Your Own path

When you first pick up a camera, you start down on a creative path. How far you go—or even how far you want to go—is all up to you. There is no right or wrong. There is no saying how far you should go. And there is certainly no need to feel you have to keep developing your photographic skills or your photographic vision.

If all you want is to play with your camera, if you just want to capture moments in your life, to keep as memories, without any photographic ambitions; do it! Have fun—that is the whole point, anyway. Too many “serious” photographers forget the fun part. They lose the playfulness that is such an important part of the creative endeavour, what probably brought them into photography in the first place.

This path you have undertaken—whichever direction it takes you—is all yours. In many ways, all you need is walk the walk, photograph what photographs you capture, and immerse yourself in the process. Gain confidence as you head down the path; learn to create by creating, become skilled as a photographer by photographing. If you trust the process, if you trust yourself and your inherent creativity—which we all have in us—in time you will master what needs to be mastered. The path will open up for you, if you become susceptible to it.

All this is easier said than done, though, and a guiding hand may more often than not be of great help. It is like undertaking a spiritual journey. You can become spiritually enlightened by work of your own mind, but a master by your side may help you not lose track of the path.

So it is with photography. Someone to guide your development can speed up the progress. I see it in all the workshops I teach, how much each participants grow through the week or whatever length of a workshop. And I know it myself from attending many a workshop. As a matter of fact, now in May I will once more enrol in a workshop, this time in Rome. Very exciting.

Maybe a photo workshop would be worth considering for you, too? Maybe it’s time to develop your photography. I would be happy to se you onboard one of my workshop that I teach this year. See further down for workshops I will be teaching.

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Workshops in 2019:

Next year I am going to teach no less than four workshops. They will vary from weekend long workshops to a tour stretching almost a fortnight. There should be a workshop for most aspiration.
 
“Street Photography in Cuba” is a workshop I do together with my friend and colleague Sven Creutzmann. It’s our most popular photo workshop and offers a great opportunity to experience the colours, the contradictions, the rhythm and the passion of this country unlike any other. “Street Photography in Cuba” takes place from May 4th to 11th 2019.
 
“The Personal Expression” is a weekend workshop in Bergen, Norway. It’s an intimate and personal photo workshop, in which you will get a chance to work on and develop your personal expression as a photographer. “The Personal Expression” takes place from June 7th to 9th, 2019.
 
“The Visual Language” is an extended weekend workshop in Seattle, USA. In this workshop I will focus on the visual language—as the title indicates—and you will get a chance to develop your skills in visually telling stories with your photography. “The Visual Language” takes place from September 6th to 9th 2019.

“On the Tracks of Che Guevara” is maybe the workshop I am most excited about being able to re-launch. It takes place in the eastern mountain area of Bolivia and we will follow the tracks of the last days of Che Guevara before he was killed in these mountains. This is another workshop I do together with Sven Creutzmann and one we haven’t offer since 2013. “On the Tracks of Che Guevara” takes place from September 23th to October 2nd 2019.
 
<font color="#990000"Please follow the links for more info about each of the workshops.
Or shoot me an email (by answering this one) and I will send you more information.

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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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Let Go of Comparison

One thing that kills our creativity is this constant urge to compare ourselves with others. We look at those who experience success in our field of work or are doing similar things as we are—with envy. We look at the masters who have developed their skills over a lifetime and feel that in comparison our attempts completely suck. And opposite; we might even be terrified to stand out from the crowd.

It so easy to be sucked into a downward spiral of “feeling not good enough”. Then we lose steam and get discouraged. And even if you aren’t completely dispirited, just the fact that this kind of comparison makes you insecure about your own creative skills, causes you to not be the best you could be. Instead of focusing on your work and feeling good about what you produce, you get sidetracked worrying about what other people might think.

In worst of all cases, someone might think that he or she lack creativity completely. Everyone acknowledge that certain skills, like playing the piano, take years of training. But a common misperception is that you are either good at something or not at all, particularly when it comes to creative expressions. Just think about how many who blatantly state that they cannot draw, they don’t have the talent, and yet have never put in the energy and time it takes to become skilled at it. Remember? As kids we could all draw.

I believe every single one of us have inherent creative capacity. It’s just that too many decide they don’t, without even trying. The main culprit for this: They compare themselves of today with those who are better, not with whom they can become.

Creativity has many elements that work together to push our imagination and desire into new directions. As such, there are many ways in which we can encourage creativity. One way to embrace creativity is to let go of comparison. If you are concerned about conforming or about how you measure up to other’s success, you won’t perform the risk taking and trailblazing inherent in the creative process.

Take skiing, which is something I know well, since I have done it all my life. Most of us accept that when we are learning a new sport like skiing, we will fall down, and other skiers on the slope will see us with our faces planted in the snow. But when it comes to creative work, we tend to freeze up. And not just when we are novices. With people who are skilled in something, perfectionism can be every bit as crippling as a lack of confidence in nonskilled.

Since I am writing about skiing, take myself: Although I am a pretty skilled skier, I still hate skiing under lifts or chairs. Others might see me fall or do something stupid! I know it’s dim, isn’t it, but even if I know, it’s hard to defuse this internal reaction.

Wherever you fall on the artistic skill curve, half the battle is to resist judging yourself. For a photographer, if you can raise the camera without caring about others, your are halfway there. Take baby steps, as I wrote in me post Incremental Progress a couple of weeks ago. Walk up to that stranger on the street and just start taking photographs. Don’t think about what others might think. And show you photos to others without thinking what they may think. Then do it again. I think you’ll be surprised at how easy it can be as long as you take that first step—in whatever it is you don’t dare to do because you are afraid of what other may say. More so, you will be surprised how good it feels afterwards.

Remember what Ralph Waldo Emerson once wrote: “Do the thing you fear, and the death of fear is certain.”

Throughout our lives, forces can push us toward or away from reaching our creative potential: a teacher’s compliment, a parent’s tolerance for tinkering, or an environment that welcomes new ideas. What matters most in the end, though, is this: your belief in your capacity to creative positive change and the courage to take action. Creativity, far from requiring rare gifts and skills, depends on what you believe what you can do with the talents and skills you already have. And you can develop and build on those skills, talents, and beliefs. After all, Hungarian essayist György Konrád once said, “Courage is only accumulation of small steps.”

Let me send you off with a last quote, this one by Nelson Mandela (and thanks to Through Rose Tinted Glasses that made me aware of it): “I learned that courage was not absence of fear, but the triumph over it. The brave man is not he who does not feel afraid, but he who conquers that fear.”

So go out there and create, not fearlessly, but by conquering all those fears that comparison may raise. And most of all, conquer that urge to compare yourself with others.

Incremental Progress

Hardly anything is as inspirational for us as progress. We get fired up by progress. When you notice that you have personally developed or have accomplished something it boosts your confidence and moves you into an upward spiral of positive expansion.

As human beings, we are motivated by progress. It’s something we can all benefit from when we work creatively.

When you start out on a new creative project, whether it’s photography or any in other art form, it can be overwhelming to try to see the final outcome and figure out the way to get there. The solution is simple—kind of at least. Instead of aiming for the end result, take incremental steps, steps you feel you can easily overcome. Figure out a direction and start moving even if you don’t know how to get to the end. And then celebrate in-between objectives on the way to the final goal.

Take writing a novel. If you think you need to figure out the whole plot and the story line before writing, you will never get started. Yes, you may have an idea or a sketch of the plot, but you will never have all the details figured out beforehand. You just need to start writing the first sentence. And then the next. And so on. If you look to the end of the travel you are about to take on, you will most likely become discouraged before you even get going.

The same with starting a photo project. If you try to figure out all angles and all the images you need for the project beforehand, you end up frustrated and discouraged because you feel you can’t get a grip on what and how it will be. Put down a baseline draft and then start taking the first photo. And then continue, one photo by one photo.

Every so often when you do a bigger project, it’s a good idea to look back and see for yourself that you have actually moved and achieved something since you started. Gather records of what you have done, and make sure you celebrate intermediate objectives. Make a “Done Wall” where you gather up records of whatever achievements you have reach in your creative project.

We all need to see incremental progress in order to feel confident in our creative journeys. Proof of this idea can be found in the analogy of waiting in line. If you find yourself in a long line of people waiting to get into a concert or a restaurant as in the photo above, you will notice that everyone keeps inching forward every few minutes as the line makes its slow advance. But if one person immediately in front of you fails to move with the rest of the line, you will get frustrated. Even if you know that the person ahead of you will move to catch up with the line later on, you still get frustrated as you see the gap of space ahead growing.

Standing still and feeling no progress is difficult. You want to keep moving with the line in order to feel productive. The incremental movements with the line don’t get you there any faster, but they feel great and keep you willing to wait.

Just think about waiting in a line of backed up cars on the freeway. Standing still is very frustrating because you have no idea if the line beyond where you see, is actually moving. Even very slow moving is significantly better than no movement at all. It the same sensation as the one you get pushing the “Door Close”-button in an elevator, even though doing so may, in fact, do nothing (many of these buttons are disabled). Still, it is satisfying to feel that you are making progress.

Feeling progress is an important part of the execution of a creative project. Too often, we tend to stop executing before we even get started. We may have plenty of creative ideas, but the hard part is putting them into life. If your natural tendency is to generate ideas rather than take action on existing ideas, then surrounding yourself with progress can help you focus. When you make incremental progress, celebrate it and feature it. Surround yourself with it.

An example is the latest eBook I have been working on for a while. Before starting out I only knew I wanted to write about how photographers can improve their ability to see so that they are better be able to find interesting and captivating subjects. I didn’t already have all the information or knowledge available. But I started with putting down a loose disposition of possible chapters. Then I started writing. And I kept reading books that could have relevance for my own book. I learned more and I added chapters to the disposition along the way. Then I wrote the chapters as they came to me. And I went back to already written chapters as I found more information that I needed to add. Now the text for the book is as good as done. Next is getting it proofread, and finally I have to figure out the layout, find relevant photos and put it all together. Slowly by slowly the project is moving forward, in incremental steps, in which each finished chapter has kept me going with whatever was left to do.

So if you are about to start on a bigger creative project—or would like to—don’t get discouraged by the long road ahead of you. Just start without thinking what lies ahead of you too much, but take one step at a time. And celebrate each mile you pass.

Vision is Beginning

Intent is what brings depth and significance to a photograph. In many ways you can say it’s the lifeline of the photograph—or any work of fine art for that matter. A photograph without intention behind it won’t convey any importance to the viewers either. It might be as beautiful as anything in the world, but we still won’t stay with it for more than a glimpse of time and we won’t remember it if it doesn’t reveal the photographer behind it. A writer without anything to say in his novel, a filmmaker without a story in her movie or a musician without passionate songs, aren’t going to spellbind their audience and will all soon be forgotten. In the end nobody is going to care about their work. So it is with photography and photographers. A photographer who has no intention with his or her photography will most likely bore the viewers—no matter how technical brilliant the work is or how beautiful the composition is. Intention is what brings uniqueness and substance to a photograph.

«Without intent we’re left with accidental photography, and while accidental photography may once in a while generate interesting photographs, it will not generally count as an act of expression any more than hoping that saying random words will result in a sentence that says something meaningful.» Those are the words of David duChemin taken from his eBook The Vision Driven Photographer.

For David duChemin intent is a way to focus on the why instead of the what in the photographic process. It’s all about being clear about why you shoot what you shoot. By having a clear intent you will better be able to express your vision. For David duChemin the photographic vision is just another word for the intent behind the photograph. Vision is everything—without it the final result is dead. duChemin is one of the contemporary photographers who has been most unambiguous about the need for intent in the photographic process—for the photographer to have a vision. He is probably also the one who has best been able to put words to the somewhat abstract idea of vision and the role it plays in photography. It’s not without reason he calls himself a vision driven photographer.

The photographer’s vision is where the photographic process begins—or where it should begin. Unfortunately most photographers—and I willingly admit that I am prone to the same thoughtlessness, too—don’t have a clear thought about their vision, they just never get beyond the technical part of photography or beyond seeing light or composition. «Before our photographs can say what we want them to, and in so-doing to look like we want them to, we need to understand what we want to say, and how we want to say it. That’s vision.» That’s another quote by duChemin.

In order to better understand the vague and abstract idea of vision, David duChemin splits it in two types. He talks about personal vision and photographic vision. The former is something everybody has although we are not always consciously aware of it. It’s our understanding of the world around us and ourselves. It’s what makes you vote for a certain party, it’s what makes to choose to do what you do, it’s what makes you pay attention to what you see, it’s what makes you photograph something and not something else. The personal vision is based on experience and learning, and it changes with time as it grows more depth with ageing. Photographic vision on the other hand is the link between our personal vision and the final photograph. It’s what makes you frame an image in a certain way, it’s what makes you choose a certain lens over another, it’s what makes you photograph from one angle or another. While personal vision is the how you see life, photographic vision is how you see life when the camera is put to the eye.

Your personal vision is where it all starts. It’s what makes you choose to photograph something over something else. It’s the intent, which could be anything from wanting to show injustice in the world to declaring your love for something or someone. As a photographer you then move out into the world with your intent, and as you know, suddenly you see something that catches your attention. That’s the moment of perception. On the street you suddenly see a couple or an action that arouses your photographic interest. Even in the studio the same thing happens, but instead of moving around in the world until something catches your interest, you move the world around you and rearrange it until it feels right. While in that moment of perception, take a bit of time to reflect over the reason why you were stopped by whatever made you stop. Even if it was only light that seemed to arouse you interest, something made you choose this subject matter of that. This is paying conscious attention to your personal vision. Then continue to discern how you best can express this intention by photographic means available to you. This is the part where your photographic vision comes into play. Only then is it time to pull the trigger and continue the photographic process all the way to the final print, the manifestation of your vision.

This all seems like an elaborate process but as a matter of fact the more you get into the habit of paying attention to your vision, the faster the whole process will progress. From something catches you attention, till the camera has captured the subject, in reality it might only take a fraction of a second. The important part is being aware of your intent—or having a conscious vision. Unfortunately most photographers don’t. They see something without being aware of why the subject caught their attention and then start shooting right away. Of course their personal vision still made them react, but they just don’t know why or are not aware of it.

Do you have a clear intent when you are shooting? Are you a vision driven photographer? Or do you only arbitrarily take snap shots of whatever catches you interest?

Allow for Imperfections

If you were to choose between authenticity and perfect, what would it be? I bet for most of us, it would be the former. Who wants perfect when authentic feels real, inspiring and even more beautiful with its flaws, cracks and defects, than something that is perfect? Think about that for a moment. Relate the thought to your art, whether you photograph, paint, make music or whatever you do.

I know for myself I often seek to make the best I can do, I shoot around a subject to find the best angle, the best composition, the best light. I keep editing the images afterwards in Lightroom og Photoshop until I feel they are flawless. While instead I should allow for flaws and imperfections to bring out the authentic feeling from the outset. The Hollywood version of whatever we create is never going to be real, or even representative of what we stand for. As such, it won’t touch others as strongly as if we had allowed for flaws and imperfections in the creation.

Leonard Cohen once wrote, “Ring the bell that can still ring. There are cracks in everything. That’s how the light gets in”. Flaws are what makes us authentic and real, flaws are what make us shine, and authenticity trumps perfection every time. Those who ring cracked bells are the ones who make the biggest difference in our lives. They are the musicians who write the best songs, the artists who make the most meaningful art, the poets who write the strongest lines, and the people who make the best friends.

When all hell breaks lose, these people’s presence provides hope because they are real. Nobody wants to spend time with a perfect person when the world is falling apart. We want to be with people who understand. Rather than fix our brokenness, they reveal the light even in dark times. Not all cracks are bad; some are just wild edges where birds find refuge.

Think about again. When did you allow for flaws in your creative endeavours? Or at least accept them when they inevitably show up?

The American songwriter duo, Linford Detweiler and Karin Bergquist, has allowed for imperfection to be part of their music. It came about when Linford’s father gave the couple some advice when they moved from the city to a farm: “Leave the edges wild”. It was a curious suggestion for someone who is new to rural life. Linford’s dad was a bird watcher, and he knew that if you make a farm too perfect, you won’t leave any space for the native birds. He said, “Leave the edges wild and let the birds have their hidden places for their untamed music.” Linford and Karin picked up that phrase and integrated the spirit of it into their work. The phrase became a metaphor for how they approached music and life. It wasn’t just about the birds, but about how to provide space for the cultivated and untamed aspects of life to thrive next to each other. If the neat rows of vegetables provided sustenance for the body, the wild edges would provide it for the souls.

Leaving the edges wild is a great mantra for any creative pursuit. Life can become so pasteurized and predictable that there isn’t any space left for mystery or surprise. Wild edges create a zone for the unfinished and untamed to thrive. Einstein once said, “The most beautiful thing we can experience is the mysterious,” and it’s true. Think of your favourite song, book, movie, or romantic love—you can only explain it so far, and there is always an intangible and incomprehensible element that resonates within.

The most beautiful, most wonderful, and most magnificent push past the barriers of our limited minds. Where reason falls shorts, art steps in. Art is the mystery that awakens and stirs our soul and helps us stop being so caught up in the chaos of our small lives. To do so, though, it must be authentic. And authentic comes with flaws and imperfections.

Flaws can be beautiful if we can learn to embrace them for what they are. The creative process is not perfect, but is inherently flawed. And creativity flows the fastest when we strive to create great things but leave some openness for the fringe. Creativity grows best when it has plenty of space to breathe. So leave the edges wild and let your untamed and hidden spirit grow. Allow for flaws and imperfections.

Zen Camera

A Book Review

In last week’s post I wrote about Your Daily Record, a creative habit that resembles a free-ranging journal of thoughts and impressions in which you let the unconscious mind connect directly with the world around you through the camera. The idea I picked up from the book Zen Camera: Creative Awakening with a Daily Practice in Photography by David Ulrich. The book itself is worth looking into for anyone interested in expanding his or her photography.

Zen Camera isn’t the first photo book which draws upon Eastern philosophy in its approach to photography. Others include books such as The Practice of Contemplative Photography: Seeing the World with Fresh Eyes, Tao of Photography: Seeing Beyond Seeing and Opening The Good Eye: A Path to True Seeing, all books I can recommend even if you are not interested in Eastern Philosophy at all. They all, included Zen Camera, give you a unique and useful approach to expanding your photography.

However Zen Camera, differs from the others in that it’s more a cohesive program or a long term workshop than a book of inspiration and new ideas. David Ulrich draws on the principles of Zen practice as well as forty years of teaching photography to offer six reflective lessons for developing your self-expression as a photographer. His ambition with the book is to purify our seeing and allow our original self to emerge.

In my opinion, Ulrich largely accomplishes the objective. At least if you are willing to look beyond his sometimes a little lengthy deliberations about the meaning of it all, if you get my notion. The six lessons take you step by step from initially developing you seeing and observation skills to how to be able to reach mastery and being able to have your photography reflect whom you are as a person in grander perspective. Of course, mastery is not something you can learn by reading a book, but Ulrich’s reflections around the way to mastery are both well founded and encouraging. In fact, reading a book will not be of much help at all. You need to convert the words into skills by practicing. And Ulrich offers plenty of fun, applicable and challenging exercises.

The foundation of the “program” running as a red thread through Zen Camera is the Daily Record. All the lessons and all the exercises in each lesson can be fulfilled through the Daily Record. By working your way through the lessons and exercises you eyes will open up to seeing most likely in a different way than you are used to. It might also transform the way you perceive life, depending on your susceptibility to the Zen philosophy. At least Ulrich aims at making his thoughts valid not only for your photography but for life as such. As he write in the preface; “Zen Camera is not only about photography; it is about you. In six lessons, it guides you to cultivate creativity with the camera and all areas of your life… It helps you realize Socrates’ great directive, Know thyself, and uncover the seeds of the authentic self, hidden behind layers of conditioning and socializing”.

I am not a Zen practitioner myself, and sometimes Ulrich’s deliberations around life and meaning of life seem a little too contrived to me. It’s just too much of it and a bit too woozy and lofty. However, I am sure others will have a different perception of this. The language in the book is also somewhat scholarly and studious as is evident in the quote above—which at times makes it demanding to read. Furthermore, Ulrich’s wordiness can at times be a hurdle in and of itself for fluid reading. Personally, what I find most unpleasing is his tendency towards using a flourishing languages. An example: “Freshness blooms from the beginner’s mind that has its focus in the eternal now”. For me the language distracts. I get caught up in the wording itself rather than what the words try to convey.

Despite my objections, I have no problem recommending the book. You will just have to take it for what it is. But I am quite certain that no matter how you look upon Eastern philosophy and no matter how skilled or not skilled you are, you will arrive on the other side of the book with a different and more developed approach to photography, as long as you dig into it and transform the ideas into a practical approach. Zen Camera will make you a better photographer and if you can see beyond its elusive framework, it will be both inspirational and encouraging.

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Your Daily Record

As mentioned in my last post, over a couple of weeks around Christmas and New Year I have been trying to connect and replenish my creative well. I have spent time letting the inspiration flow and getting in touch with my muses again, particularly in order to renew this blog.

One way to tap into our creative mind is by something called Morning Pages. I will get back to this in just a second. The reason I mention Morning Pages is a book I have just finished reading. It’s called Zen Camera and written by the American photographer and teacher David Ulrich. In the book, he suggests something he calls Your Daily Record, which has many similarities with Morning Pages except instead of writing it’s a journal of photographs. I think Ulrich’s idea can be beneficial for all photographers at all levels, and that’s why I want to pass it on to whoever is interested in developing their photography.

But first Morning Pages: Let me quickly summarize what they are all about. The award-winning poet, playwright, and filmmaker Julia Cameron developed the concept. Despite her extensive film and theatre credits, which include such diverse work as Miami Vice and the prize-winning romantic comedy God’s Will, which she both wrote and directed, Cameron is best known for her hugely successful works on creativity. Particularly her book The Artist’s Way has gained worldwide recognition. The book teaches techniques and suggests exercises to assist people in gaining self-confidence in harnessing their creative talents and skills. One of the basic tools is what Cameron calls Morning Pages.

Morning Pages are a way to connect with your creative well. It’s basically writing three pages in handwriting as the first thing your do in the morning after you wake up, just whatever occurs to your mind and without trying to control neither the thoughts nor the writing. The idea is that when you wake up you are still very connected to your unconscious mind—which then expresses itself through your writing. It really works (for more about Morning Pages, look up my post Finding the Creative Well).

I recommend anyone who has embarked on a creative endeavour to do Morning Pages, or at least try out the idea. Despite the fact that you have to write, it’s by far for writers only. You don’t even have to be able to write. Well, literally you will have to, of course, but Morning Pages are good training for photographers and everybody else who is creating even if they don’t believe they can write any good. It’s not really about writing, but about getting those unconscious processes to flow and become an integral part of your creativity.

I read The Artist’s Way long ago and ever since have done Morning Pages—admittedly on and off. Nevertheless, already back then in the beginning, I thought the idea could be morphed or moulded into a similar processed using the camera. I did try my morning photographs for a period of time, but never made it work.

But, alas, here comes David Ulrich and Your Daily Record. In the preface of Zen Camera he does himself compare Your Daily Record with the Morning Pages. Imagine how excited I was when I found out. He had developed a method that works.

The baseline for the idea is acknowledging that it’s imperative to photograph regularly and frequently if you want to strengthen seeing and become a better photographer. How much then? Personally I will strongly recommend trying to shoot on a daily basis. I know, it sounds like a lot, but I am confident that you relatively easily may accomplish some shooting during the daily rut of things you need to do. At least the way described by Ulrich. Doing so will encourage development of your skills as a photographer.

Your Daily Record is similar to a free-ranging journal of thoughts and impressions. 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. When doing Your Daily Record, make it easy for yourself and use your cell phone, which you always carry around anyway. And if you use a “real” camera put it on automatic or program mode. Furthermore, capture images in jpeg-format. I am an ardently believer in shooting with raw-format, but for Your Daily Record, jpeg makes sense since these are images you would normally not process but only capture as sketches and for you to become aware of and develop your photographic mind (truth be told, though, I have set my camera I always carry to capture both formats, just in case…).

Now dedicate time for the daily exercise. 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. Whatever works and doesn’t feel stressful. Now just see and record what you see with you cell phone (or camera). 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. Use your emotions as a guiding light, photographing what hits you in some way, whether positively or negatively. Shoot a lot and quickly. Shoot from the guts. Over one week, you should try to capture at least 100-200 images according to Ulrich.

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 are gem-like reflections, in a separate folder.”

Before starting the reviewing, upload the images to a computer. It’s much easier than watching them on a small cell phone screen. Then go through them, initially without any editing or judging. Remember that Your Daily Record is most of all about the process and much less about the final product. And remember—once again—that these images are merely photographic sketches. May I finally make a recommendation at least for those of you who are serious about your photography? Make this exercise a lifelong habit. Keep shooting a journal of free images every day. I promise you it will take your photography to places you wouldn’t even imagine. I have started myself.

Changing Direction

Now that yet another year is coming to an end and we heading into the holiday season—at least for many of us—I will take the opportunity to thank all of you, the readers of this blog, for your support and encouragement. Some of you have followed me since the beginning of my blogging, while others have been with me for much shorter time, yes, maybe for some of you, this post will be a first introduction to my blog. I appreciate every single one of you who has been with me, whether short or long.

I wrote my first blog in June 2011. That’s seven and a half years ago. Not bad, I think… It’s been quite a travel, in which I have look at various aspects of the creative process primarily based on my own experience as a photographer. As a matter of fact, I have learned as much as I hope any of you have from my blogging. When I started out I only knew I would write about creativity, although back then I had not much knowledge about the creative process, besides what my own experience had taught me. Since then I have read every book I have come across on creativity, whether it was plain inspirational books or heavy, scientific studies about how the creative process functions, mentally, sociologically, spiritually and, yes, even physiological. I think it’s fair to say that over the years I have gotten some insight into what it means to be creative.

As 2018 is closing in on us, I feel like I have come to an end of that road I started out in 2011. Lately, I have more and more come to believe that I am repeating myself, that I hardly have anything new to offer about the creative process. It’s not that I know everything that is to be known about the creative process—by far—but I need to find a different approach, I need to find new roads I can follow, both as a photographer and a blogger. Creativity will always be the foundation of this blog, but I want to expand.

However, right now at the present moment, I don’t know in which direction I am heading. Rather, I am going to use the holidays to contemplate about the future of this blog. When I get back with new posts next year it won’t be a revolution, but my hope is slowly over time to make significant changes in how and about what I write and emphasize.

For some time now, I have been thinking about how I can use my skills as a photographer more directly in my blogging. For instance, I have been mulling over the idea of posting practical tips about how to capture better photographs. At the same time I am aware that so many bloggers do exactly that, so then the question is how can I add anything different to the mix—or can I even? I have also considered writing posts in which I tell about what goes on behind the scene, showing how I am thinking when I am out on assignment. Again, the question is what value that brings to my readers—something different that’s not already out there? Finally, I have reflected on finding a way to give concrete feedback for any challenges you, the readers, are struggling with or just feedback on photos you take. For time to time, I have offered picture critique on my blog, but I find that the format hasn’t really been working good enough.

So many thoughts and so many reservations. What to do?

One thing I am sure about; I want to throw myself out on deep water. So often, I have written about stepping outside of the box, taking chances, face you own fear in the creative process. That is exactly what my blog needs at this stage. It needs some fireworks and colouring outside the lines, it needs to break free from whatever it has become. Or maybe it’s only me that need to allow myself some more freedom from my own restrictions, more don’t give a damn.

May I throw a curveball out to you, my reader? While I spend the holiday contemplating what I am going to do with the blog, maybe I can ask for your thoughts. What would you like this blog to be for you? How can it be more useful and more inspirational for you? Do you see a way in which you may use my expertise as a photographer (and a creative inspirer) more in line of your own needs? If you have any thoughts, please don’t hesitate to bring them fourth in a comment below. One more thing; if you have come across a book or some documentation about the creative process that you thought was extraordinary, could I ask to list that for me? I still want to learn more about developing our creative abilities.

Finally, I wish all of you Happy Holidays and a Happy New Year. I’ll see you again next year.

Creative Destruction

Sometimes we who do creative work come to a standstill. It’s like we don’t see a road that could take us any further in our creative endeavours. We have maybe reached a certain level, both when it comes to craftsmanship and creativity. Maybe it’s just as far as we get. Or, so we think.

We might feel tired or indifferent. We might be frustrated or bored with what we do; we might not even know why we do what we do any longer. Moreover—the result, our photos, paintings, writings or whatever we do creatively—might seem boring and uninspiring. Mind you, I am not talking about a creative block, but rather a deeper and more fundamental fatigue.

Don’t despair. It’s just a sign that it’s time to move on. It’s time to expand and let go of your control. Take chances, let the unknown take you by surprise and lead you on to a road you didn’t even know existed. Make the decision to move on. But before doing so, remember that some projects and some creative endeavours take time and patience to complete. Don’t use moving on as an excuse for lack of patience.

But when it’s time to move on it’s time. Of course, that raises the question how do you move on? When moving on sounds right maybe you don’t know exactly what to do next, and that’s part of the fatigue. The American photographer Harold Davis suggests that we can play with what he calls creative destruction. He points out that many of the world’s great innovations and works of art have been born out of creative destruction.

Creative destruction is perhaps most familiar in a business context: A company innovates a new product because its old business is slowly diminishing, and with the new product line further cannibalizes the old business. The scenario is extremely fruitful as a model for artistic creation. You cannot create anything unique while stuck in a rut, but getting out of the ruts often involves change, destruction, and effort.

You can often witness creative destruction in children’s play, where, for example, a train track is decimated by an outer space alien invasion amid cries of glee, leading to more involved and intricate subsequent play space and structure once building starts again. For a photographer—as in any creative arts—creative destruction is a very useful technique with many possibilities. For example, shining a harsh light from behind a glass straight at the camera destroys any chance of delicately rendering the glass. But harsh light directed this way creates new possibilities in the spirit of creative destruction.

In the field, you can stop and decide to “destroy” the image you are working on by moving on. A simple technique for encouraging creative destruction is to rotate, and photograph whatever is behind you, whether or not it seems like a valid subject for a photo.

Closely related to creative destruction is the concept of allowing yourself to fail. I have written about this before. Don’t worry about making mistakes. Everyone makes mistakes. If you make a mistake, it shows that you are human and that you are trying to do something new. When I see the imagines of a participant on one of my workshops that are without mistakes, I see someone who isn’t willing to take risks and get out of the comfort zon.

In other words, always be willing to get messy, take chances and make mistakes. Truly inspirational work comes from the creative destruction that this kind of thinking out of the box implies. If you are willing to try something different and to risk failure, you may be amazed at what you accomplish and succeed beyond your wildest dreams.

Above, I have come with two examples of creative destruction. Do you want to suggest how you could apply this principle in a practical way? Maybe we can create a list of concrete ideas to creative destruction? Put your thoughts and ideas in a comment beneath.