Back in my Yard

What started in the summer of 2011 as a fun little project has turned into quite a thing these many years later on. I am talking about my backyard photo project—a project familiar to regular readers of this blog.

The backyard project is almost a no-project. It was meant as an outlet for my experimentation and for me to push myself beyond my regular ways of seeing and photographing. Here I could step out of the all so infamous box and not have to worry about the result—because it is all about fun and playfulness, without any pressure or performance needs that have had to be met.

Doing this project, I have deliberately broken all the “rules” in the book. It’s been a way for me to keep my vision fresh. And after eight years, it has actually turned into a visually interesting and personal photo essay of sorts.

Last time I wrote about the photo projects, I took the approach as far out as possible. By swinging the camera forcefully when triggering the shutter and using a long shutter speed, I captured some unusual and abstract photos—to say the least. Last week I came around from the other direction. This time I tried to photograph as straight on and standard-like as possible, and challenged myself to see if I could still come up with something different.

This may not be the most thought-provoking result or even captivating at all. But I have still chosen to display a handful of images from this shoot, to show that not all we do have to be all that touching or appealing in order to work within a larger body of work. And even if the result isn’t as spectacular as one maybe would have liked to, there is always learning in every twist and turn of shooting—as long as we keep shooting.

If you haven’t seen my previous photos, here is the links to post about my backyard project: Backyard Frenzy, Backyard Abstraction, Shooting Sideways, Backyard Bliss, Experimental Backyard, My Photographic Retreat, My Backyard Project, My Personal Challenge, The World from the Backyard, Instagram my Backyard, Out of Comfort Zone and Challenge and Expand.

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Creative Routines

If you want to stand out as photographer (as any artist, as a matter of fact), you need to put in the work. Simply put; it takes a lot of work to excel. Often enough I have written about the necessity to work hard. However, almost as important is developing good habits.

As Twyla Tharp, the dancer and one of America’s greatest choreographers, concludes in her book The Creative Habit: “It’s vital to establish some rituals—automatic but decisive pattern of behaviour—at the beginning of the creative process, when you are most at peril of turning back, chickening out, giving up, and going the wrong way.” Tharp wakes up every morning at five-thirty and takes a cab to the gym—a trite ritual but, as she writes, “a lot of habitually creative people have preparation rituals linked to the setting in which they choose to start their day. By putting themselves into that environment, they begin their creative day.”

Most renowned artists have and continue to develop good habits for the creative work. Frédéric Chopin played Bach preludes and fugues. Beethoven took a walk with a sketchpad to jump-start his mind and jot down rough notes. Novelty in creative endeavours usually arises from routine—you have to be familiar with something before you know what is novel.

In his book The Accidental Masterpiece, Michael Kimmelman writes about the artist Philip Pearlstein—as one of many artists he highlights in the book. Kimmelman, chief art critic of The New York Times, followed Pearlstein’s process when creating one of his paintings and in so doing, observe the routine of his life. Pearlstein’s paintings are unusual and provocative. He paints in a style that has become recognizable his own. As to his work routine, though, he does essentially what most of us do whether we are in an office or teach in a school or we drive a truck or we raise children at home: he follows pretty much the same schedule, day in and day out, trying to make something constructive of it. Contrary to the myth that artists are eccentrics, leaping from one peak of inspiration to another, Pearlstein exemplifies the greater truth that most artists live as they work, incrementally, day by day, in the same way that they build up a canvas or chisel a sculpture. According to Micheal Kimmelman.

Kimmelman also refers to the artist Chuck Close who makes prints out of small, nearly identical dots. Close’s work is painstaking, repetitious, and methodical. As he says to Kimmelman: “My favourite analogy is a brick building. Stacked up one way the bricks make a cathedral, another way they become a gas station. Having a routine is what keeps me from going crazy. It’s calming. My working methods are almost Zen-like, like raking gravel in a monastery.”

Daily routines are also essential for Julia Cameron. She has inspired plentiful of artists and artists in coming by her book The Artist’s Way. The book describes a program for how to open up the creative self and become more in touch with one’s muses. An essential part of her program is what Cameron calls The Morning Pages. As the first think every morning, you sit down and basically empty you mind onto three pages of handwritten notes. The routine will help your artistic development and spur the creative drive.

Good habits create space for creativity. It frees up your mind and inspiration, when you otherwise might get bugged down by the mere thought of what could end up becoming insurmountable chores. Again, to quote Twyla Tharp: “Turning something into a ritual eliminates the question, Why am I doing this? The ritual erases the question of whether or not I like it. It’s also a friendly reminder that I’m doing the right thing.”

One way of developing good habits for a photographer is doing what the photographer and teacher David Ulrich calls Your Daily Record. In many ways it’s similar to Cameron’s Morning Pages, except instead of writing it encompasses photography. Ulrich describes Your Daily Record in his book Zen Camera (which I reviewed in my post Zen Camera).

The baseline for Your Daily Record is acknowledging that it’s imperative to photograph regularly and frequently if you want to strengthen seeing, improve your ability to discover potential subjects and become a better photographer. You need to develop photographic habits. Your Daily Record is similar to a free-ranging journal of thoughts and impressions—like Morning Pages. You let go of conscious thoughts on how you ought to photograph and let the unconscious mind connect directly with the world around you through the camera. Ideally, you dedicate time for daily shooting. It doesn’t have to be time solely for shooting; use off time if you have a change. Shoot while you go for your daily walk, or shoot while commuting with bus or train, or during your lunch break. Now just see and record what you see with you camera (or cell phone). Don’t worry or think about making good photos. These are only sketches. Take photos of everything you see and that strikes you enough to make you become aware of it. Photograph anything and everything that ignites any kind of response or resonates with you. Just captured images without thoughts and any worries about composition, light or technique.

Reviewing the images is just an important part of Your Daily Record as the shooting itself. This is how David Ulrich describes this second part of the process: “Organize your photos and view them daily. You can do this at night or odd times throughout the day when you have a free moment. You want to look for recurring themes and core forms or shapes that appear and reappear. Study how you use colour and form, and your magnetic attraction or revulsion to certain subject matter. Above all, seek the pearls of resonance, those images and scenes that call to you from the deep within, that touch your being in ways you cannot yet identify. Place these, and only these gem-like reflections, in a separate folder.”

I try to shoot and follow the guidelines by Ulrich on a daily basis, although I don’t always manage to set aside time for Your Daily Record. Nevertheless, I notice how it has sharpened my awareness and even increased my effectiveness when I photograph an assignment. I am quickly able to get in flow. The photo following this post was shot one morning some time ago during a walk while shooting Your Daily Record.

For the record, Holly who writes the blog House of Heart, recommended The Accidental Masterpiece to me. She creates beautiful poetry. I suggest visiting her blog.

Completion

Too often I don’t reach completion with my photo projects: That last step that makes photos shine. Why? Well, laziness maybe, it’s just so much easier not to make that final stage—and anyway, the photos look beautiful on my screen. I know most photographers are prone to the same shortcoming.

What am I talking about? Printing, of course—or at least showing your work to an audience. In the idea of a print lies the concept of the whole process from the very first moment of conceiving an idea of what will one day become a finalized artistic work or expression, to exactly that day, when the work is completed and ready to be displayed and shown to the audience. That is, a print, either hanging on a wall, printed in a magazine, smaller, glossy prints given to friends or relatives or even shared on social media and platforms. Or should I said ought to be. Because in reality with today’s digital world most photos never get out of the computer, we check them when we download them, and process some of them—if we even do that, I know for a fact that too many pictures are kept on the memory cards and never leave the camera—and then we mostly forget about them.

Our photos really deserve better. What is the use of all those images if nobody ever gets to see them? I am guilty of this myself too often, too, although since photography is my profession my work is often printed in magazine. And I think most of you are probably guilty too, even though, like me, you at least have an outlet through your blogs. But I think anyone creating or taking photographs should think more consciously of the completion of one’s work—as should any artist.

Completion is not only about displaying or showing our work, it’s also marking the end of one creative process in order to open up for new ideas and a new flow of work. It’s a mental transition between old and new, which makes us ready to embark on new creative tasks. Photographer Minor White likened the process of the artistic production to the phases of the moon. In the waxing phase, we are building, creating, forming and shaping the world towards its completion. The full moon represents the completion phase. And the waning moon symbolizes a new phase of the cycle: The need for release, to cut the umbilical cord and give the work its own life. For some, until they send their offspring into the world, they are not ready for a new phase of work.

In order to reach this completion and mental readiness for a new cycle, we must pay attention to the finalizing stage of the creative process. For photographers it means we need to get our work printed and displayed. It doesn’t necessarily mean a hard print on the wall, just as duChemin notes in his book The Print and the Process: «I use the word “print” here in the broadest sense, in the sense that Adobe Lightroom, for example, allows us to print to JPG or PDF». As he points out, the important thing is to get our work out there, whether it’s presented on a wall or on our website. He continues: «Ansel Adams called the print the final symphony, though he was referring to actual prints. How we get that symphony is a process and we all have to have our own ways of getting there».

The completion is also strongly connected to detachment, which I have written about before (Engaged and Detached at the Same Time). With completion we are more easily able to detach from our work, and leave it to itself. Thus we should do the best work we can do in the creative phase up until completion, and then let the rest take care of itself. Or as David Ulrich says in The Widening Stream: «When your works, founded on inner necessity, are completed, release them. Take responsibility for their passage into the world. Put them out there in whatever manner is possible, reasonable and realistic. This stage is important to move on. We must prepare the ground for new actions and fresh insights».

Candy to the Creative Child

Some days I am flowing over with creative energy. There is no end to my cornucopia; it’s like an endless stream of ideas flowing through me combined with an unstoppable desire to create. I can go on and on and on. Other days my mind is completely empty, I feel drained and I don’t even want to think about creative work, let alone attempting to do such futilities. I just want to shut myself down, crawl up in good chair and read a completely unchallenging book.

How do I go about those days? Well, sometimes I do exactly that, shut down and do something utterly mindless. But in the long run that is no solution at all. I risk never getting up of that chair, figuratively speaking, because most times I feel creatively drained not because I am really creatively exhausted, but because being creative is scary as hell. It’s not for no reason that the American existential psychologist Rollo May talks about the courage to create—because it does take courage. It’s a daring path to choose. Or as George Bernard Shaw once stated in a letter to the violinist Jascha Heifetz; it’s an active battle with the gods—and with oneself I would like to add for my part. The courage to create is something I have already written about in a previous post, so I won’t dwell far and wide about it now.

The question is what do we do when we get into that stage of inertia and creative apathy? As far as I see it, there are four ways around it. We can do nothing, find that brainless book and hide from ourselves. I have already made my point about that solution.

A second solution—which is not a bad solution at all—is to rest your creative mind, not by withdrawing, but by filling it with inputs and new impressions. It’s what I called replenishing the creative well in one of my other, previous posts. Replenishing the creative well (by the way an expression I have taken from Julia Cameron) could be visiting an exhibition, it could be gathering some creative friends and discussing each other’s work, it could be as simple as going to a coffee shop and have a nice espresso or a long walk in Mother Nature.

Another way out of the misery is simply to force ourselves into a creative mood. Is that possible you might ask? Yes, and no. I think it depends on the situation. Sometimes the creative work you are pursuing will not come alive with pure force of mind. Other times it’s all it takes. I know for sure when it comes to myself, that for instance when I have been travelling and shooting on the streets for some time, at some point I run into a wall. Suddenly I feel drained, I can’t face the street again with a camera in my hand, and I just want to spend the day in a nice hotel room or even better in a nice bar somewhere. But then I know if I just make that first step into the street again, with camera in hand and start shooting, albeit it will be lousy pictures in the beginning, at some point the energy comes back again, and I am suddenly back on my creative path again.

The last way out of the creative inertia is by luring. My creative self is in many ways like a child. And just like a child it needs nurturing. So what do you do when a child has decided to put both feet on the ground? You promise it something nice and alluring, something it cannot say no to—if it only starts moving again. It’s simple psychology. If it takes a candy to get the child over the hill, then give the child a candy! So it is with my creative child. If I am only willing to walk down one more street and take scores of photos along the way, I promise my creative child a new camera! That is something that can get me going. Well, I guess I would quickly become a poor photographer if I really did that. But I think you get my point. The point being, you need to find something that you can give yourself to keep going down that creative path you don’t really feel like walking. It’s about motivating ourselves. If not a new camera, maybe I will buy myself that photo book I have long been drooling for. Or maybe that nice bar—but at the end of the day. Give it as a present to myself when I have done my dead, instead of sneaking in with a bad conscious before I have accomplished anything all. Again it comes down to motivation and luring that child to keep going. Just give that creative child a candy!—Or a carrot to the donkey…

Downtime

Retreat and withdrawal is a necessary part of the creative process. Very few of us who work creatively are able to stay on top, creatively speaking, producing day in and day out. We need to let our minds rest and seek inspiration or new energy away from our usual creative field. The creative mind is indeed unlimited, but every so often we need to let it have a bit of rest. It doesn’t have to be more than just a walk in the park or enjoying a bit of social life in a café or listening to some beautiful music. Being social is fine, but in most cases it’s more beneficial if you allocate time to spend all by yourself. And even if you have to let go of a project you are in the middle of completing, it’s not wasting time to leave the work behind for a while. Instead it will become a time of incubation where new ideas suddenly will appear or new inspiration will trickle down upon you.

All artists need downtime – that is time to do nothing. There is nothing wrong with that. But we might even have to defend our right to this downtime towards family, friends or even colleagues if you work in a creative field. It might not always be easy; it may take courage, conviction and resiliency. Such time for ourselves – resting – will strike our family and friends as withdrawal. And it is. But for an artist withdrawal is necessary. Without it, the artist in us feels vexed, angry, out of sorts. Without this period of recharging, our artist becomes depleted. Downtime as in retreat and withdrawal is important for incubating new inspiration in us. If we let ourselves have some downtime on a regular basis, we will be able to stay more creative when we do creative work.

When was the last time you took some downtime alone – walking in the park, resting in the sunshine or did a longer hike or spend a day on the beach?

Develop Your Visual Language in Seattle

Come along for a photo workshop over an extended weekend in Seattle in mid September. If you need some inspiration, if you want to push your photography, if you want to advance your visual language, this is the perfect workshop for you. From September 6th to 9th, the workshop will be focusing on how you can develop your photography and your photographic expression.

Through daily lectures and picture critique, I will challenge you and stimulate growth of new visual ideas and your creativity, as well as stretching your ideas of what a good photograph might be. The workshop is less about technique than about imagery, however we will of course talk about technique when and if necessary. Nevertheless, the focus is primarily on the visual language and the creative approach to photography.

During the workshop, we will explore various neighbourhoods of the city. We will head down to the waterfront of downtown Seattle; the mixed, former hippie district of Fremont as well as other areas. Against a backdrop of jaw-dropping scenery, the waterfront is all about walkable fun, where quirky shops, seafood eateries, and iconic experiences await. Fremont is the artsy, waterside enclave where people come for a selfie with the gigantic Fremont Troll and enjoy the neighbourhood’s free-spirited charm.

I will walk and photograph with participants on an individual basis, which I have found that former students always appreciate the most. By photographing side by side, you can learn from my approach, but also give me a chance to suggest ways to change your own approach. I believe in challenges and in expanding into new ways of seeing and capturing and this will be the underlying force through the workshop.

Does this sound interesting? You’ll find more information about the workshop “The Visual Language” in Seattle here.

Or you can ask for the brochure for the workshop here.

Maybe I’ll see you in Seattle?

The Soul of the Photographer

If there is one book about the photographic process released the last year and a half that I really want to recommend it’s “The Soul of the Camera” by the Canadian photographer David duChemin. It’s book for those who have come to a point where equipment and technique is of less importance, but rather seek ways to express themselves and feel the need to develop their personal vision. As he writes himself; clearly the camera matters—otherwise we wouldn’t be able to take photos—but in the end the photographer matters more.

It’s the photographer and his or her approach to photography that duChemin addresses in the book. How can you use yourself, your curiosity, your emotions, your creativity to unleash your photographic vision, your distinctive voice? That is what he writes about. It’s about being authentic to yourself and about photographing with a clear intention. As such, the title is actually misleading: It is not about the soul of the camera, but rather the soul of the photographer. I guess what duChemin argues is that the soul of the camera is us, the photographers, the ones holding the camera. It is us, and our vision, that puts the soul into our photographs.

There are plenty of books about how to take pictures by mastering composition, exposure, lighting, post-production, and more. But there aren’t many books about what goes on inside the mind of a photographer, what they think about, and how they approach photography. That is what duChemin addresses in “The Soul of the Camera”. This is a book for photographers who want to take pictures, not play with their gear. If you want to think differently about photography—whether you have the latest gear or not—this book is for you.

The book is beautifully written and in a manner, that perhaps only David duChemin can write. He uses the own experience and development as a springboard to write about the photographic process from the point of the photographer’s mindset. The writing is philosophical and expansive and thus will have a different meaning to different photographers at different points on their journey.

The “Soul of the Camera” feels like a different style of book from some of David duChemin’s previous works, such as “Within the Frame” and “Photographically Speaking”. Yet it really isn’t so different. Each of these books takes a core theme and explores it, trying to convey to the reader its importance and how it might be used to better our photography, and even to learn what better photography means. “The Soul of the Camera” is similar to the other two in that it focuses on a theme, that of “the Photographers Place in Picture-Making.” None of these books are very focused on gear or technique and this book is even less so than the others.

The one objection I have towards his writing is that it’s a little too vague. It’s like someone saying you should be mindful. But if you don’t know how to be mindful, it’s a statement that doesn’t help you anywhere. In trying not to set parameters for other’s development, duChemin becomes too elusive and not concrete enough to help the reader on his or her way towards a more mindful approach to photography.

He writes so himself, about vision, that it’s an elusive topic. So instead of attacking the subject head one, he becomes unusual unclear. Yes, vision is a vague subject matter, but duChemin has written clearly and insightfully about it so many times before. He excuses himself for exactly that in “The Soul of the Camera”; he says he has written so much about vision before, that he has become very self-conscious about writing any further about. Unfortunately, that makes his writing in “The Soul of the Camera” less enlightening.

Do you need another book about photography? DuChemin kind of answers himself: “[Y]ou don’t need another book[…] Yes, read all the books you can get your hands on. But you probably don’t need them as much as you need time to make this craft yours. What you need is time to make photographs.”

I principally will have to agree with duChemin. However, that view doesn’t give the whole picture (no pun intended), as I am sure he will agree upon; otherwise he wouldn’t have written yet another book. Books are good for inspiration, good for new ideas and good for learning more. If that’s what you need, I will highly recommend “The Soul of the Camera”. Despite the few objections I have raised, it’s an inspiring book for any photographer searching for his or her voice.

Then, after having read the book, you still need to go out there and practice. You still need to put in the time to actually make photographs.

In the book, duChemin explores what it means to make better and more personal photographs. Illustrated with a collection of his black and white images, the book’s essays address topics such as craft, mastery, vision, audience, discipline, and authenticity. “The Soul of the Camera” is a personal and deeply sensible book that quietly yet forcefully challenges the idea that our cameras, lenses and settings are anything more than dumb and mute tools.

Once again; DuChemin’s and the book’s point is that it’s the photographer—not the camera—that can make better photographs. As he writes in the book: “The camera on its own is a wonder, but in the hands of the poet, the storyteller, the seeker of change, or the frustrated artist, it can create something alive that touches our humanity.”

The Soul of the Camera: The Photographer’s Place in Picture-Making
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Engaged and Detached at the Same Time

As creative individuals we all—more or less—indentify ourselves with the work we generate. We view the work—rightly—as an extension of ourselves. Yet it’s important to understand that we cannot become the work. The work—already from the beginning of its creation—sets out on a “life” of its own. It’s not us any more, if nothing else because everybody else will not see the work as the same as us. But more importantly, if we become too attached to our work, we will not be able to make it come to its full blossom. In many ways it may be compared to the having a child. Our children are not ours and they are certainly not us, although they are created by us.

I have previously written about the need for passion in the creative process. But it’s important to bear in mind that it’s not the passion for the final product I have in mind, but passion for the process—and passion for whatever it is that we want to express. Thus, when it comes to the work itself, we must maintain a critical distance, and be capable of a more objective relationship with the content of our efforts.

This detachment is a form of freedom: We enter into a real dialogue with our materials and ideas, rather than a fragile and trembling co-dependency with the natural results of our efforts. The work comes from us, or through us; it’s not of us. This is an important distinction to recognize if we hope to continue on the creative path. We wish to attune ourselves to the process, engage our energies as deeply as possible, and allow the work to emerge as the by-product, the child, of a mature relationship between ourselves and our materials. It is thus fair to say that we need to be both engaged and detached at the same time during the creative process.

On a different note: Unfortunately I have not been able to catch up with all comments on my last post, and neither been able to visit any other blogs the last week. It’s just been to busy, but I promise I will get back to you all.

When Inner and Outer World Become One

Artists and creative people frequently talk about the experience of losing themselves in the work at hand, being fully in tune with the process, with the heighten sense of being completely focused, being in flow—often emerging hours later as if having been in a trance. I know this from myself, and I also know that whenever I emerge from such a trance like state of mind after having worked hard during a photo session, I have been able to capture some great images. I can’t say which picture is going to stand out at the point of capture—as some photographers immediately are able to—but I know that within the batch of photos from the shoot there is bound to be some goods one. This trance like state of mind, in flow, when I lose myself, is for me the ultimate level of creativity, when everything can happen and I am not bound by my own preconceived ideas or thoughts.

I often compare this with being in a tunnel, where all kinds of unpredictable things can happen. I have now idea what happens in there before I finally emerge onto the other side of the tunnel. I wrote about this in the post “Tunnel Vision” quite some time ago. And it does resemble some of the ideas I wrote about the contemplative approach to photography in the post “Different Perspective” not long ago, in which I stated that contemplative photography in essence is about how to fully connect with the visual richness of our ordinary, daily experience.

There is a duality to this process. It’s two worlds coming together – the outside world and our inner world. We perceive and react to what we see, and then bring our inner self and spirit into the equation, almost as if in a dialectic process. In this very concentrated process we focus deeply on a single task, and at the same time something opens, deepens and widens. We are fully absorbed and present to the activity and the moment, to the exclusion of other elements and influences in our lives. But we are also equally attentive to ourselves; our responses, our impulses, and our creative interaction with the medium.

The late and great photographer Henri Cartier-Bresson has aptly described photographic seeing as having one eye turned outward and one eye turned inward. When the two images converge, that’s the moment for capturing the photograph. In his acclaimed book “The Decisive Moment” he writes: I believe that, through the act of living, the discovery of oneself is made concurrently with the discovery of the world around us, but which can also be affected by us. A balance must be established between the two worlds – the one inside of us and the one outside of us. As a result of a constant reciprocal process, both these worlds come to form a single one. And it is this world that we must communicate.

Different Perspective

I have previously written about the need to have a vision – or intent – when we are photographing (or doing any work of art for that matter). I wrote that a photograph without intent won’t convey significance to the viewers. If we start with an idea or are conscious about the reason why we take a photograph, the final result will reflect this vision of ours and be of much more interest than a random captured photograph. As I wrote; photographic vision is how you see life when the camera is put to the eye (se Vision is Beginning for more).

This concept of a vision driven photographer, isn’t the only way to approach photography, though. Of course you may catch a nice photo now and then if you do choose to shoot unconsciously or randomly, but that’s not what I have in mind. The fact is that many different philosophies about the process of taking (or making) photographs exist – probably as many as there are photographers. Although I believe in the vision driven photography, I am always open to other approaches if they can open up for a different way of shooting. As always it’s about expanding and getting out of the box.

One such approach is called contemplative photography. This practise picks up elements of Zen Buddhism and lets the photographer see subject matter differently than at least I would usually do. The word contemplative in general terms means to think things over, but in this case it means «the process of reflection that draws on a deeper level of intelligence than our usual way of thinking», according to the photographers Andy Karr and Michael Wood who practice and teach contemplative photography. In essence contemplative photography is about how to fully connect with the visual richness of our ordinary, daily experience. In many ways it’s a process of learning how to see.

The practise of contemplative photography has three stages. First you catch as sudden glimpse of something that in some way or another connects with you. It can be a beautiful flower or it can be something as mundane as a sink. Beautiful and mundane are actually words that aren’t supposed to be attributed to things according to the idea of contemplative photography, since all things have their own inherent value. Anyway these flashes of perception, as they are called, happen naturally all the time. You cannot make them happen, but you can learn to recognize them. The next stage is called visual discernment and in means to stay or rest with the experience of the perception. There is a holding-still quality to this phase that allows things to emerge, rather than trying to interpret the nature of the perception. The camera doesn’t come into play at all during these two first stages. Only the last stage does involve the camera and taking the picture. It’s called Forming the Equivalent, which means to use the camera to create the equivalent of the perception just experienced.

In contemplative photography the power of the final image comes from joining clear seeing with genuine expression, free from contrivance.

Contemplative photography is an excellent practice for opening up our ability to see. It enhances our vision and it can create some beautiful, reflective and tranquil pictures. However, if you are a sports photographer or shooting any kind of action it might not be the best approach. I still think any photographer can expand his or her photographic vision by practising contemplative photography. Since it’s impossible to give more than an idea about the practice in a post like this, if you are interested in further information, I recommend the book The Practice of Contemplative Photography by aforementioned Andy Karr and Michael Wood. It’s an inspiring book, filled with practical exercises and photographic assignments. Just to be clear about it, I am not a Buddhist myself but I still find this approach very useful in expanding my vision.

Available on Amazon:
The Practice of Contemplative Photography: Seeing the World with Fresh Eyes

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