The Art of Communicating with Light

Cameras record the light falling on a subject in a mechanical and objective manner. Humans, on the other hand, ‘see’ objects with a subjective bias. Indeed, our survival is hinged on our emotional reaction to the objects in our environment. When we stumble upon a grizzly bear at close range we don’t immediately notice the sun highlighting the silver-tipped fur on its back. We don’t register the sparkling of the wet drool moistening its left upper canine. Indeed, we don’t even notice that our white tee shirt has created a wonderfully bright sheen to the bear’s shaded eyes. These are the things that an experienced photographer might marvel at even while racing back to the safety of his/her car. To develop as a strong photographer you must learn to see things less as ‘subjects’ and more as objects that reflect light.

Learning to see is about understanding light, and how light affects the look of an object. The same object photographed under different kinds of light can take on hugely different looks (see Photos 1a and 1b for an example). Talented photographers use their understanding of light to enhance the viewer’s emotional response to a subject. In portraiture, for example, men are often photographed with strong, direct side lighting that enhances facial surface texture. Wrinkles, whiskers, chin clefts, and jaw lines become more pronounced with direct side lighting which amplifies facial features that most of us associate with rugged masculinity. In contrast, when your subject is a woman you may want to portray her as ‘soft’ and feminine. This is accomplished by using diffuse, front lighting that tends to flatten and hide skin imperfections and also emphasizes colour and tone so that the women’s eyes and lips are enhanced.

Nature photographers can use the same lighting techniques that famous portrait photographers such as Karsh used create his emotion filled photos. Whereas portrait artists can move and vary their lights to suit the subject, the nature photographer must wait until the ‘right’ light comes along. Let’s take a closer look at the language of light and how it affects the look of the natural environment.

The Language of Light

There are the three main categories of light on any landscape;

Light Quality – Is the light soft (e.g. overcast), or harsh (e.g. midday sunshine)?
Light Direction – Where is the light coming from? Is it coming from the side of the subject, the front, or the back of the subject?
Light Temperature – What is the colour (or temperature) of the light. Is it yellow (‘warm’) sunrise light, blue (‘cool’) light at dusk, or the ‘neutral’ light of mid-day?
Light Quality

Light quality can be divided into two categories; diffused and specular light.

On overcast days, the light from the sun is diffused through the clouds. This produces a broad light source that wraps around objects and eliminates shadows. Diffused light occurs at other times as well; at dawn and dusk before the sun lights the landscape, in the shade on sunny days, or in fog.

Digital sensors and film love diffused light because it is low contrast (the range of brightness between light tones and dark tones is compressed) and all tones can be easily recorded. Many photographers prefer diffused light because subjects are evenly lit, and are easy to expose properly. Intimate nature scenes, macro photography subjects, wildlife portraits, flowers, waterfalls, people portraits, and forest scenes often look their best when photographed under diffused light (Photos 2 and 4).

Specular light is produced from a bright, point source of light (in nature that is the sun) that results in high contrast. Shadows are strongly defined and the range of brightness between light and dark tones in the scene is extreme, often beyond what film or digital sensors can accurately record. The skilled photographer must understand how the camera records specular light. In doing so, the photographer learns to use high contrast light and the limited tonal reproduction of film and digital sensors to his or her advantage, to create scenes that are stark and graphic, or they learn to manipulate the light in a scene to reduce the contrast to levels that film and sensors can record.

Although specular light is the most difficult to work with and to expose properly, it is also the light with the most drama, the light that gives power to the grand vista. Tame the wild beast that is specular light and you will have a potent tool for dramatic expression (Photo 3).

Light Direction

Understanding the direction of the light (from in front of, from behind, or from the side of the subject) may seem elementary and intuitive but what many novices do not understand is that light direction has a powerful affect on how the subject looks.

Front Light

When you shoot with the sun behind you that is called front lighting. Use it whenever the scene has strong tone or colour. For example, a pink flower in a green field would look great lit from the front as would yellow aspen leaves against a blue sky. Generally, front lighting works well whenever the subject has are varied tones and color (see Photos 4 and 5).

Side light

Side lighting emphasizes texture. Any subject that has strong texture will look better when photographed in sidelight. Mountains, for example, with their plunging crevasses, hanging glaciers, rocky pinnacles, and boulder strewn avalanche slopes are strongly textured landscapes and they frequently look best when thrown into three-dimensional relief through the use of side lighting. If you want to know where the strongest sidelight is in a scene, face the sun, and then turn 90 degrees away from it. Chances are any strongly textured scene (mountains, sand dunes, a rocky lakeshore) that you see in front of you will look pretty nice if you photograph it from this angle. If you want to reduce haze in the scene, darken the blue sky, or saturate the colours, try using a polarizing filter. Polarizers work best when the light source is at a 90-degree angle to the subject; perfect for side-lit scenics (Photo 6).

Back Light

Backlighting emphasizes shape and form. The most extreme form of backlighting is a silhouette in which the subject shows no colour, detail, or texture, just shape. Backlit objects that are translucent (leaves, clouds, feathers, fur, ice) will appear almost mystical, emanating their own luminosity. For me, backlighting has the greatest mood and magic of all light directions because it is so abstract and dramatic. But, and this is an important but, backlit scenes are by far the most difficult to properly expose. Even so, when you succeed the images can be powerful (Photos 7 and 8).

Light Temperature

Over the course of a day the colour of light changes dramatically. At sunrise and sunset, the light has a strong orange-yellow colour while at dusk it is blue. Mid-day light appears ‘neutral’ and has no obvious colour cast.

Daylight film is designed to produce neutral colors in mid-day light. Often, however, the colour in a scene is far from neutral. In this case, our brains make adjustments for the light and ‘corrects’ the colour cast. Unfortunately, film does not. Most novice photographers are surprised to discover that shadows are blue, not gray, as our eyes perceive them. One of the skills required by photographers is the ability to see colour casts the same as film does and to use these colours to affect the mood of the photo.

With digital cameras there is "auto white balance," where the camera adjusts the white balance of the scene to neutral just the way our eyes do. This is useful if we want neutral colours (in portraits, or product shots for example) but nature is full of mood and colour is a key component in translating mood into our photos. For this reason, I recommend that digital cameras be set to "daylight" white balance to take advantage of the changing colour and mood of light.

Putting it all Together

Our job as photographers is to recognize how light shapes our subjects and to use the language of light to communicate with our viewers. When confronted with a scene, our first reaction should not be to immediately pull out our camera. Instead we should first imagine how the scene in front of us might look under various types of light. For example, we discover a location in the mountains with a pristine alpine lake surrounded by soaring craggy peaks. How should we photograph this scene? We could come back when the sun is low on the horizon skimming the rugged peaks with strong warm sidelight and emphasizing texture. Or maybe, backlighting might be more appealing with the peaks silhouetted against a twilight sky and reflected in the calm of the lake. Or, how about using front light in which we could capture the first rays of the morning sun, painting the peaks orange to contrast with the deep blue colour of the shaded lake in the foreground. Photo 9a shows a mountain lake backlit by mid-morning sun. Photo 9b shows the same scene in mid-afternoon, and Photo 9c shows how the scene looks at sunset as the peaks are frontlit by the warm setting sun. Not only can we see how the lighting changes over the day, but also how the mood changes due to changes in light direction and colour.

The more understanding we have of the language of light, the more freedom we have to convey a specific subject in exactly the manner we want. We can use light to communicate our moods, our impressions, and our view of the subject at hand. We move from being documentary photographers, to expressionary image-makers (sounds impressive, eh?). Therein lies the power of photography as a vehicle of expression, not just a tool of documentation and to get there one must know the language of light.


Text and photography copyright Darwin Wiggett. All rights reserved.

Available Light Close-Ups

The way in which a close-up is taken can range from a simple grabbed hand-held shot of a dew drop on a blade of grass to setting up the camera on a tripod and using a diffuser as well as a reflector to enhance the available light for a static subject.

I can still recall the thrill of focusing my first macro lens at close range and seeing details in a flower I had not noticed with the naked eye. From this moment I have always been on the lookout for striking close-ups. Even when I am going on a wildlife shoot, I never fail to pack a macro lens, because if the main target species fails to turn up, I can always find a macro shot worth-taking - whether it be backlit leaves, fallen seeds or textured rock.

Getting in Close

There are several ways of focusing at close range. Most simply, attaching a close-up lens to the front of a prime lens does the same job as reading glasses for a long-sighted person. Some short tele zoom lenses have a macro mode but this does not provide the flexibility and extensive magnification range available with a true macro lens. This is an essential tool for anyone who wants to concentrate on close-up subjects. Depending on the focal length (50 or 60mm, 90 or 105mm, and 200mm) a macro lens will provide a life-size or half-life-size image on film or a digital sensor. On D-SLR cameras the magnification remains the same, but the actual area of the image may be smaller compared to 35mm film if the sensor is smaller than full-frame.

There is no question that a longer focal length such as 90mm or 105mm will be most useful. The greater working distance not only gives a higher success rate when stalking active subjects such as insects, frogs, or lizards before they fly, hop, or crawl out of the frame, but also provides more space for holding a reflector or a flash between the camera and the subject.

The 105mm micro-Nikkor is my favourite macro lens, but I also use the 70-180mm macro zoom lens - especially for precise framing of insects, amphibians, and reptiles without the risk of disturbing them by moving in closer.

Lighting

The success or failure of a landscape picture is dependent on weather conditions with some control via filtration of light; whereas with close-ups the lighting can be controlled and changed by the photographer to suit the subject. Indeed the structure of the subject should convey how to light it.

Translucent petals or leaves look great backlit, whereas a textured surface will be highlighted by extreme side- (known as grazed-) lighting. Natural light can be changed in various ways. For instance if a bright sun casts harsh shadows which do not enhance the composition, they can be softened by using a diffuser such as a Photoflex® Lite Disc™. On the other hand, on overcast days, dull light can be perked up using a Phototoflex® silver / gold reflector. Where rays of light pierce the canopy to spotlight a forest floor it is possible to deflect the sun onto a flower or fungus in the shade and thereby gain a stop more light.

The inside of flowers that naturally hang down such as some lilies and fritillaries, can never be lit directly by the sun, and are a prime case for pushing light inside by using a reflector. A useful makeshift reflector is a piece of aluminum cooking foil wrapped around a piece of cardboard. It is also possible to use both a diffuser (as a mini cloud to diffuse direct sunlight) held between the sun and the subject and a reflector below it to add a soft light. Even using the camera on a tripod, without a willing assistant to hold the diffuser or reflectors, a useful third arm is the flexible Wimberley Plamp (short for Plant Clamp) which can be clamped onto a tripod leg or a wooden pole pushed into soft ground.

Exposure

Even though it is now possible to check the exposure on a digital camera, this takes time and may mean a dramatic backlit shot is lost as the sun moves past a gap in an overhead canopy. It is far better to perfect the metering of tricky subjects with confidence.

If an automated matrix reading is taken of a flower growing amongst pale limestone rocks or on snow-covered ground it will give a false high reading which will underexpose the shot. Conversely, dark red flowers or black rocks metered this way will result in an overexposed shot. One solution is to use an incident light meter. However, I prefer to select either green grass or matte green (not shiny or grey / green) leaves as an average tone lit in the same way as a bright or dark subject to manually spot-meter using the camera.

In overcast, windy conditions, exposures for close-ups are often a compromise. A moving subject will require a fast shutter speed to freeze the movement, which will dictate a wide aperture with an ISO of 100-160. A slow shutter speed can, however, be an effective way of taking dripping water.

Poor light in calm weather or inside a forest is not a problem, providing a tripod is used. Even so, to ensure there is no risk of movement from camera shake, it is advisable to lock up the mirror and use a remote release.

Camera Angles

The choice of camera angle can help to make an arresting close-up. Dramatic close-ups can be taken using a low camera angle to get a worm's eye view. In this case, a right-angled viewfinder will save having to lie prone on the ground to reach the viewfinder. Overhead views can be taken of mosses amongst fallen leaves or plants that float on water. To maximize the depth of field, make sure the film or sensor plane is parallel with flat ground or the water surface. While a butterfly feeding head-on is dramatic, if you want the whole body in focus it is better to opt for a side view of the folded wings. Try head-on shots of animals with conspicuous eyes for impact or tight crops of animal skins to highlight texture, pattern or abstract forms.

Depth-of-Field control

To fully appreciate how the depth-of-field can be controlled and used to your advantage, it is preferable to abandon all automated programs and revert to setting both the shutter speed and aperture manually. If your camera has no manual setting, then use aperture priority.

Using a tripod, focus the camera on a three-dimensional flower. Simply for the purpose of visually appreciating how depth-of-field is controlled by the aperture size, select f/11 and stop down the lens using the depth-of-field preview function. Look through the lens, whilst maintaining the preview, slowly open up the aperture to f/8, then f/5.6 and f/4. As the aperture is opened more light passes through the iris diaphragm and so the subject is seen more clearly. At the same time, the extent to which the flower appears in focus becomes reduced. By changing the aperture settings back and forth a feel of the relationship between aperture size and depth-of-field will be gained.

Depth-of-field also decreases as magnification increases. Therefore, to gain maximum depth-of-field (for a three-dimensional ID shot) use a small aperture such as f/16 or even f/22 and focus behind the front of the flower (since the focus is increased on either side of the plane in which the lens is focused).

On the other hand, some shots may work better, or look more dramatic, by opening up the aperture to reduce the depth-of-field and thereby blurring the background so the subject ‘pops’.

The choice of how to take a close up is a matter of individual style and the way in which an image is to be used. Clearly, an ID shot needs to be as sharp as possible and the subject framed to include the essential characteristics, whereas a shot taken specifically for use as a greetings card or a fine-art print may have a more aesthetic appeal with minimal focus so that the colours blend together in a fluid kaleidoscope that is restful to the eye.



Text copyright © Heather Angel. All rights reserved.

MyPlace Photo Competition

Description:
MyPlace aims to celebrate photography, culture and heritage, and welcomes all those who have a passion for taking photos of splendour and individuality. MyPlace has been launched in the UK and Ireland as a result of the successful 'Our place - The World's Heritage' project where professional photographers armed with Lumix Cameras have gone all over the world to shoot UNESCO World Heritage sites.

MyPlace allows you to upload photos of your very special place and share with members of the community why this place is special to you. There are regular prizes to be won for the best photos voted by YOU, the MyPlace community, the ultimate prize being a trip to China's most treasured World Heritage sites. A pro photographer will pick the best photos every month and comment on them.

Closing Date: 31/July/2008

Website: www.my-place.tv

Email: myplace@eu.panasonic.com

The Fastest Focus

No matter if you're manually focusing, relying on autofocus, have AFS or Ultrasonic, having the fastest focus depends on YOU! The best shooters today rely on autofocus but they honed their speed back in the good ol’ days of manual focus. The same techniques they used with manual focus lenses back then they now incorporate with the autofocus lenses they use today. You can use these same techniques so you have the fastest focus.

First and foremost is pre-focusing. This is simply done but few do it. Pre-focusing simply means that you focus on an object, any object, that you think is the same physical distance from the camera to the subject prior to having to shoot. This was done in manual focus days so that with only a light touch of the focusing ring the subject would snap into focus. This same technique works killer with AF lenses because with a light touch of the shutter release, the lens grabs on and focuses on the subject. This really simple concept makes a world of difference in capturing a sharp image, especially when shooting action.

Next, proper hand holding and long lens techniques are essential. These techniques not only assure a sharp image by the lack of movement of the film plane, but also assure the AF sensor stays locked onto the subject. I receive many emails from folks stating their camera's AF system keeps searching. So far, the problem has always been pilot error, not maintaining the AF sensor on the subject.

Finally, panning properly in conjunction with pre-focusing, proper hand holding or long lens technique speeds up focusing. A smooth pan permits the AF system to lock on to the subject faster. Proper panning technique permits the system to stay locked on. And in conjunction with all of these, good contrast makes the AF system work at its fastest along with fresh batteries (in the camera and in the mind).

The weakest link in photography is still the person behind the camera. Refine and improve on that, and you will have no only the fastest focus, but the best images and the most fun!



Text Copyright Moose Peterson All Rights Reserved.

Garden Photographer of the Year 2008

Garden Photographer of the Year 2008
Deadline: January 31, 2008

Calling all “budding” garden photographers. Are you the next Garden Photographer of The Year? With thousands of pounds worth of cash and prizes up for grabs, this is a unique opportunity for entrants to have their photographs exhibited for the four summer months of 2008, alongside some of the world’s most talented photographers in the gardening and landscape world. Several hundred thousand visitors will see the top one hundred pictures at a purpose-built outdoor exhibition at The Royal Botanic Gardens, Kew, London.

We are now calling for entries in the following categories;
My Garden
Garden Views
Plant Portrait
Life in the Garden
Trees

Amateur and professional photographers are encouraged to enter single images or themed portfolios and there will be prizes to suit both types of entry. There will be a new special award for Young Garden Photographer of The Year supported by Chris Collins, the BBC Blue Peter Gardener. Entries for this category are welcomed from young photographers under the age of 16 and are free.

A panel of high-profile industry and art professionals will judge the competition and the winning images will be displayed from May to September 2008.

Previous competition judge Chris Beardshaw - television presenter and garden designer, says: “Our plants and gardens are delightfully dynamic and effervescent - subtly and constantly morphing. So much can be missed at the blink of an eye but, thankfully, it is precisely that precious moment that the camera captures for eternity.”

http://www.gpoty.org/

Smithsonian magazine 5th Annual Photo Contest

Smithsonian magazine 5th Annual Photo Contest
Deadline: January 3, 2008

Contestants can enter photographs in five categories, The Natural World, Americana, Altered Images, Travel and People, that represent subjects of special interest to the magazine. Fifty finalists will be selected, ten for each of the five categories. Smithsonian will notify the 50 finalists by March 31, 2008. From these 50 finalists, five category winners and a grand prize winner will be selected. The entries of all winners and finalists will be published on the magazine’s Web site on April 1, 2008. At that time, readers can vote online for one readers’ choice winner. The winning entries and select finalists will be published in the print edition of Smithsonian magazine during summer 2008.

Category winners will be awarded $500. The readers’ choice winner will be awarded $500. The grand prize winner will receive a four-day, three-night Smithsonian Journeys Grand Canyon Weekend Adventure for two from July 11-14, 2008, or the cash equivalent.

The Smithsonian magazine photo contest is open to amateur photographers ages 18 and over. Photographers who earn more than half of their income taking photographs are not eligible. Submitted photographs must have been taken within the past three years (since January 1, 2005)

Deadline: All entries must be uploaded by 2pm Eastern Time, Thursday, January 03, 2008.

http://photocontest.smithsonianmag.com/v5/

Sony World Photography Awards

Sony World Photography Awards
Deadline: January 31, 2008

The World Photography Awards, sponsored by Sony, is an international showcase of the best images taken by renowned and undiscovered photographers alike. From landscape to music and photojournalism to fashion photography, the WPA is the first awards of its kind and is supported by hundreds of the industry’s top photographers, critics, gallerists, directors, founders and more.

Featuring eleven different categories, both professional and amateur photographers will be invited to enter work to the World Photography Awards from 9th October 2007 until mid-January 2008. The winners will be announced at a black tie awards ceremony in Cannes at the Palais des Festivals on 24th April 2008.

The aim of the World Photography Awards is to unearth the images of the future while paying tribute to the visions of the past. “Photography plays a vital role in defining and documenting the world around us”, says Shaun Dorrington, General Manager, Sony Digital Imaging, “and by sponsoring the inaugural World Photography Awards we can support talented photographers across the globe and give them the recognition they deserve.”

The awards and subsequent exhibition will become to photography what the Oscars are to the film industry. With an annual ceremony and black tie gala taking place on the prestigious Cote d’Azur, the World Photography Awards is set to become the largest and most important awards in the industry.

For the inaugural year, the World Photography Academy will comprise of over one hundred of the most respected photographers, critics, picture editors, gallerists and other industry leaders, including Phil Stern (US), Terry O’ Neil (UK), Chien-Chi (China), Sylvia Plachy (Hungary), Carl de Keyzer (Belgium) and Esko Mannikko (Finland).

Members of the academy will form the judging panel for the awards, and winners will automatically gain membership to the academy. The academy will be governed by the Honorary Board which comprises of eleven members, including Tom Stoddart, Mary Ellen Mark, Bruce Davidson, Martin Parr, Elliott Erwitt, Susan Meiselas and Stephen Cohen. These eleven board members will represent the academy, promoting excellence within photography and setting the standard for award selections.

Providing an unprecedented international platform in the world of photography, the aim of the World Photography Awards is to unearth the images of the future while paying tribute to the visions of the past.

“It’s a great honour to be part of the inaugural Sony World Photography Awards. The awards will showcase the very best imagery from around the world and will undoubtedly inspire and excite anyone who is passionate about photography.” (Tom Stoddart)

World Photographic Academy
Some of the world’s leading photographers, public gallerists, curators and major picture editors have been invited to become members of the WPA. A full list of current academy members can be found on the website.

Categories

From the 9th October 2007, photographers both professional and amateur will be invited to submit work to be judged in the eleven different categories. From this the academy will nominate a shortlist of photographers who will then be invited to attend the awards ceremony. The shortlist will be announced in
February 2008.

The eleven categories are:
Abstract
Advertising
Architecture
Fashion
Music
Nature
Nude
Portraiture
Photojournalism
Science
Sport


The Awards

Professional Awards

All submitted works will be judged by academy members and three finalists will be nominated in each of the eleven categories.

# l’iris d’or
One photograph will represent the image of the year and win l’iris d’or which comprises:
1. The title Sony World Photography Awards Photographer of the Year as well as $25,000
2. Entry into the World Photographic Academy for future years
3. Exhibition showcase of winning image and 25 picture portfolio at the 2009 World Photography Awards
4. Winning images exhibited on the World Photography Awards’ website and promoted to creatives worldwide

# Individual Category Awards
# Lifetime Achievement Award


Amateur Awards
The awards will be international and interactive, allowing people from across the world to submit photographs online via the WPA website to an amateur competition that will run in parallel to the Professional Awards. Each photographer can submit up to three photographs per single category. The site aims to create an online community and social network in which people can interact, creating a destination point for amateur photographers across the globe.

The awards night will be a black tie event bringing together the crème de la crème of photography and the media on 24th April 2008 in Cannes. An exhibition of all finalists’ work will be held at the Palais des Festivals in Cannes from the 21st-25th April and will be open for public viewing.

World Photography Awards is delighted to welcome Sony as its headline sponsor.

“Photography plays a vital role in defining and documenting the world around us”, says Shaun Dorrington, General Manager, Sony Digital Imaging, “and by sponsoring the inaugural World Photography Awards we can support talented photographers across the globe and give them the recognition they deserve.”

http://www.worldphotographyawards.org/

Photo Marketing Tip...

You and the Law
Infringement Overseas- No Claim in the United States

Questions continually arise as to rights a photographer has when photos are used overseas without consent. This has become more and more of an issue given the rapid growth of e-commerce and the Internet.

Under the United States Copyright Act, there are certain prerequisites to be met before a copyright infringement suit can be successful. A case brought in the United States District Court for the Southern District of New York was recently dismissed because the plaintiff could not establish sufficient contacts in New York to maintain the suit.

The plaintiff, Laura Yjungkuist, was an artist living in New York City. She had a London agent who negotiated with various entities based in London for a commission to create artwork for a London-based use. The job was killed and a kill fee paid.

Thereafter, what is alleged to be substantially similar artwork was used in the campaign and a lawsuit was commenced in New York.

The Court, in dismissing the action on procedural grounds, found that all of the alleged acts of copyright infringement or other related wrongful acts were committed on "foreign soil," and that the defendants did not otherwise transact business in New York.

The plaintiff failed, in the Court's opinion, to meet any of the tests required to obtain jurisdiction over the defendants and to maintain the suit in the District Court.

BURDEN OF PROOF

This case may set the outer limits for the burden of proof a plaintiff must face, since substantially all of the facts were not in her favor. On the other hand, the decision certainly does not forelose a different result, and in fact infers that cases will be permitted to proceed, where the facts are more favorable to plaintiff.
Attorney Joel L. Hecker lectures and writes extensively on issues of concern to the photography industry. His office is located at Russo & Burke, 600 Third Ave, New York NY 10016. Phone: 1 212 557-9600. E-mail: Heckeresq@aol.com.



Text Copyright Rohn Engh, All rights reserved.

Photographing Without a Camera

You probably think I’m kidding. I’m not - I do this all the time. Whether I’m on a photo outing or just going about my regular life, I’m always looking at the landscape with compositions in mind. But when I am on a photo outing I still photograph without my camera. That is, I find my photographs first, without my camera in hand.

This is one of the most valuable lessons I ever learned. Most people will jump out of the car, grab their gear, and set up right away, extending the legs of their tripod and mounting their camera. It’s my guess that the very best spot for the shot is usually not right next to the car. I’d like to suggest that you first find your photograph without your camera in hand. Wander around to find what you’re looking for. You’ll be unencumbered by all your gear and you’ll be much more flexible and efficient in finding the optimum spot from which to photograph. Plus, because now you’re light and flexible, you’re likely to find many more interesting possibilities.

Once you think you’ve found a good place to shoot from be sure to mark it somehow. Leave a hat, a stick, or make a scuff mark in the dirt. Next, go get all your gear. Once you get back to your spot, set your tripod somewhere out of the way. Grab your camera and a lens and this time go find your shot in the viewfinder. By handholding the camera, you’ll easily be able to move around, change vantage points, and bend down. The advantage of going about it this way is that your tripod won’t bog you down. What’s likely happen is that you’ll find an incredible shot that you just have to have, a shot that you wouldn’t even have contemplated if your camera was stuck on the tripod, a shot that makes your heart race, a shot that will be the defining moment of your existence. OK, I might be getting a little carried away here. However, this will be a shot that may challenge you to get your tripod into the right spot. And this is where things get interesting and frustrating. Your tripod may not be tall enough. Your tripod may not get short enough. Your tripod’s legs may not be able to get into the positions needed for the shot.

But you’ve seen the shot through the viewfinder and you won’t settle for less.

This is both the advantage and disadvantage of finding your shots without the tripod. By freeing yourself from the constraints of your tripod you’ll be stretching yourself and your tripod. You’ll be finding new and exciting images but you may also discover that your tripod isn’t up to the job. This could cost you money (I love spending other people’s money). But you’re in the field and even B&H can’t provide “next minute” delivery so you may need to come up with some creative ways to help your tripod get to where it’s needed. I’ve used rocks and logs. I’ve brought my tripod legs close together to get those extra couple inches of height. I’ve laid my tripod down on the ground. Whatever it takes. Once you’ve got your tripod where you need it, and your tripod head adjusted just so, be sure to lock down your composition. What I mean is to tighten your tripod head so your composition won’t change. If you’re using your camera’s matrix, or evaluative, metering, you can just make your settings and take the shot. If you’re like me, however, and like using the spot meter to evaluate the scene, use your quick release and take the camera off the tripod. Since you’ve just spent the last several minutes getting your tripod and head in just the right place, do you really want to loosen things up to meter around the scene and risk messing up your masterpiece? Just take the camera off the tripod to meter. If you don’t already have a quick release system then I’ve just spent some more of your money.

Besides learning to be a tripod contortionist, one thing that will definitely happen is that you will become a better photographer. Because you have seen the shot and you won’t settle for less, you’ll not be making the same easy pictures from the same easy spots as every other photographer. You’ll be expanding your vision and you will be finding images that are uniquely your own; you’ll begin defining your own style.



Text copyright Rod Barbee. All rights reserved.

Landscape Photography and the Art of Slogging

“I have always tried to hide my efforts and wished my works to have the light joyousness of springtime which never lets anyone suspect the labors it has cost me.” – Henri Matisse

Brett Weston once joked that anything more than 500 yards from the car just isn't photogenic. He was referring to photography with an 8x10 view camera and though many landscape photographers may disagree with the sentiment, I’m sure most can relate to the draining effect that extended physical exertion can have on creative photography while on long hiking or backpacking trips.

Photographing away from the well known parks and icons is undoubtedly a creative challenge. All the gear and rules and guide books in the world will not help you make a successful and original image if you are constantly distracted by sore muscles, dealing with inclement weather, bothered by biting bugs, or are concerned about survival, skill, safety, food, water, and any number of other primal fears. These are all part of the reality of backcountry travel.

As with many other things – outdoor travel becomes easier and more familiar with practice. The more time you spend in the wilds, the more skills you will learn, the more confident you will become in your abilities, and the more aware you will be of your limitations. Keep in mind that many of these skills are best learned by example.

The purpose of this article is not to teach outdoor skills or to repeat the common admonitions of backcountry travel. These can be found elsewhere and should be heeded. Instead, I wanted to offer some personal insight on staying creative in the field despite the challenges.

The key to creative thinking is to free your mind to explore, to imagine, and to experiment – all of which may take a back seat to fear and anxiety if you allow it. Douglas Adams wrote that the secret to flying is to throw yourself at the ground and miss, and that the way to achieve it is to “(…) have your attention suddenly distracted by something else when you’re halfway there, so that you are no longer thinking about falling, or about the ground or about how much it’s going to hurt if you fail to miss it.”

Hard as it might be – try not to worry too much about things that are beyond your control. Remind yourself that an experienced hiker is safer in the outdoors than most people are crossing the street in any major city. With time you will learn to trust your instincts more and worry less.

Creative thinking is only part of the equation though. Nature offers an overwhelming amount of information – every leaf, rock, tree, cloud and stream has a story to tell and speaks in a language of its own. Take some time to learn what they have to say – educate yourself on the natural history of the place you visit – learn the ways and cycles of its living residents, the patterns of its weather, the processes that created its relief. With sufficient knowledge you will hear stories, be given hints, directions, and even warnings as you travel.

It takes discipline and conscious effort to rise above fatigue and physical discomfort to what I like to call the Creative Zone. Once there, your mind will be open to seeing and appreciating the beauty around you. Nature doesn’t skimp on beauty. Magic happens not only at sunrise and sunset, but every hour and minute and second in between; sometimes on a grand majestic scale and sometimes in intimate or minute detail.

Different people may find their way to the Creative Zone in different ways. Some revel in solitude and silence, others may take comfort in having a close friend along, and others still can achieve success either alone or in the company of others.

Original images are but one small reward of long distance backpacking. The experience and memories will stay with you for the rest of your life.

When you find yourself struggling along a remote path and your mind drifts to contemplate ideas and images and the meaning of life – you know you are there. It may surprise you to learn how many of these very articles were conceived in this manner.



Text copyright Guy Tal. All rights reserved.

The International League of Conservation Photographers

As anyone who has ever tried to get a living from outdoor photography will testify, stock photography sells in the freest of all free markets. There is nothing to bar you or anyone else at home or abroad from putting your images in front of a buyer and, if they fit the bill, securing a licensing fee. There are no import quotas or tariffs, no professional qualifications required or universally accepted quality standards to be adhered to. What’s more, the Web has made every photographer with a searchable website a mini-multinational with a presence in every country with an internet hook up. What a business to get in to !

But let’s look at this from the other side of the fence: how does a picture researcher working for a conservation organisation know where to source images from when there is so much choice and so many great deals to be had? Should she do the obvious thing - go to the big international agencies and do a one-stop Wal-Mart shop there ? Or should she instead seek out the small, specialist stores - individual photographers - who have fewer lines but offer a personal, informed service and often have obscure stock not carried by the bigger outlets. What should inform a researcher’s buying habits and does it really matter where she buys from anyway? The answer to that depends to some extent on whether the researcher sees herself as merely an image consumer or recognises the mutual benefits of becoming a patron.

While all professional nature photographers share one thing in common - the need for money to buy food and more hard drive space - beyond that there is a clear divergence of motives emerging. The “commodity photographer” is primarily concerned with filling the shelves with popular lines that they and their agents know have sold in the past. The images are rarely challenging, usually generic and often contrived. But they look good on first viewing. In terms of satisfying a need, there is nothing inherently wrong with this product any more than there is in a bag of soy beans; it’s just that you, the picture buyer, might not want the same fare every day or approve of how it was produced.

Another group of photographers also believes strongly in eating but for reasons of conscience, principle, self-delusion or outright market ignorance pursue agendas beyond simply the creation of attractive imagery because they believe that in some ill-defined way their work can make a difference. They may do some shelf-filling work too but it is their agenda and its pursuit that defines their identity as photographers (and which, coincidentally can sometimes lend them a commercial edge over the bean producer). The term “conservation photographer” has been coined to describe members of this group but I prefer the term, “photo-activist.”

A key part of a photo researcher’s job then should be not only to distinguish “good” from indifferent photography (and levels of visual illiteracy remain worryingly high!) but to seek out those photo-activists whose agendas broadly match her organisation’s. Patronage benefits both parties: it provides funding to a photographer for “mission” work that may not have a broad commercial appeal and by having an input into its creation, an organisation can acquire unique, fresh imagery of the sort it couldn’t find in international stock libraries. Moreover, building a relationship with one or a small group of photographers ensures that the pictures an organisation is using to promote its message meets the ethical standards it, sometimes wrongly, assumes all nature photographers adhere to. For example, an uncomfortable inconsistency arises when organisations that lobby for wilderness conservation use pictures of captive animals in their promotional material. Whether this happens as a result of ignorance on the part of the researcher or lack of candour on the part of the photographer, it can only undermine the organisation’s message.

So, how are the researchers and photographers to find each other? The absence of any sort of meaningful accreditation for professional nature photographers hasn’t made the job easier. Up until recently there hasn’t be a body whose standing made its stamp of approval worth a damn. I believe that has now changed with the founding of the International League of Conservation Photographers at the World Wilderness Congress in Anchorage in fall 2005. Endorsed by The National Geographic Society, WWF, Conservation International and the Wild Foundation, the fellows of this new organisation include well-known individuals with a proven track record of effective campaigning photography and include Robert Glenn Ketchum, Tui de Roy, Karl Amman, Patricio Robles Gil, Michael “Nick” Nichols, Staffan Widstrand, Xi Zhinong, Phil Borges and Connie Bransilver. ILCP co-founder, Cristina Mittermeier, commented at its inauguration, “The League will stand or fall by the standards we keep. We are all in this boat together; it has lots of holes and each of us has a finger in one. If one pulls, out, we all suffer.” Rarely has a group of nature photographers demonstrated such a unity of purpose and had such influential backers. Affiliation to the ILCP may just be the best “quality” label a photographer can offer to picture buyers.

What quality means is not only the technical and aesthetic standards you would expect from an agency image but an assurance of ”ethical cleanliness” and open access to the story behind the image. NGO’s also know that in working with these photographers they are indirectly supporting their own work. It is ironic in view of the central role played by photography in campaigns and communication that it is the first area in which many organisations look to cut costs. Perhaps if the photographer - or let’s be more specific: photo-activist - is viewed more as a partner rather than merely as another supplier, organisations will find they get more for their money than a bag of beans.

The ILCP is structured so that it isn’t just a bunch of agenda-driven photographers swapping environmental horror stories with each other. Associates include end-users and scientists who recognise the value of “conservation photography’” and the ILCP provides a unique forum for different parties to come to a clearer understanding of each others' needs. In the essay, Why it’s Good to Talk, I outlined the pressing need for improved dialogue and co-operation between nature photographers and scientists at a time of profound changes in the natural environment. Perhaps the ILCP’s most crucial function then will be as a conduit through which photographers, conservationists, scientists and picture users can communicate and coordinate their needs and action. A growing number of photographers are showing a commitment to photographing the natural world as it is with a passion and a purpose - turning their back on shelf-filling. But it is a high risk - and ultimately futile - venture if purchasing decisions are uninformed by the bigger picture - and buyers take the easy way out. These photographers are the natural partners of organisations who care about the hue of their public image, be they corporate or charity. The decision of where to buy isn’t really so hard after all.

Editor’s note - Niall Benvie is a founding member of the ILCP. Visit their website ar www.conservationphotography.net.



Text copyright @Niall Benvie. All rights reserved.

Going Professional - Taking the Next Step

Many readers of the NPN site are very serious about their photography and have aspirations of eventually pursuing their passion full-time (myself included). Over the last two to three years I've had the opportunity to be involved in two different book projects that were very different in terms of approach, timing, etc. In this article I would like to discuss the history of the two projects, compare and contrast them in terms of shooting process, and offer my perspective on the differences and what they mean for me in terms of my ongoing journey to becoming a full-time photographer. DISCLAIMER: This is only my experience and thoughts, and may or may not bear any resemblance to the life of a full-time photographer. The thoughts are offered for your reflection and perhaps discussion in the forums elsewhere on this site. I hope some of the full-time pros who participate here will share their wisdom as well.

HISTORY

In August of 2004, I was pleased and fortunate to see the release of the book Unexpected Indiana: A Portfolio of Natural Landscapes (published by Quarry Books, an imprint of Indiana University Press). This book was a collaborative effort between me and Ron Leonetti - a very talented landscape photographer I met in 2003 through an exhibit in which we were both participating. The book is a collection of images captured over the course of 4-5 years photographing throughout the state of Indiana.

Of note in the process of capturing the images for Unexpected Indiana was the fact that there were no constraints, deadlines or requirements on either Ron or me when we were out shooting. Our primary goal during the process was to capture the most interesting and (hopefully) artistic images we could in the locations that we chose to visit. If the photographs taken did not meet our own exacting standards, they were disposed of or relegated to secondary status. It was not until we had a commitment from IU Press that we went through the process of reviewing our various images and selecting the ones that ultimately appeared in print. We estimate that we reviewed a total of 500-600 images between the two of us before settling on the final 138 images that appear in the book. Please understand those numbers don't include the hundreds of images that never made the "keepers" pile in the first place.

The exhibit that I mentioned earlier was co-sponsored by both the Indianapolis Museum of Art and the Indiana Nature Conservancy (among other co-sponsors and benefactors/financiers). The Nature Conservancy was kind enough to provide a variety of support to Unexpected, including location maps, some assistance with species identification and, most prominently, the Introduction which was written by the director of the state chapter, Mary McConnell. During the conversations and interactions that went into completing Unexpected Indiana, we also discussed the possibility of an illustrated Field Guide of nature preserves that The Nature Conservancy had been involved with or currently manages. The concept was to publicize the Conservancy's work in Indiana, to provide location and conservation information for each preserve, and to illustrate the preserves using high quality photography that would hopefully show each one in a favorable light. The ultimate end-product was envisioned to be a combination of a field guide that would be useful to put in your car and direct you to a preserve of interest, as well as provide coffee-table-book quality images of each location. We again received favorable interest from IU Press, and began work on the book in late 2004. The deadline for submission of images to be included in the Field Guide was November 1, 2005, and the book was released in October of 2006.

A total of approximately 70 different preserves are mentioned in the Guide, spread across 54 different chapters. Each chapter needed at least two photographs and, depending on the size of the write up submitted, as many as ten photographs per chapter. The total number of images used in the book was approximately 270, with all but perhaps a dozen of those supplied by Ron and me. Note that we almost doubled the number of images needed relative to Unexpected Indiana, with only 12 months shooting time compared to 4-5 years. In addition, one attribute of Unexpected Indiana that was very obvious to us was that our best images from any particular location were usually captured following multiple visits to that location. Given the time frame of the Field Guide project and the number of locations to be visited, making multiple visits was almost impossible. There was very much a sense during the project that any visit to a preserve location MUST result in some usable images. We were able to use photographs from some locations that had been captured in the past, and we also supplemented some of the location images with species shots (flowers, birds, etc.) that might have been photographed at other times or locations. However, at least two thirds of the images in the book were new photographs taken during very late 2004 or 2005.

LESSONS LEARNED

I believe that the differences in the experience of shooting these two books has been very instructive in terms of distinguishing some of the characteristics of serious amateur/semi-professional shooting versus a true, for hire, professional experience. My take on those differences is outlined below.

Getting the Shot: This is one of the two most obvious differences in the shooting process for Unexpected Indiana versus the Field Guide. For Unexpected Indiana, there were no time pressures or requirements to get some type of image from a particular location. There were many locations in Indiana that we visited when shooting prior to the completion of Unexpected Indiana that did not make the final cut, due to the merits of the image. I never felt pressed for time or the absolute need to get a photo from a particular location, and almost always felt that I could come back some other time, or go to another location that I might prefer. For the Field Guide, none of those luxuries applied. We were required to get at least a shot or two from at least one location in each chapter. Overall we probably included shots from 60-65 preserves. When you can only shoot weekends, the need to get a shot from a location that you will only visit once is a unique sort of pressure I have not experienced before. Compound that with the fact that you may have driven 2 to 2 1/2 hours to arrive at sunrise in the middle of summer (yes, that means getting up at 3am or earlier), to photograph a flower bloom that may only last 4-5 days, and your requirements become quite demanding. I had that exact situation at a preserve in southern Indiana called Teeple Glade. This preserve is an example of a limestone glade and is very uncommon in Indiana. This particular glade is known for its outstanding bloom of purple coneflowers in early-mid June. I was told by the preserve steward ahead of time that the bloom was at peak, so I arose at 2:30 am on a Saturday morning and drove 2 ½ hours to be there at sunrise (around 5:20 am at that time of year). This was truly a one-shot deal - the deadline for the shooting prevented any chance of an additional "maybe next year" visit. I was extremely fortunate that the bloom was in fact at peak (and absolutely stunning). More important, the light and wind that day were quite favorable - I was able to make 1-4 second exposures of these lovely flowers without any significant wind to deal with. I burned lots of film to make sure I had the images I needed, and was pleased to see the results afterwards, but the need to "get the shot" while I was there was definitely on my mind in a way that never occurred during Unexpected Indiana shooting.

Editing: The second area of major difference relates to the editing of images. The need to provide images from certain preserves forced us to loosen our usual stringent requirements around what constitutes an "acceptable" image. Many of the photographs we captured and included were as much documentary as artistic (though certainly we were always striving to achieve both goals). In truth, some of the preserves are not the most photogenic sites around, but the locations are important for preservation of habitat for plants and/or animals, or they may be sites where restoration is a future goal. So we weren't always dealing with the ideal locations for outstanding photographic results. Also, sometimes the conditions did not lend themselves to the ideal representation of a location. Again referring to the Teeple Glade location, there were a couple of shots that I took that really would have worked a bit better with soft blue sky and a few clouds. As I was shooting though, the sky was slowly clouding up and by the time I found those particular compositions the sky was pretty bland. I shot them anyway, and they are useful to illustrate some of the topography of the preserve, but my mind's eye wishes for a slightly different look to a couple of them that I simply didn't have a chance to explore. This is a necessary compromise that makes sense in the Field Guide, but that likely would not have been acceptable in Unexpected Indiana.

Do Your Job vs. Follow Your Passion: Another area of difference was the constant nagging feeling that I needed to be out shooting more. I feel that way to some degree all the time simply because I love nature and being outdoors and taking photographs. However, this was a different sort of "You have signed a contract and have a photographic job to do and you have a deadline and there are probably some cool photos out there right now that you are missing so hurry up and get going" pressure that was very different than any self-imposed desire to get out. In addition, I spent a lot of time the last year planning my photographic travel based on where I had to shoot, not where I felt like shooting. Over the course of 12 months, that difference in approach became a little wearing, and I was glad when the images were finally submitted and I could once again feel free to wander and explore wherever I chose. Certainly I was passionate about the Field Guide, but it was difficult to feel comfortable taking a break.

Access: On the other hand, Ron and I got access to locations and preserves that the general public does not. A few preserves will be highlighted in the Field Guide that are not open to the general public. Being allowed access to those locations was a wonderful privilege and provided some photo opportunities that were unique in the state. Related to that, we also found out about a surprising number of preserves and locations that we were not aware of (all our travel for Unexpected Indiana notwithstanding) that we will certainly visit again. Perhaps an Unexpected Indiana 2 will be forthcoming...?

Practice, Practice, Practice: The up side of the constant need to get out and shoot was that I felt like I was in good practice, and my eye was "sharp" whenever I was able to visit a particular preserve. Some people seem to be ready to go at a moment's notice when photographing, but my photography is best when I have been shooting a lot and am in good practice. The compressed time frame of the project forced me to be out as often as possible, which led to a higher comfort level with "seeing" what was before me, instead of just "looking." I believe (and you'll just have to take my word for it) that this ultimately led to a higher overall level of quality in the images I took.

In the final analysis, I feel fortunate to have been a part of this project. I now know of many new places to photograph, I have expanded my image library significantly, and I am optimistic that additional opportunities and contacts will come from the book and my association with it. I also feel that I have a better grasp of the differences between shooting "on assignment" as opposed to "on my own." I have always believed that I am capable of this sort of assignment or project driven photography, and this project has validated that feeling. Now if someone would just pay me outrageous sums to do this ALL the time!



Text copyright © Christopher Jordan. All rights reserved.

Art and Soul

Art might be described as our attempted expression of wonder at the marvels of the universe. Peter Lingbergh defined art as "a desire to explore the way in which we are integrated in the world of our experiences". I'd change that to say "(...) the ways in which (...)", because that integration is not singular. We can be open, at any given point in time, to a multitude of processes. The more open we are, the more likely we'll have richer and more varied experiences. Art most definitely is an exploration of those experiences.

If this is what art is, how do we best serve that process? By learning more about the rules of composition, technique, harmony, color, light, etc.? Arguments rage back and forth about "the rules" in photography, in music, indeed in all artful mediums. Some scholars demand we "learn the rules" while others propose, instead, that our explorations are best served when we "break the rules". And yet, both sides miss the point. Art is not about rules, and it's not about breaking them either. It's about creation, it's about creation and exploration. Nobody has to break anything, and nobody has to abide by anything. Art, even artistry, like all creation, doesn't hinge on one's knowledge or application of rules. A person who neither knows nor abides by the laws of his or her community is no more or less human; simply being human is enough. Similarly, all one must do to produce art is to create - the well-known Nike slogan "Just Do It" encompasses this point succinctly. It's not whether you win or lose, or even HOW you play the game. It's THAT you play the game. Engaging in the making of art is enough.

"Lose yourself", cried rapper Eminem in 8 Mile. Immerse yourself. Sink yourself into the process of making art. Photograph as often and as intentionally as you can. It's there. This is where creation lies. This is the root of all art. This is where your voice lies, and it matters not whether the resulting works fall within or outside of any conventions. It matters simply that you create.

To paraphrase Shakespeare, "Out, damned rules! Out, I say!". Art (and hence artists) need not follow any rules or guidelines to be great, or even to be important, but nor must art break them. Rules are conventions - guidelines at best - that may be of some use, some times, for some people. You get my drift.

I was discussing art recently with a talented piano player friend, and he explained it to me like this: "Carl, rules are a lot like Stop Signs and Traffic Signals. What's important is not that you obey them, or even that you stop, but that you know how to navigate the intersection safely." Wise words. Certainly, an understanding of how to abide by the rules of the great red Stop Sign can help some people cross some roads (though the high number of traffic accidents we see on the daily news may point to a lower-than-expected success rate.) We can also, of course, simply pay close attention, consciously and intently engage the world around us, listen to its signals, and safely cross the intersection. I believe many of us have forgotten how to do this, largely because of our culture's poor training mechanisms and systems. We live in a culture that says we must follow the rules or we must pay fines. We're probably the only creatures ever to exist that stop and go according to the color of a lightbulb. Art, on the other hand, allows us to safely step outside of this enculturation, to wander when and where we will, and then to be witness to what is produced (art has the added benefit of not placing our life and limb at risk when we engage it). Yet, most photographers unfortunately seem to feel incredibly intense pressures not to explore, not to take chances, and not to try new approaches, but rather to stop because they know red means stop. Too often artists (and their audiences) focus intently on some collection of rules and let that be their compass.

One of the reasons I believe so many artists continue to follow the rules so closely is because too often we reward those who observe them most closely. The training starts early - in school, when a child receives a particular grade because his or her poem or painting was deemed to best adhere to the rules laid out by a teacher. As the years go by, financial rewards, peer accolades or audience applause reinforce such methodologies. While this may serve our egos well - and often our bank accounts - it does little to serve our art. Consider whether you're moving in the direction of exploration of artistic expression, or whether you're pumping up the economy and recouping some of those rising gasoline prices with conventional images. While it's certainly possible to do both, for most of us, mere creatures of habit, it's very difficult.

Art simply has to be. Art is both a reflection and a product of our being. Art is creation, just as we are. Art allows us - artists and audience alike - a space in which we can clearly realize our connection with Creation. Art is the play of form, as is life itself. This is why it's so important. It's so critically important that I'll repeat it: art simply has to be. That's the fundamental place from which all great art has existed.

I spent a wonderful evening just recently browsing the galleries of Guy Tal's website (http://scenicwild.com/sw/gallery/). The richness of his work struck me first - the collections are simply stunning. But, even here among such an incredible array of nature photography, the essence of art and its process remains. Each of Guy's photos is the result of making art, of the process of creating, of creation. Not a single image comes into existence through any other process. Not all great art is or was the result of following (or breaking) some pre-assigned set of rules but it is always, can only ever be, the result of art-making, of creating. While this may seem elementary rather than revelatory, it's useful to examine. The premise exposes the value of creation over creativity (creativity as defined by originality or the imaginative and clever). Creativity is the ice cream, creation the act of eating, even of hunger itself. Creation and creativity are intrinsically linked, but creativity can only come out of creating. Creation does not, of itself, come out of what we define as creativity.

The obvious lesson from this is that if creativity comes through creation, our art is best served when we focus our efforts on creation, which is the root. Artists make art. What this means - what is vital, and what alone is vital - is that we must produce. Photographers must photograph, musicians must play music, painters must paint, and writers must write. If we, photographers, are photographing - are making photographs - then we're serving our art. If we're shooting then we're working on our art. If we do this work with intention, with conviction, with passion, and - most importantly - with awareness, then we're already there. Through this process, and only through this process, can we find our voice, our niche, our style, our creative edge, our imagination, etc.

So how do we focus on creating? Acknowledge the enjoyment we find in the process, as opposed to the product. Learn that the reward of making art is the making. As a photographer, I photograph because I enjoy the process of making photographs. The actual photographs themselves are not critical, so I don't spend too much energy on those results. I pay attention to the joy I find in the act of making photographs, be it hiking a trail to a destination, patiently waiting for a wildlife subject, composing a scene, measuring exposure, or even processing the image on my computer. To me, being a photographer means that I let my photography take me deeper into the process of making photos. It's an exciting process that is infinitely rewarding - more so than any photograph itself could ever be.

Lastly, I'll add this: what really matters? The sales you made, the accolades you received, or the fact that you created the art? To use a somewhat irascible metaphor, I'm quite sure another Creator is most concerned with the play, the process, with creation itself, and not the distinctions or honors those creations accrue. What greater lesson could there be for any artist to heed?


Text copyright © Carl Donohue. All rights reserved.