Ed Schlotzhauer

An artists journey

Category: Artist

  • Finding Inspiration

    Finding Inspiration

    Are you empty sometimes? Are there times when you don’t have any ideas or new projects? We tend to desperately put pressure on ourselves to find something creative and new, but this is often counter-productive. So how do we go about finding inspiration?

    Relax

    Ouch. This can be hard. Our art is important to us. We need to be proactive and driven to produce. But first. relax.

    If you are in a slump creatively, just go with it. You will come out of it. But the more pressure you put yourself under the harder it sometimes is. It is very hard to force ourselves out of a slump. Our subconscious will eventually get re-engaged and start pumping out the great ideas. Give it time to rest and rejuvenate.,

    Take a walk

    Really. “Waste” the time. Carry your camera or not, it’s up to you, but don’t require yourself to take any pictures.

    When you walk, go slow. This is not mainly for the exercise. It is for your head. Look around. Look at everything. See things as it for the first time. Play the game that you just teleported to [your favorite exotic destination] and you are looking around in wonder at everything. Try to see how many things around your neighborhood you never really “saw” before.

    None of these may be in your “style” or preferred subjects, but learning to see new things is good.

    Read a book

    I have heard it said that most adults never read another book after they graduate from school. Maybe that is just males. 🙂 Even so, I hope that is a false statement. Books are one of the most important inventions in history.

    Reading something new will expand your thinking. Studying something related to your art will give you a new appreciation of different styles and ideas. It may teach you something you can apply to improve your images and refresh your creativity.

    Even if not, you will still be better off mentally for exercising your brain. Books are a major repository of the collected wisdom of centuries.

    Watch an educational video

    I can say to watch videos because I do not produce any videos. I’m not selling anything.

    The good thing about the internet is that there is a wealth of information there, free or for relatively low cost. There is probably no aspect of our art that someone doesn’t have a video about.

    That being said, the “signal to noise ratio” (the percentage of useful information) is fairly low. Be careful of who and what you take in. Even so, it is not too hard to find good stuff.

    If you are up to it, it can even be healthy to watch bad videos. That sounds weird, but do you find, as you get more mature and confident in your craft that you can sift the good from the bad? If you watch a bad video, or one you disagree with, it can be empowering to be able to refute the presenter and know why you believe they are wrong, at least for you. It can help bolster your confidence.

    Read other artist’s blogs

    You are reading mine. Thank you! I would love to hear your thoughts.

    Probably thousands of blogs are written every week. Pick a few new ones to add to your list. They do not have to be leaders in your field. Look around and find artists in other fields whose work you admire, who influence you, whose style you admire. Follow them. This is another great source of wisdom and inspiration.

    I follow a few people. Not many. But I am constantly amazed at the wisdom they give away.

    Be open

    None of these suggestions will do much good unless you open yourself to receiving what they might give. Openness is an attitude. Our attitudes are under our control.

    Are you totally focused on one subject? Why? Widen your view. Have you become cynical? As you learn to look around more, re-awaken your wonder and joy. Find new things that excite you. Cast a wider net. Get enthused about something. Give yourself permission to try new things.

    Inspiration sneaks up on us when we aren’t expecting it. The more we can be open and receptive, the more often we will find it. I find that stimulating my mind with new thoughts and learning new things helps keep me open to inspiration. Try it!

    About the image here

    I can’t claim this is super creative as such, but I am very happy I made this image. This is the epitome of depressing conditions: way out in the midwest, nothing around anywhere, temperature was 108F, winds blowing so hard I had to hold the tripod, totally clear blue sky – what to shoot? I decided the interest was the wind. How to capture the effect of it? I think, by being open to exploring new ideas, I made something good out of it. At least, I’m happy with it.

    This image is part of a series I am working on, tentatively called “Maria”. It is not published yet.

  • Craft Completes Magic

    Craft Completes Magic

    Craft completes magic. I read this in a book on writing poetry by Robert Wallace. This was a new thought to me. It is unusual in my world for a random phrase to seem to crystalize immediately as truth. This did. I have often written about the 2 sides of art as being the creative, the magic, and the technical, the craft. I love the way this brings them together and completes the whole.

    The magic

    Oftentimes we artists focus almost exclusively on the creative aspects of what we do. After all, we think this is what separated us from other artists. And to a large degree, it is true.

    So we look at the work of others we admire. We plan or write or set projects to focus our thoughts. We look for the new and different. The driving challenge is how can we bring a unique perspective to the things we see in the world.

    Sometimes the muse visits us and we feel we have truly made magic. It is a great feeling. Creativity breeds creativity. We try to go on to leverage this new stage into even more.

    But, have you ever had a guilty feeling, looking at your new creative work, that it could have been executed better? Not necessarily more creatively, but with better craftsmanship? Sometimes we don’t know how to make our great idea into a finished work of art. Concentrating too much on just one aspect can throw us off balance.

    The craft

    I believe our craftsmanship is as important as our creativity. Not a replacement, but to balance and complete our work. It’s this completion I want to emphasize.

    There are 2 tendencies I see in a lot of photographers that disturb me. Some seem to feel that a technically perfect image is a good image. Some others take the attitude that “I’m a creative, I don’t know the ‘techie’ stuff”. I believe that either of these, if they drive your behavior too much, lead to bad ends.

    Ansel Adams famously said “There’s nothing worse than a sharp image of a fuzzy concept.” This, to me, is the danger of overemphasizing technical perfection. I see this a lot in online critiques where the objections are things like not enough depth of field or that the color correction may not be completely true to the original scene. The reality in many cases is that no amount of technical improvement is going to give this image life.

    If you don’t have an emotional connection with the scene and a definite point of view to share, then it isn’t going to get great by technical skill.

    On the other hand, it frustrates me to hear even professional photographers dismissively say they don’t do “tech”. Sorry, but photography is a uniquely technical art form. If you don’t understand and appreciate and know how to control the technical aspects you are at a severe disadvantage. You can end up with images that show a great idea but you were unable to produce a gallery-worthy image.

    The whole

    There is a symbiotic relationship between the creative and the craft. Mr. Wallace, who I quoted at the start, related it to the two legs of a runner. The creative leg propels you forward. Then the craft leg helps you bring it into being, which also thrusts you forward to another level. These work together, alternating, each with strengths to add. Neither is complete without the other.

    A comedian doesn’t just walk out on stage and think up funny things. He spends many hours on each skit, refining and rehearsing and tuning it before you ever hear it. Likewise, a magician spends countless hours working on an illusion to make it smooth and believable, to make the magic happen. A musician practices day in and day out for years to get and stay good. Yes, famous musicians still practice scales. It trains their technique.

    Art is hard work. It is hard to do creative things and it requires great skill to make it real. No one can tell you what you can or can’t do, or how you should do your art. But I believe that if we don’t put in as much work on the craft side of our art as on the creative we will never achieve what we could.

    A boring image will never be great because it was technically perfect. On the other hand, you don’t get a free pass to ignore the craft because you are a “creative”. As the initial quote says, craft completes the magic.

  • It’s Not Necessarily About the Outcome

    It’s Not Necessarily About the Outcome

    Sometimes the muse abandons us or conditions conspire against us or we get interrupted by something urgent. This can make us create pictures that do not live up to our expectations. But unless we are shooting for a client, we probably should not worry so much about the results we get, the outcome. We should remember to enjoy the creative exercise and have fun.

    We all want great images

    I assume that creating exceptional images is a goal for most of us. I know my expectations are high. We study technique and browse images by great artists we appreciate. We spend a lot of time getting to a location, exploring, setting up, composing. But it doesn’t always work.

    Despite our best efforts, we are often disappointed. What we get may not be great. It may not even be very good. This can be very disappointing if we only judge our self by the outcome.

    They won’t all be great

    It is not uncommon for me to go out for a day of shooting and end up throwing most of them away, with none to add to my portfolio. Does this make me a failure? I try to see it differently.

    I hope we can be philosophical about it. Sometimes all we seem to get from our effort is experience. Hopefully we learn from our experiences and improve our craft. That’s a bittersweet benefit. But the reality is we will learn more from a failed shoot than a successful one.

    I’m coming to see that I am evaluating it wrong. My attitude was that I failed unless I got a number of great images. I concentrated on the outcome. There are greater goals.

    The process may be as important

    Sure, it is disappointing to not have captured those scenes that called to us at the time. But it is an opportunity for self-examination. What caused them to be unspectacular? Was there something we could have done different?

    The editing process is a mirror where we can see how our mind worked and even see our soul to some degree. The images are captured. For better or worse, the bits are there on the computer. Now we have to deal with them. We can process them, but we cannot change them substantively – well, usually not.

    I actually see something cathartic in deleting bad images. I have evaluated them and analyzed the problems and learned what I can. Now I have no more need of them. Remove them from my world. It’s a purging. In most cases I actually have an informal goal of throwing a certain percentage of my images away in the early stages of editing. The thought process is that I should be experimenting and working at the edge of my comfort zone. This causes a lot of failures. Failure is just part of learning.

    Enjoy your art

    Maybe I’m weird, but I see art as a work of joy. We should love what we do. Loving what we do is not the same as creating great work. They may be related, but they are not the same.

    There are times when I go out and don’t end up with anything to keep except the memory of the great scene and the feelings I had. That is enough. Good art should be based on the feelings we are trying to convey. If I had the feelings but couldn’t realize them in the image, that means I am on the right track but I have to learn more. That is a challenge for artistic growth. I have seen too much art that is technically perfect but seems to me devoid of feeling.

    There is a lot of talk about “flow” in the artistic process. Have you really experienced it? Not the fake stuff that is hyped by a lot of self-help gurus. There is no “hack” or shortcut to get there.

    I developed the ability in my previous professional career, before I ever heard the term defined. There was a “place” I could easily drop into, a creative mode where I did great work and would be completely unaware of time for hours.

    I can occasionally find the same place in my art, both when shooting and when processing. This is a reveling in the work regardless of the outcome. Yes, true flow is independent of what we might or might not produce. It is the joy of creation.

    Let’s learn to revel in the process, the flow. We will create great things, but that is not the goal in itself. The joy of creation will carry us to become greater. Look at what you are becoming, not just what you are producing.

  • Cooking

    Cooking

    No, you’re not in the wrong place. I have not suddenly changed from writing about art and photography to giving cooking lessons. I am exploring an idea that occurred to me recently. I think our cooking style reflects our photographic style, and maybe vise versa.

    Weird, but stay with me for a minute.

    Cooking styles

    Do you cook? I hope so. It is rewarding and satisfying. A kind of art in itself.

    What kind of cook are you? Do you follow the “rules” (e.g. follow the recipes) or do you “wing it”? Is your pantry and refrigerator well stocked so you can always come up with something? Or do you take your recipe to the store and buy what you need for it? Is your goal to exactly recreate the dish as specified in the recipe or do you apply creative license? Do you plan our the week or months meal list ahead of time or do you come home and try to decide what is for dinner that night?

    We are all in different situations and make different tradeoffs. For instance, if you are cooking for a large family you tend to do things different than if you are cooking for one or two. If you are cooking for someone with food restrictions you may have to plan more carefully.

    I’m intrigued by the idea that how we cook gives some insight on us as an artist. I think you will see where I lean in my thinking.

    Recipe follower

    Some people follow recipes exactly. They will not even try it unless they have all the ingredients and equipment necessary before starting.

    If you exactly follow the recipe I think that says something about your style. Could it mean you are likely to follow influential artists and try to create in their style? Do you enjoy going to workshops where a leader will guide you to locations and help you compose shots to get similar results as theirs?

    Maybe this means you also browse social media and photo sites looking for images you like to give yourself ideas for your work. Is your reaction “I wish I had shot that; I’ll try to do it”? Then research the location so you can plan to go there and capture something similar.

    Recipe is a suggestion

    Another approach I observe is the cook who looks at recipes, but mostly for motivation and ideas. They will freely substitute ingredients and end up with something substantially different from the recipe. Good, but not the same.

    This cook, I believe, has greater confidence and experience. They know they can cook. That is not the issue. What I want to make tonight and how do I like it seems to be the basis of their decisions. A recipe, to them, is a kind of general guide. Descriptive, not prescriptive, to get sociological.

    The recipe calls for an ingredient they don’t care for, so they substitute something else. It calls for something they don’t have, so they use something they have on hand. Not random substitutions, but based on knowledge of the ingredients and their effect on the dish. All the while, they know they will create something good, regardless of how close to the recipe it is.

    Artistically, it seems this person is more likely to say yes, thanks, but I see it a little different. I’m going to shoot this other view. They have the confidence to follow their own vision, even if an instructor is trying to lead them in a different way.

    What recipe?

    Another cooking style I see is someone who seldom if ever consults a recipe. After all, most cuisine styles are fairly simple. There are general principle about how to combine things and what things go together to create certain flavors. Italian food has certain patterns based on certain ingredients, as does Mexican or Chinese or most any other recognizable type. When you learn the patterns almost any dish can be created. Most dishes are variations on the pattern. No recipe needed.

    This person is experienced and confident. They can go into their pantry and quickly envision a dish based on what is there. If they served it to you, you would probably say “that is very good. What is it?”. And they would just say it is an Italian inspired dish they made up.

    As an artist, they probably would not be in the instructor led workshop. They would just be out on their own, following their own muse, confident in their own decisions and style. Their attitude would be that they may not be as good as that instructor, but they would rather make their own decisions and go their own way.

    The best style

    Which of these styles is best? I think it is impossible to say. What you are is what is best for you.

    But I wonder if there is a progression? When we start don’t we strictly follow recipes? As we get more confidence and experience perhaps we learn to be more free with the recipe. Eventually we learn the principles well enough that we give ourselves wide latitude in creating according to our own tastes.

    I will admit that, in cooking, I am somewhere between the “recipe is a suggestion” and “what recipe?”. I have extensive files of recipes and cook books that I used to follow. If I have something in mind to fix I may still consult a recipe, but more for inspiration and to get an idea of what ingredients the recipe designer used. When the cooking starts I am likely to set the recipe aside and “wing it”. What I serve may only slightly resemble the original, but it will be good. 🙂

    No one told me how

    This comes around to a fundamental truth of being an artist: you are on your own. You are solely responsible for your art. No one can make the artistic decisions for you. It is a lonely but empowering place.

    You can either spend your time copying your favorite teacher or develop the skill and confidence to go your own way. Until you find your own way it is not really your art yet.

    Even when you are determined to be your own person, it doesn’t come with instructions. It can be very difficult and unsettling: this or that subject, what treatment or color palette, reject what I used to do and go a different direction? No one is there to guide you. It really is a “the buck stops here” situation.

    Hence, the idea that the person who can endure, even thrive, in this situation probably also expresses himself in his cooking. I believe the artist is often comfortable also making creative decisions in the kitchen. Recipes become unnecessarily restrictive – just another set of rules.

    Unscientific

    If you haven’t thought it already, let me be the first to say this is totally unscientific. It is my hypothesis. My own idea. I do not intend to do a scientific study to prove or disprove it. I just put this out here to help us understand ourselves better as artists. Let’s just think about it and kick it around.

    I don’t want you to perceive this as a black & white, all or nothing proposition. It is more a metaphor of art. For instance, if I am trying a new recipe for a dish I am unfamiliar with, I usually follow a recipe. Once. 🙂

    What do you think? Is there any correlation between artists and their cooking style? Let’s discuss it! I want to hear from you!

    Excuse me for now, though. I have to go home and figure out what is for dinner.

  • Seeing What You Believe

    Seeing What You Believe

    Most of us assume we believe what we see. That views ourselves as completely rational and objective. I have started to doubt this. My opinion is that we tend to see what we believe.

    World view

    Don’t believe it? How about your political views? Are you confident you are completely correct and anyone who disagrees with “your side” is an idiot? That usually comes from only listening to one side of the arguments – the ones you agree with.

    Take the Covid “crisis”. Lockdowns are required, or foolish. Vaccination should be required, or should be optional. Isolation is necessary to save lives, or it is causing more problems than it cures. Have you really taken a cool, rational look at all of the facts and arguments on both sides and come to an unemotional decision? No, your decision is based on emotion and on who you listen to.

    What you see tends to be based on the “tribe” you identify with and associate with.

    Rational

    In our current society, rationality is basically a myth. I’m not saying that is good or bad. The problem is not recognizing it. All advertising and news and political discourse and “scientific” pronouncements are targeted to our emotions. Some are designed to breed fear so we are more vulnerable and can be controlled more easily. Some are designed to make us lust for products they want to sell us. In all cases, we are treated as cattle, existing to benefit the power structure you give allegiance to.

    Not recognizing what is happening makes us content to stay in the herd,. If we learn to recognize it, we can gain back some control of our lives. Artists should lead self-examined lives.

    In art

    Enough depressing hand-wringing. This column is about art and us as artists.

    Have you thought about how you decide what to shoot? If I suggest you pick up your camera now and go out for a quick shoot, what are you going to do?

    I suggest that, as artists, we also tend to see what we believe. In this narrow domain, that is not a bad thing. Our world view, our values and beliefs color and shape what we see and are drawn to.

    I am of the group who enjoys going out exploring with little agenda or plan. I wander and shoot what I am drawn to where I am. This is invigorating to me. But if someone else was doing the same thing in the same area, they would get a different set of shots. Why?

    I believe it is because our different values and interests make different subjects stand out. This is part of what makes us all individually creative and interpretive. Out internal view determines how we see the world and what we want to being into our art.

    Boundaries

    I have maintained before that I go out empty and discover what is there to see. Yes and no. I do, but I am not open to shooting everything. I see what I believe.

    As new artists we do tend to shoot everything around us. We don’t really know yet what our true interests are. When we mature more and start building a body of work we start discovering that we are drawn to certain subjects or designs or looks. We can see they are recurring in the work we like. This may be an unconscious process at first.

    Part of this process is us establishing boundaries for our art. Consciously excluding things that take us away from our main focus. Allowing ourselves to walk away from subjects that may have potential, but we know are not our style.

    Let me give a simple example from myself. I am not a portrait artist. I don’t want to do it and, the rare times I have been talked into it, I have been uncomfortable. It wasn’t fun. Portrait photography is a huge and important area, but it is not for me. Candid shots of people are interesting to do, but not formal portraits. So when I am out exploring, I seldom even consider people shots. It is almost completely blocked off from my view.

    Another example: flowers. Take me to a great garden and tell me I have unlimited time there to shoot and I might as well just sit and read a book. Flowers do not interest me much unless I think I can bring something unique to the scene or treatment. This is rare.

    I am beginning to see a pattern that the more we mature in our art, the less widely we shoot.

    Discover your themes

    Let me propose a new year exercise for us all. Go back and pull together a portfolio of the 100 images from last year you appreciate the most. Not necessarily the most meaningful in any social or environmental sense. Not the ones that have the most “likes”. These are the images that you like the best.

    Study this set. Are there themes you can identify? Are there repeating subjects? These probably represent the themes you are most interested in, at least for now. Think about these. Meditate on them. Determine to pursue these themes to a greater depth this year. Explore how to bring out the best treatment of these. Expect to see these subjects or themes when you are shooting, realizing that they interest you. Sensitize yourself to them.

    This is a positive application of seeing what you believe.