I want to pick up the thread from my post two weeks ago about finding the right balance between the conscious and unconscious mind in the creative process. This time, though, I will try to be somewhat more concrete by drawing on my own experiences in trying to find this balance.
I believe most people often find it hard to combine the two forces of the mind. Some have a problem using the rational part in the creative process. Instead they flow over with inspiration without thinking too much about craftsmanship or technique—the conscious part of the process. For others it’s the other way around, they know all the ins and outs of using a camera (if speaking about photography), but lack the creative vision to bring a picture into being something more than a plain reproduction without any depth or emotional or visual interest (this is by the way where I started out long time ago).
In a more general perspective I think most people are able to somewhat easily learn the craftsmanship, the technique, how to plan and execute an idea—and yes, just learn. Some might find an inner inhibition or a lack of interest for this conscious part of the creative process, but they would have no problem doing it, if they decided to do so. On the other hand finding inspiration or opening up for the unconscious mind at will is much more difficult; it’s like being consciously unconscious. So let me start here, with some strategies for opening up the unconscious mind.
It’s all about letting loose, not letting the rational mind take control when creating. One trick to boost the unconscious part of the process is—again if we talk about photography—to put your camera on all automatic and let it handle the technical parts by itself. Then go out on the street or in Mother Nature or wherever you feel drawn to and start shooting without thinking. Whenever something makes you react, photograph it in that same moment without any analysis or considerations as to composition or technical aspects. Just do it. Or pick a colour and go out and shoot anything with that colour that makes you react—and shot the same way as just mentioned. Plain reactive shooting. Or go to an event where lots of activity is going on and again react with the camera. And don’t ever look at the screen on the camera to check what you have gotten, that turns on the conscious mind! Of course you will come home with lots of unsharp, badly exposed and uncomposed pictures. But by carefully looking through the whole bunch you will most likely find jewels and strong emotional loaded pictures that you would normally not have taken. Takes these and put them in your mental notebook for later use.
The more you do it, the more you train your unconscious mind to take control during shooting. How then do you get the rational mind to play alongside so that exposure and composition will actually be part of the picture? By training of course! But now you only practice the craftsmanship without worrying about necessarily making inspiring pictures. The more you shoot practising this part of the photography process, the more it will become ingrained in your backbones, too. And the more you learn and put into practise the more you will improve upon your craftsmanship. The point is to get the rational part of the shooting becoming almost as unconscious as the reactive part of it. Whenever you need to stop the flow of photographing to think about lens or aperture or composition or light, you break the flow of the unconscious mind and you lose that very important part of the creative process. So if you are starting out as a photographer you will have to train each mindset separately and let time and practise make them merge together.
For writers, doing morning pages is one way to boost unconscious writing, but it’s also good training for photographers and everybody else who is creating even if they don’t believe they can write. It’s not necessarily about writing, but about getting those unconscious processes to flow and becoming an integral part of creating. For painters, starting to paint on the canvas without any prior planning and just paint whatever comes to mind is a way to practise using the unconscious mind. Again it most likely won’t end up being a masterpiece but it’s all about training to be unconscious almost at will.
This is often the hardest part for most artists, being inspired at will. We have all experience the agonising vacuum where inspiration seems to have vanished. And the more we try to make it happen, the more it just slips away. Inspiration is a play by the unconscious mind and you can’t really force it to happen. But you can make circumstances favourable for inspirations to come (for more about this I recommend the book The Accidental Creative: How to Be Brilliant at a Moment’s Notice by Todd Henry). And to some extent you can push on by just starting to photograph, write, paint or whatever you do. I often experience when I am photographing and I feel uninspired, that if I still start shooting, at some point if I just keep going, the inspiration or the flow will come.
To round it up: My usual way of working and balancing the powers of the unconscious and conscious mind is like this: I will start to plan the project by doing as much research as possible. I will think about what kind of pictures I need to get and just pick up ideas from anywhere about how to resolve the challenge in a best possible way. This part is mostly conscious. Then the shooting starts and the unconscious mind takes over. I might have to force the shooting process into momentum by conscious control, but the sooner I can let go of the rational control the better, and usually when I get caught up in the shooting process, I lose this control. At this stage I don’t think about technique or light or composition, but trust my backbones so to speak. I don’t even think about all the research I did but let my unconscious mind play with it at the moment of shooting. It’s really all instinctive play at this stage of the process. Afterwards when the editing starts, I turn to my conscious mind again. Now it’s about analysing the result, to understand what worked and what didn’t work, so I can do better next time—and of course to pick out the pictures that will become the take of the shoot and sent to post-processing. And here again the interplay between the conscious and unconscious mind starts all over again. But that will have to be for another time.