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.
by David Ulrich. The book itself is worth looking into for anyone interested in expanding his or her photography.
, 
and 
, 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.
In Flow with Otto 