The truth of a photograph

Photographs are taken for all sorts of reasons. But it is the ‘obvious’ verses ‘some truth’ which makes a photograph interesting to me.

All photographers are presented with the basic facts of a thing. Yet some photographers need to discover more. They want ‘a truth’ of the thing; to draw something out so that they and others might see something which is not so obvious.

The skill of the photographer is the clarity with which they can do that; take a photograph which can be made to exist as a meaningful thing beyond the obvious, something in its own right.

Leica M6 Camera

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Creativity and the Photographer

Some thoughts…

I am wondering, what is creativity? And, what can we do to become more creative photographers?

Of course, there are no easy formulas. And this short post can not even start to answer such profound questions. However, I think there are a few ideas which can help us. Let me share two. But first, some context.

Over the last few years I have been on a journey into photography. Like many people, I have been trying to discover and develop my creative side. I have always enjoyed building, crafting and making things, particularly photographs.  And while these are often seen as ‘creative’ activities, the simple act of making something, does not, by default, mean we have been or are creative. Making things can be very functional, lacking in any creativity.

Many people speak of creativity using nice woolly words like soul, mood, passion, feeling and spark. And yes, these are all great words to wrap around the concept of creativity,  however they are not particularly helpful in giving us some real goalposts to aim at.

For me, creativity implies that we have created or added ‘something extra’. It is that bit of ‘magic’ which will occasionally take what we make and transport it to a special place.

Here are two things I have learnt which have help me to understand what creativity is and how to find it.

Mamiya 7II / 80mm / Velvia 50 Film
Mamiya 7II / 80mm / Velvia 50 Film

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Slow down…

Some days I try too hard with my photography.

Do you know the feeling?

… commitment and purpose meets with an emptiness inside. Try as we might, on some days it is a struggle to conjure up any creative vision or energy to inject into our photography.

Now, I have learnt to slow down and even stop, with out guilt. For me, it is the “without guilt” thing which makes a huge difference in how quickly I can bounce back with creative vigour.

I spent a few days wondering the sand hills north of Sydney a few months back.  I lacked any real motivation so I just decided I would enjoy walking and if I made no pictures that would be ok.

Mamiya 7II / Velvia 50 film / Steve Coleman

Mamiya 7II / Velvia 50 film / Steve Coleman

 

 

 

 

 

 

 

I relaxed and took the pressure off myself.

I walked and just enjoyed the warm sun; must have walked for an hour or more without even thinking of my camera.

I have this habit of framing and arranging what I see as I walk. I look at everything I see and break it down into compositions. It can be exhausting at times. But this day I did none of that.

 

I just let my mind zone out. It was so relaxing… then I saw something that just grabbed my attention. It was nothing too remarkable, just light on the sand, but just relaxing had put me back into the zone. I was ready to make photographs again. I spent the next few days capturing so many wonderful photographs on film. Had I tried too hard I think I would have missed many of these images. I would probably have gone home early.

My learning for myself:  don’t try so hard.

Some more photographs from this sand dune series can be found here.

Photographs were captured on Velvia 50 120 film / Mamiya 7II camera.
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Becoming a photographer: Learning To See – Part 2

This is part 2 ~ Learning to See. 

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Learning To See

 

Strange as it may sound, one of the limitations we have as photographers, are our eyes.

Our eyes are highly functional. They simply see what is in front of us. Therefore, the temptation to photograph only what we can physically see is very powerful.  In fact, this is what most new photographers assume they need to do; you see something nice, so you photograph it. Simple.

The results as I discovered, are often sterile photocopier images; nice pretty pictures, well exposed, but nothing more

My early attempts at photography were frustrating in this regard, but it lead directly to the most significant step I took in learning how to become a photographer; a realisation that I was not seeing things in the same way that experienced photographers saw them.

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