaps" lets just call it "looking for things to photograph". How about that.
What do you do. What do you think about. Do you take somebody along. Etc. How do YOU go about it.

[Jody_S]

I usually find locations by driving, occasionally by looking through specialized internet forums. Rarely through someone's suggestion, or seeing a photograph or video online. I usually do this with 2 or 3 cameras in the car, rarely large format though. Always alone. Usually listening to music, not the radio. I've tried a couple of times with my wife in the car, it just doesn't work.

Once I've found my location, I need absolute silence. I will often bring a couple cans of beer and some insect repellent. If I don't see a shot, I walk around or sit on a log, until something comes to me. I usually need several visits to a location before I get anything I consider good.

[Lenny Eiger]

Kevin,

I think your question is a good one. However, I think its quite broad in scope. You might as well have asked "what is a photograph."

I think going outside is good. That's a start. I think getting out of the car, as someone else also mentioned, is essential. I don't think you can actually look for anything. There are no "things". When one looks at a tree, well, we've all seen them (almost everyone on the planet) and we know what they look like. Why would one photograph one? Maybe to communicate how what a tree feels like vs what it looks like. What does it fell like to be there, once again, not "look like."

I like looking at images where I learn something. Usually something very subtle, or deep. I also enjoy being connected to the earth, and connected to the rest of humanity. The key to communicating this kind of stuff is that you first have to "understand" something. Have you learned anything on your time here on earth? Do you know anything you would share with the rest of us?

The first task is to get "present". A tree is not a simple object, its a living being. We may or may not have the skills to communicate with it but they are living and breathing. Just like us, they live "in context". They bend over because a rock blocks their path to the water source. The leaves are mind-damaged on one side. They live in their world. Same with rocks and water, and everything else in the natural world. You may not feel like you can ask them permission to take their portrait, but the practice might help you anyway. One has to be able to understand something to communicate it. And you have to get present to understand it.


Lenny

[chassis]

I experienced this situation this week. I was in the greater Toronto area, and wanted to take a photo of the steel mills in Burlington Bay. I have driven over the skyway many times, and have been inspired by the industry to the west, and the large lift bridge adjacent to the skyway. So I set out in the afternoon to "cruise for a snap".

Short story, when I drove around the area, including both north and south shores, and the causeway/land bridge, I wasn't satisfied with any vantage points. There was tons of subject material, but I wasn't moved to make an image. So I packed up my gear and headed towards the border.

At the Peace Bridge, I drove down to the park upstream of the bridge on the Canadian side. Here I found a nice view from the upstream side of the bridge, where I made a photograph. But even here, I felt more as if I was forcing myself a bit to make the photograph. I will find out tonight, when I develop the negative, how it turned out.

I believe that strong images are made by photographers intimate with their subjects. The example of Ansel Adams in Yosemite is a good one. Another example is myself photographing my family. Exceptions are possible - I have made some nice landscape images in Yosemite (parroting Ansel) and in Australia (Twelve Apostles), but consistently strong images I believe are the result of intimacy with the subject.