Last Week’s Instagram

Once a week—or every so often—I will display one of my photos captured and/or processed with Instagram over the last week. It’s a way for me to show photography that usually is quite different from my regular work. Except for the technical details beneath the pictures are displayed without any comments, hoping they will stand on their own. But I still very much appreciate any comments you may have.

Facts about the photo: The photo was taken with a Panasonic Lumix LX-100 with the lens set at 34 mm (the equivalent of a 75 mm lens for a fullformat camera). The photo was transferred to my cell phone and processed first with the Snapseed app with various adjustments before uploaded in Instagram.

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Last Week’s Instagram

Once a week—or every so often—I will display one of my photos captured and/or processed with Instagram over the last week. It’s a way for me to show photography that usually is quite different from my regular work. Except for the technical details beneath the pictures are displayed without any comments, hoping they will stand on their own. But I still very much appreciate any comments you may have.

Facts about the photo: The photo was taken with a Panasonic Lumix LX-100 with the lens set at 34 mm (the equivalent of a 75 mm lens for a fullformat camera). The photo was transferred to my cell phone and processed first with the Snapseed app with various adjustments and then the Kelvin filter in Instagram.

Holiday

Summer holiday is a great time. A time for reloading the batteries, obtaining new inspiration and leave all worries behind for a while. I have just returned from a week in Dubrovnik. Holiday with my two sons. Despite extreme heat and a city overload with tourists—included ourselves of course—we very much enjoyed spending a week in the beautiful Croatian city right on the Adriatic Sea.

Holiday also means putting away all the regular tasks that fill up everyday life. Among other tasks, I left all blogging behind. As some of you, my regular readers, may have discover I have been completely absent from the blog sphere the last week. I do enjoy the contact that the blog provides, but it’s also nice from time to time to not have to think about the next post or how to answer the many comments.

However, I am back. And now I look forward to start a new season of blogging. Here are a few photos from my trip to Dubrovnik before I, as of next week, once again will start writing about the creative process that all of us photographers (and other artists, too) so much thrive on. The week in Dubrovnik was holiday, but of course, I could not let go of capture a photo or two, even if it’s not with the same focus as when the sole purpose with a travel is photography. But photographing is fun and inspiring no matter under what circumstance. No?

The Two Faces of Creativity


The creative process often seems to have much in common with a spiritual experience in that the artist often appears to be blessed with a godlike vision into new insights. We all stubble upon those moments where new ideas just seem to be raining down upon us, although, truth be told, a lot of the time the connection with the creative source seems broken or even completely cut off. Opening up this connection and staying connected with the creative well has often been the theme of my posts on this blog. For any artists there are a number of methods to encourage creativity in ourselves, and it’s absolutely necessary to be aware of these methods and use them in order to develop this creativity of ours.

Creativity simply doesn’t come by itself. Most importantly I believe—and this I have pointed out before—is to do the actually work. As artist we need to keep creating, we need to transform our internal vision into something concrete, be it a photograph, a painting, a sculpture, a video, a performance or playing with our kids. The creative process thus consists of two faces: Creation and Execution. The creation is the mental or spiritual part of the process but if we don’t execute the idea, in the end we have not created anything at all. Eventually if we keep omitting the execution of the creation, our creative ability languishes and we will be cut off from our creative source. There are moments in the creative process when creation is present, but there are many more moments when it is not. Often the execution doesn’t involve creativity; it can even be boring in that we just have to implement the creative impulse; for instance as photographers applying the right technique in order to get a pictures as we had envisioned.

Sometimes creation and execution goes hand in hand, for example again as photographers trying out different settings in Photoshop. But without any execution, creation will only be but an idea. For that reason I find it useful to distinguish between creativity and creating. Creativity usually refers to inventing something new. According to Webster’s Dictionary creativity is defined as «creative ability; artistic or intellectual inventiveness». On the other hand create is defined as «to originate; to bring into being from nothing; to cause to exist».

So let’s go out there and create, let’s encompass both creation and execution. Besides, I hope you keep enjoying the summer (or winter—if you are situated in the southern hemisphere).

A Camera Will Open the World


Summer is a time for taking time off, for breaking up from usual routines, for travel, for relaxation, for exploring waters or mountains, for good food, for spending time with friends and families. The last two weeks I have enjoyed all this. And off course photographed all while enjoying my summer holidays. The camera is always with me, even when I take time off from working as a photographer.

Summer is high season for photography for most people. It’s also a time when we photograph more freely and use the camera not only to record our dear ones but the world around us as we go travelling to new places. The camera becomes a tool to connect to the world. And it becomes a tool to connect with people. If we only dare.

Photographing people we meet on the street takes courage, persistence and not the least being willing to face a no when people don’t want to be photographed by strangers. However, the reward when we dare take that step will make it all worthwhile. We learn about the life of others, we learn about their culture, we learn about their country in a different way than just reading about it in a travel guide and not the least, we make new friends.

If we only dare.

When my interest for photography aroused many years ago, it was mainly routed in nature and landscape photography, mostly because I have always been an outdoor junkie, but maybe also because it was the easier way around when it comes to subject matter. I simple did not have to relate with or take into consideration anybody else. After some time I started to develop an interest in street photography, though, probably as a natural extension of my passion for travelling. But back then I was pretty shy, and I approached street photography with a 200 millimetre lens – from far away. The result was equally remote and uninteresting.

I remember I read articles and interviews with famous photographers stating that photographing had enhanced their own experiences on many levels not the least in getting in touch with people from all corners of the world and of any and every kind. They talked about how the camera was a way to get into people’s lives. Back then I had a hard time grasping this, not the least seeing myself approaching people on the street. Why would anyone let a complete stranger take a photograph of them? I simply didn’t have the courage to get into their faces. But slowly and over time, my lenses became shorter and my courage increased in reverse proportion. I started to interact with people around me wherever I went and I started to photograph them. In the beginning only a single snap or two and then back up and out again, but eventually I started to relate with people I wanted to photograph on a more profound level. Suddenly I found myself in the same place as those famous photographs I had read about. And at some point my 200 mm was replace by a 17 mm (which I later on mostly have abandoned again because it tends to distort people too much when you shoot a meter or yard away from their faces).

For a long time it still drained me to shoot on the street, and after a day of shooting I could be completely exhausted. I remember quite some time ago; I had been travelling in South East Asia for half a year, and on my way back I had a stop-over in Karachi in Pakistan for 36 hours or something like that. On any given day I would use such an opportunity to go out and shoot for most of the time available. But after having pushed myself onto the street for the most part of half a year, I couldn’t face it one more time. I was too exhausted and I stayed in my hotel all those hours without venturing out even once.

Today I mostly don’t feel uncomfortable approaching strangest on the street or in ghettoes or in camps or wherever my photography or travels take me. Mostly, because some days are still set to be my introvert days, but I find that quite OK. Nevertheless by using the camera and being willing to go out of my comfort zone, I have been able extend my photographic experience and open up myself to the world. The camera has brought the world to me.

(Part of this post is an excerpt from a post I published in May 2012).

Last Week’s Instagram

Once a week—or every so often—I will display one of my photos captured and/or processed with Instagram over the last week (this photo is actually more than a week old, but I haven’t posted any new material the last week). It’s a way for me to show photography that usually is quite different from my regular work. Except for the technical details beneath the pictures are displayed without any comments, hoping they will stand on their own. But I still very much appreciate any comments you may have.

Facts about the photo: The photo was taken with a Panasonic Lumix LX-100 with the lens set at 24.5 mm (the equivalent of a 54 mm full frame lens). Shutter speed: 1/100 of a second. Aperture: f/2.8. The photo was transferred to my cell phone and processed first with the Pixlr-o-matic app and then with the Snapseed app with various adjustments and filters.

The New Visual Language

I come from a tradition of classical story telling with my photos. It’s the way documentary photographers have emphasized both content and moment in the stories each of their photographs tell. My friend and colleague, Sven Creutzmann, comes from the same tradition. And this—you may call it traditional visual language—is what we teach in our workshop, like the one in Cuba earlier this month.

We are not stuck in the way we see photography and of course let each student develop his or her own voice. At least that’s what we try to stress for ourselves as well as the students and that’s really our focus. Even though we believe in the classical use of visual language, I think it’s fair to say that we are both open to other approaches in ways of shooting and expressing oneself.

Nevertheless, over the last many years, we have seen a shift in how for instance award winning documentary photography are less and less accentuating the clear story telling, and we have both been puzzled by this change. In documentary photography, a more artistic or ambiguous approach has become more prevalent. Personally, I like photos that are open to interpretations, in which the message is not clearly set by the photographer, and where there are layers of understanding embedded in the photo. However, the photos that win these contests have quite often baffled both Sven and me.

It’s the postmodern or even post-postmodern school of young photographers that are now dominating the spearhead of photojournalism. It’s a kind of photography that is often described as deconstructed in which traditional rules or guidelines are broken in order to create a new visual language. Again, I am one who promotes not following any rules or established guidelines. However, I have found a lot of this new photography rather boring, drab and uninteresting. As I wrote in my post The Emperor’s New Clothes? a couple of years ago, the postmodern approach is often plain and boring—almost as intended—but is raised to the sky by pretentious acclamation.

I admit. This sounds like an old, outdated photographer ranting about times that are changing. And maybe I am. Still, I have always been one to push myself and try to go into unknown territory. So, after Sven and I were done with this year’s photo workshop, we decided to sit down and figure out what this new visual language is. We looked up a bunch of award winning photographers and tried to deconstruct their deconstructed photography. I tell you, the result was quite surprising.

To quickly sum up what we found: One aspect that we took away was the fact that a lot of the photography we looked at for us would have been mistakes we wouldn’t have selected and certainly not submitted to any photo competitions. Furthermore and to be more specific, we found that these photos often put elements in the foreground that are unsharp and add a visual disorder to the imagery. Photographers who shoot with this new visual language move further back or move out of the story (whereas I always teach that you cannot get close enough). They seem to capture in-between-moments where Sven and I have trained ourselves to be able to capture the peak of a moment. They use less wide-angle lenses and they often shoot reflections or through windows or openings. They often include weird details or something that is not quite clear what is and often the composition is static or symmetric. Their photos are often simplified and does not try to build a story, at least not in a classical sense, and part of this is that they often do not include moments at all (not only off-moments as already mentioned) nor people. Finally, we found that many of these photos are heavily worked over in post-production.

One thing that puzzled us was why some of these approaches were used, until a friend of us who is not a photographer, told us that maybe it’s to leave more open to interpretation instead of showing a clear-cut story, simply to be less clear. Of course, that is at least part of it.

Deconstructing is one thing, though. After having done so, Sven and I went out in the streets of Havana and tried to shoot with this new visual language as a template. At first, it felt a little weird and uncomfortable, but it didn’t take long before both of us got a sense of freedom in our shooting. The next couple of hours we completely lost ourselves in the process and captured thousands of photos. We had fun, we felt inspired and it was simply liberating to do something completely different.

Even the result took us aback. I am not saying this is amazing work, by far. But it certainly gave me a different perspective (you can judge by yourself). I think I am more open to the new visual language. Furthermore, I am sure I will pick up what this lesson taught me. It won’t shift my photography completely, but I have gotten a new tool in my photographic tool box. I really enjoyed this new visual language. Of course, by now what is new has already moved ahead to a new place. But that’s OK. I will just have to repeat this exercise every so often.

Last Week’s Instagram

Once a week—or every so often—I will display one of my photos captured and/or processed with Instagram over the last week (this photo is actually more than a week old, but I haven’t posted any new material the last week). It’s a way for me to show photography that usually is quite different from my regular work. Except for the technical details beneath the pictures are displayed without any comments, hoping they will stand on their own. But I still very much appreciate any comments you may have.

Facts about the photo: The photo was taken with a Canon Eos 5D with a 24-105 lens set at 24 mm. Shutter speed: 1/100 of a second. Aperture: f/7.1. The photo was transferred to my cell phone and processed with the Snapseed app with various adjustments and filters as well as the Ludwig filter in Instagram.

Students Facing Their Fears

© Nina Ramberg
© Kari Anne Kvam
© Jan-Morten Bjørnbakk
© Jan Holm
© Berit Roald
© Anders Øystein Gimse

I am always amazed by the work students come back with during any of my photo workshop. During this year’s Cuba workshop we had participants with quite different photographic skills and knowledge, but not matter their background they were all able to produce some outstanding photos.

Personally for me, that is one of the most rewarding aspects of teaching a workshop. I believe I always learn just as much as the participants from their different perspectives and their different ways of shooting that they bring into a workshop. Yes, we as workshop teachers push them to grow and expand, but they all come with their own photographic voice, whether refined or still in the making.

Likewise for the participants, I think being push from teachers with a different perspective than themselves is what makes attending a workshop so worthwhile. When participants let them be move into new ways of seeing and are willing to go outside their usual box, that’s when they will experience tremendous growth and development during a workshop.

During this year’s Cuba workshop, all the participants did exactly that. Yes, some of them felt vulnerable when we pushed hard, which is something we experience in all workshops we teach, but they also came out on the other side with a new photographic confidence and a stronger sense of their photographic voice.

Shooting on the street is difficult for anyone who is not used to it. Particularly approaching strangers on the street with the intention of capturing photos of them can be challenging. It takes a lot of practice to be at ease when walking over to a complete stranger—even for a seasoned photographer used to shooting on the street. Even more so for participants who have never done anything like this before. But again, the participants of this year’s photo workshop ended up getting into any situation by the end of the workshop, yes, they equally easily entered houses of strangers and kept shooting inside their homes.

I think this willingness to face up to the task was what made their work so outstanding. This post gives a little sample of photos by the participants.

Last Week’s Instagram

Once a week—or every so often—I will display one of my photos captured and/or processed with Instagram over the last week (this photo is actually more than a week old, but I haven’t posted any new material the last week). It’s a way for me to show photography that usually is quite different from my regular work. Except for the technical details beneath the pictures are displayed without any comments, hoping they will stand on their own. But I still very much appreciate any comments you may have.

Facts about the photo: The photo was taken with a Canon Eos 5D with a 24-105 lens set at 24 mm. Shutter speed: 1/80 of a second. Aperture: f/6.3. The photo was transferred to my cell phone and processed with the Snapseed app with various adjustments and filters.