Ed Schlotzhauer

An artists journey

Category: Artist

Generalist or Specialist
We are often told that we must specialize in a genre of photography. Otherwise, we will not make a name for ourselves and become successful. Is this really true?
Specialist
Conventional wisdom is that a photographer must specialize to have a market and recognition. After all, the overall field is so crowded that you need to focus your efforts on a narrow slice to be able to compete. Only by becoming one of the best ____ can you ever be seen.
Specialization gets very selective. Are you going to be a portrait photographer or a pet photographer? A fashion photographer or a food photographer? The list goes on endlessly. Aerial, underwater, astro, street, wedding, event, etc. There are probably dozens if not hundreds of narrow genres.
The advice to specialize is probably wise from a financial perspective. The more you can narrow your market the easier it is to identify and reach customers. If you work at it, you can probably become one of the well-known pet photographers in your city. That can become a good business.
Plus, in theory, a specialist should become an expert in the nuances of their field. They should be familiar with the subtle signs that elevate a common moment to an extraordinary one. And they should be completely familiar with the “tricks of the trade” that other pros use to make outstanding pictures of their chosen subjects.
©Ed Schlotzhauer
Generalist
A generalist usually covers a broad set of subjects and locations. Like a small-town doctor who treats everything from kids to the elderly and everything in between.
The equivalent in photography might be the artist who says they do not restrict themselves to a single subject but shoots anything that interests them. A generalist, again in theory, may have a good working knowledge of the overall field but lacks deep knowledge in any area.
Such a photographer will probably have a difficult time of making a name for themselves. A natural human tendency is to label people. Galleries or dealers or museums want shortcuts. They want to say this photographer does this type of subject. Then they can file that away until they are looking for works of that subject. But if we say we do “everything”, then to this audience that effectively means we do nothing.
That is not them being mean or overly narrow minded. They are just efficiently dealing with an overload of information. One way to do that is by pigeon holing people. And that is reinforced by their underlying belief that artists must specialize to become well known.
©Ed Schlotzhauer
Only choices?
Are specialist or generalist the only choices? Is that even the right question?
In my simple-minded view, there are only 2 reasons to be a specialist. The first is because you truly love a subject and want to devote your life to studying only that. For some it may be flowers. For others it may be dogs. It doesn’t matter what it is. The point is that for you, it is big and important enough to block out everything else.
The other reason to specialize is to make more money. As I said, specialists can develop a reputation and generate lots of business. In this case the focus is on business rather than art. I can’t say that that is bad. That is for you to decide.
But maybe the question is do you execute a business plan or follow your artistic instincts where they lead you? They are not necessarily mutually exclusive. Photographers Joel Grimes and David duChemin come to mind as examples of changing their subject matter focus over time as their artistic vision changes. And in painting, Picasso is a significant example. He went through several periods of distinctly different art styles.
©Ed Schlotzhauer
Omnivorous
I’m not a specialist and I am not really a generalist. At least in the sense that a generalist does a little of everything.
I see my artistic style as being omnivorous. In the sense of taking in or using whatever is available. There are some subjects that interest me greatly. These are things I will nearly always shoot when I find them.
But the larger space is things I encounter that pique my interest because they are a creativity challenge. Things where I see a situation and think it could make an interesting, even good picture if I work it right. The challenge of making something attractive out of an ignored or inconsequential seeming scene motivates me. It is kind of like making something out of nothing.
©Ed Schlotzhauer
Is the subject really important?
Is the subject the overriding concern? This seems like a strange question, because the discussion of specialist or generalist revolves around the choice of subject. Looking back on my work over the years, I see a strong trend of moving from a small set of subjects to a broad interest in more things.
Along with this is the realization that particular subjects are less important to me than they used to be. I get excited from making something interesting out of what I find where I am right now. It is not the subject in this case. It is the graphic or composition possibilities or the lighting or possibly the symbolism. The challenge of making an interesting picture out of what most other people would ignore.
So, I have discovered that now, I seldom go looking for certain subjects. Instead, I seek compositions that are interesting. I try to find what would be considered mundane or uninteresting things and make them interesting. I understand that, once I capture the image, it is not that subject anymore. It is a 2-dimensional image containing that subject. What the image becomes is often independent of the actual subject.
I think this is one reason why I seldom photograph people. A person is a dominant element in an image. Almost any photo containing a person becomes about that person. I prefer to control my composition more. If to me it was about the lighting or the graphical design, I want to be able to make it so.
Make your own kind of music, sing your own special song. Make your own kind of music, even if nobody else sings along.
Cass Elliot
Specialist or generalist?
Is it true that we need to specialize in one genre of photography to make a name for ourselves? Probably. It is easier that way. But is it true that we must specialize to be a creative and good photographer? My feeling is: absolutely not.
At this point in my life, photography is a personal challenge and a creative exercise. I feel compelled to make beauty out of uninteresting things. That is my personal reaction to the world today. And I prefer spontaneity, even chaos. Sifting through the clutter to find something interesting is fun.
I am more closely related to generalists. But with a difference. I pick and choose based on what interests me, what draws my eye, what poses a challenge I am willing to accept. I love some subjects more than others, but the subject itself is becoming less important to me than the creative challenge.
December 10, 2025
What Do You See?
We all have different interests, which triggers different perceptions of things around us. What do you see? That determines a lot about what you will photograph.
Visual mechanics
If we are an average human beings, we have fairly similar optical equipment. We have rods and cones, corneas and irises, an optical nerve. In the brain we have the occipital lobe doing the major image processing, the parietal lobe handling spatial recognition, and the temporal lobe interfacing to memory. Memory is important to the scene recognition process.
This is fascinating in a general way, but I’m not interested in any of that for this discussion. I don’t care about the mechanisms of how we see.
If I was shopping for a car and the salesman insisted on going on in great length about the design details of the engine, he would probably lose a sale. I’m not uninterested in that, but I am more interested in what the car will do for me.
©Ed Schlotzhauer
Perception
In a similar way, I’m not very interested in the mechanism of sight. I want to know how we use our vision. Why do we see what we see? Do we see the same things others around us see?
I refer to this as our perception. That is not based on how well our visual system works, but in what we are drawn to notice and decide to photograph. Basically, what we choose to see.
I have heard it said that if you take 2 photographers and put them side by side in a 10×10 foot area they couldn’t leave and have them take pictures, they would be different. Sure, they would image many of the same subjects, but their work would be different. One may favor wide angle shots taking in all the field around them. The other may favor telephoto views narrowing in on details. Even if they used the same cameras and lens, their compositions would be distinct. Basically, they are perceiving different stories. They see and feel different things.
I haven’t tried this literal experiment, but I have been on photo walks where a group traveled through the same area for an hour or two. When we compared results there were significant differences in treatments and subject selection. We each had different perceptions.
©Ed Schlotzhauer
Insight
To me, our perception is closely related to the insight we bring to a scene or subject. Insight in the sense of intuition. A Psychologist’s definition of insight is “when a solution to a problem presents itself quickly and without warning.” I believe that is too limited for our application to photography.
I prefer to broaden it to include more of our consciousness. The term noesis better captures it. Very simply, it is “the power of acute observation and deduction, discernment, and perception.”
In our photography, that is basically saying we are looking, we recognize the interest to us, and we know what to do with it. That allows that we could be intentionally looking to photograph the subject, or we may just suddenly recognize that it is interesting. But either way, our perception is working, our eyes are open, and our mind is engaged.
Selective attention
Most people are not open and engaged most of the time. We are glued to our tiny screens for much of our day. Even when we put them down, we tend to be lost in thought about our to-do list or an important meeting coming up or a problem we are trying to solve.
It is a human tendency to have tunnel vision when we are worrying or focused on a problem. Psychologists call this selective attention. There is an old but famous video used as an experiment in this. Try it before reading ahead to the next paragraph. Really focus on counting the passes.
Did you notice the gorilla? About half the people who are concentrating on counting the passes didn’t. This is selective attention. Even when something bizarre passes through our field of view, we can miss it completely because we are concentrating on something else.
There is a second finding that came out of this. Most of the subjects who missed the gorilla were very surprised they had done it. They seriously overestimated their ability to multitask. It seemed inconceivable to them that they could miss something so obvious.
©Ed Schlotzhauer
Are you open?
When we have the privilege of getting in the “doing photography” mode, whatever that means for you, we must fight to free ourselves from the things that are stealing our attention.
When we are distracted, we will miss amazing things. Doing photography means to take ourselves out of this, to invert our attention to what’s going on around us, to be receptive.
This is being open. It is letting the noesis I described earlier function: “the power of acute observation and deduction, discernment, and perception.”
There is power in this. It turns simple seeing into deep observation and insight. We are aware of relationships and gesture and color and composition and beauty and detail that would otherwise flow by unobserved and unrecorded. It allows us to capture moments that others around us did not perceive.
I love it when I show someone an image and they say ‘Wow, I pass by that every day and I have never noticed it!” I treasure a memory of one time when I was setting up to take a picture and a woman passing by dismissively said “I don’t see anything interesting here.” But I did. That was satisfying.
It is very natural to be thinking about our daily worries. I can’t help you with that. I do too. But some of our significant distractions are self-inflicted. If we are photographers, I believe we need to set aside blocks of time where we put the phone down and out of sight and pay attention to what we are missing all around us.
We only have a certain amount of attention. Moment by moment we choose what to spend it on. Multi-tasking is very ineffective for creative tasks. When we try to do our art and something else, both will suffer.
©Ed Schlotzhauer
Give yourself permission
One joy of being a photographer is that we can give ourselves permission to step out of the flood that carries most people along. Picking up our camera is an excuse and an opportunity to be immersed in the moment, in a creative flow. Eyes open, mind engaged, not distracted. This is tremendously energizing. It makes us feel very alive. We start to see.
We photograph what we are looking at. That’s the direction our head is pointing, so that is where our field of vision is. That limits what we could see. But what are we seeing? That is our choice. We “see” with our mind. What we notice in our field of view is determined by our interests and curiosity. With practice and experience we can learn to see more. To more clearly see things that are not obvious to other people.
December 3, 2025
Critique Your Own Work
It is important to be able to honestly critique your own work. Can you objectively see it as others do? I believe it is a learned skill.
It will be critiqued
Every time we look at our images, we are critiquing them. When our friends or even our spouse look at them, they are critiquing them. They will probably keep their real opinions to themselves, but inside their head, they are being honest.
And, of course, when we approach a gallery or enter a contest, we are explicitly inviting critique. The gallery manager or judge is seeing hundreds or thousands of competing images. They will be brutally honest and severe in their comparison and criticism. They are only going to choose a handful of the many competing entries they are given.
Even if we are just posting on social media to show other people where we are and what we are doing, they are forming opinions of the pictures. I would theorize that, if you care at all about images, it is impossible to look at a picture without forming an opinion. And everyone who looks at yours does it.
©Ed Schlotzhauer
First do it ourself
That may sound harsh, but I believe it is reality. Since it will happen, shouldn’t we jump in and be the most severe critic of our pictures before others do? Shouldn’t we eliminate weak pictures and fix the problems in the others? If we are very deliberate to only show our best images, that will save us embarrassment and make us look like a better photographer.
You will never see my unedited images unless I am teaching a workshop on editing and want to prove a point. I shoot a lot. Most are not great. And I don’t even intend some of them to be very good. Some are purely experimental. “What if” moments where I am exploring to see if what I did seems to lead in a useful direction.
It is common to make several shots of a scene. But I will typically pick only 1 as the best. That is the only one you would ever see. And even then, the best of a set still may not be a very good image.
And it is much more than the technical perfection of an image.
©Ed Schlotzhauer
Study
My friend Cole Thompson believes in what he calls “photographic celibacy“. He does not look at the work of other photographers so that he is not influenced by them.
That does not work for me. I consider it valuable to study all forms and genres of image making. There are things to be learned from photography and painting and movies, graffiti and magazines and advertising. Most any genre from Renaissance to Romanticism to Impressionism to Abstract to post-modernism can give us insight in how other artists have chosen to express their ideas.
Read books where artists discuss their thought process. Go to museums and galleries. Cultivate friends who have artistic perception. Take in as much as possible.
But learn. Don’t follow.
©Ed Schlotzhauer
Learn your taste
We are artists. That means we have a point of view to share with the world, and particular visual styles we use to do it. We each must find and understand our values and style. These preferences guide our photographic decisions.
If you are new at photography, it is natural to look at an artist and say we want to make work that looks like theirs. That is OK, for a while. Copy someone we are studying to internalize how they do it. But it is important then to re-center ourself and decide what, if anything, of what we learned we want to adopt to our own art.
Maybe it is nothing. We may greatly admire their art, but conclude it is not applicable to what we feel and want to do. For example, I really like some of Joel Grimes‘ portraits. But it is unlikely I will ever do an image in his style. I don’t shoot portraits, and the edgy, high-tech style is not mine.
My point is that, with lots of experience and practice, I am learning how I see and what kind of images I want. Anything that makes me better at that adds to my skills and is valuable. Anything that doesn’t may be interesting and educational, but probably not valuable.
Give it some time
We are all basically using the same tools. It is not the technology that differentiates us.
Famous jazz musician Miles Davis said, “Sometimes, you have to play a long time to be able to play like yourself.” This is probably true of any art form. I believe it is true of photography.
We learn and practice and imitate other artists and chase “likes”, but eventually, if we persist, we learn to be ourselves. I don’t think there are shortcuts (sorry). If you have been at it for a while, you are probably not producing the same type of work now that you did 20 years ago. Hopefully, you are now creating images that are uniquely you.
Each of us is a mix of genes and education and experience and values and motivations, tempered by our unique life experiences, and wrapped in a frail human body. No one else’s mix is the same as yours. That’s why we should not try to “be” some other artist we admire. We can’t. We can only authentically be ourselves.
But even when we learn to be ourselves, that doesn’t mean our work is good. The sad truth is that most of the trillions of photos shot every year are unexceptional. We must learn the skill of critically evaluating our own work.
©Ed Schlotzhauer
Make a portfolio
An excellent way to examine yourself and understand where you are artistically is to put together a portfolio. I find that I am not as critical as I should be unless I do this. Pretend you are going to submit your portfolio to a gallery. The portfolio can’t have more than 20 images.
That limit is the problem and the beauty. It is not difficult pulling out 300 pictures you like. Forcing that down to 200 hurts some, but isn’t too much of a problem. Then grit your teeth and make the cuts down to 100. This is getting painful. You are having to cut some of your favorite pictures.
Then it gets hard. You think you can’t possibly take any more out. But the goal staring at you is 20. From here on out, you are having to do serious self-examination. Each image must be scrutinized more carefully. Every one must be justified to stay in the select set.
Liking, even loving an image is not enough. We must objectively decide if it is a strong piece of art on its own. Is the technical craft and the composition solid enough to stand up to criticism? Does it go beyond a record shot, having that “something extra“?
This is painful. When it gets down to about 30, every one you eliminate feels like you are giving up one of your children. Each picture must compete head-to-head against every other one. The weaker must be eliminated. You try to talk yourself into cheating and keeping 25 or 30 for the portfolio. But push on. Cutting the last 10-20 images is by far the most difficult. But also, the most instructive.
©Ed Schlotzhauer
Self-examination
Congratulations! You have put together a portfolio! The regret over the ones eliminated will fade quickly. You just eliminated them from this portfolio. You didn’t delete them from your disk. Now it is time to reflect on what you have created and try to learn.
Just look at your images for a while. Consider each one individually. Why do you like it? How is it better than all the ones you eliminated? What do you learn about yourself from it? Then reflect on the whole set. You might be surprised to discover a harmonious style or approach, even though each may be a different subject.
Forcing yourself through the process of narrowing down a set of good pictures to a very small set of great pictures is an excellent way to learn to critique your work. Having a fixed goal forces us to make hard decisions instead of being vague.
You will probably discover that you have a set of images that you are proud to show anyone. Ones you believe will stand up to close examination by experts. And that you have a style that is your own.
Critique your own work, severely. Be such a severe critic that you are sure you will not be ashamed to show anyone the survivors. And make sure your work proves you are human, not an AI.
November 26, 2025
Image Quality
As photographers, we often obsess over image quality. The highest resolution, the sharpest focus, the best light, the best composition. All these things are important, but is that really what defines image quality?
Technical perfection
Photography is more closely tied to technology than most other 2-dimensional art forms. Our cameras embody sophisticated technology. Our editing tools are leading edge, sometimes AI driven.
The field seems obsessed with specifications and details. What is the MTF of this lens? Does this sensor have 14 bits of dynamic range or only 12? Should I go to a 100 MPixel medium format system to be a better photographer?
I have chased all of this at times, and I still have that tendency. A couple of times recently I have gone through the specs and lens choices for medium format, longing for a move up to the “better” gear.
Underlying all this is the belief that better technology will give us better image quality. But a more technically perfect image is not necessarily a better one.
©Ed Schlotzhauer
Composition rules
The visual arts seem to accumulate a large set of rules meant to guide our work. These are generally sound principles, based on long history of practice and evaluation. Most of them are good, except for the “rule” part.
The “rule of thirds”, for instance, helps balance compositions and give some dynamic life to an image. Same for rules like leading lines or diagonals or don’t center the subject. All are good advice to keep in mind. The problem comes when it becomes an absolute rule. When a gallery or a photo club judge rejects our photo because it did not conform to one of the standard composition rules, then we are in the wrong place.
Know and use the rules, and understand that you can freely “break” them whenever you feel you need to. Guidance like these “rules” are good general advice. But general advice does not apply to each individual case. You are the artist. Your decisions create the image. Trust your intuition.
©Ed Schlotzhauer
Work the scene
Other advice I have heard recently is to work the scene to develop it into the best shot. We are counseled to take many exposures from different angles and maybe with different lenses, with the objective that by shooting all this variety, one of the shots will be “best”.
It is probably true that one will be best, but is this the best, or only way, to get there? Let’s work through a scenario. Say I am there with lenses of 24mm, 35mm, 50mm, 70mm, 100mm, and 200mm (full frame equivalent). Let’s further say that that I have access to shoot front left from ground level, center above ground level, front right at eye level, and rear center at ground level. Just those individual choices give 24 shots to take. Then throw in bracketing for aperture and exposure and composition and that gives possibly hundreds of shots. For one scene.
It is true that if you do that, you may occasionally be surprised by the one you select as best. It is a great learning exercise if you are developing your style and vision. And a good exercise to go through occasionally to check yourself.
But I generally know what I want. I have the experience of shooting and viewing hundreds of thousands of images. My preferences are established, but flexible. That is, I experiment frequently so as not to fall into a rut. But I do not need to shoot hundreds of frames of one scene to get to what I would consider “best”.
And ever worse, I fear that blindly following this “work the scene” advice will lead to the best possible shot of a mediocre scene. Meanwhile, we miss the better, more imaginative, more creative scene because we were over-concentrating on one thing. I prefer to use my judgment to frame the best shot and go on to find the next, even better one.
©Ed Schlotzhauer
Disappointment?
I have done all of these. For years I chased technical perfection. During my time in a camera club, I faithfully followed the composition rules. I shamefully confess that as a judge I criticized some images for not following the rules. And at times I have ended up with piles of images bracketing one scene to insensibility. Usually with the result that I kept one of the first ones I shot and threw the rest away.
Many of these efforts led to technically good images that are lifeless and disappointing. They do not capture my reaction or relationship to the scene. There is no depth of insight. Only a very small fraction are printed and hanging on my wall now.
I have had to completely rethink what “image quality” means.
Image quality
These observations are strictly my personal judgments. I have no authority over your artistic values. As artists, we each should come to our own conclusions.
I have seen that many of the famous photos and paintings in history are not technically perfect. But something about them elevates them above the crowd. What is that? I know I have images shot with inferior cameras with cheap lenses that are “better” than many taken with much better cameras. This makes me wonder what image quality really means.
Now days, we are inundated with images. Most are adequately sharp and well exposed. What makes one stand out among those trillions of bits of noise?
We must reevaluate what it means to be a good image. It is no longer the obscurity of the location or the difficulty of the shot or the perfect composition or the sharp detail. None of those are enough, by themselves, to make an outstanding shot. In a Substack article, Lee Anne White said: “There are always photographs that are technically solid, but missing that something extra“. Ah, that something extra is so hard to describe.
Photography is a craft as well as an art. We must strive to do an excellent job of technical perfection, composition, etc. But those things are not the something extra that make an outstanding image.
©Ed Schlotzhauer
Something extra
In the crowded and noisy world of images, it seems that what we look to now is an emotional attachment. Something must touch us personally. To do that, it generally had to touch the artist, too. We must be able to let our emotional reaction to the scene come through our image.
Maybe this is what Cartier-Bresson meant by the decisive moment. Perhaps this is what Jay Maisel means by the gesture of something. Either way, an idea is that the subject is expressing something. We must be in sync with it and ready and able to capture the best expression of that.
These instances sometimes happen in a fleeting moment. Perhaps we can anticipate them and be setup and prepared. Sometimes it is a singular event, and we have one shot at it. But either way, we must recognize and react. We must understand what is happening and be mentally and physically prepared to capture it.
And being prepared involves understanding our emotional involvement with what it is. We must recognize when that gesture is best expressed to us, and pounce on it.
Of course, images do not have to be of a fleeting moment to be good and express an amazing gesture. There are those that are static scenes, where you can linger over it to wait for the right light or weather.
Still, what the viewer relates to is your feeling about it. Why did you take this picture? Why did you select it out of all the others?
Paraphrasing Jay Maisel: “If the thing you’re shooting doesn’t excite you, what makes you think it will excite anyone else?”
If an image meant something special to me, and I can capture that and make you feel what I felt, then there is a chance the image is meaningful to you, too. That it embodies the “something extra.” Isn’t this what image quality is about?
November 19, 2025
Lean Into It
I can’t be passive about my art, my photography. The only way I know to approach it is to lean into it. To boldly and confidently attack it.
Different styles
We all have different personalities and different working styles for our art. A portrait photographer or wedding photographer might need to be in positive control of the situation. To direct the subjects to get the shots and results anticipated. On the other hand, a street photographer may unobtrusively “stalk” the shots he wants. He works completely in the background and usually without the subjects being aware of being photographed.
A landscape photographer may plan a trip long in advance to be at a certain location at what he determines to be the best time for the shot he wants. Or another one may just go wandering with no preconceived plans or shot list.
These are examples. All show different methods of approaching the craft. But regardless of the approach or the personality, one of the common ingredients in our art is intensity.
©Ed Schlotzhauer
Intensity
All good artists I know share a certain type of intensity about their craft. When they are doing their art, they are “on” – focused, earnest, single-minded.
In my limited experience, this seems to be true no matter what genre they work in. Their personality modifies the way this intensity is expressed, but it is usually there.
I think this intensity helps to focus us on where we are and what is happening. On our goals or what we are experiencing. It helps us to stay in the moment.
People talk with some longing about flow states and how desirable they are. But in my art and in the career I had before that, I find them common. Valuable and wonderful, but fairly easily achieved.
That is not bragging. I think the intensity and focus I can bring to my work enables flow. It is not uncommon for me to be so caught up in my photography or writing or editing that hours can pass without me being conscious of them. From talking to other artists, I believe this is a shared experience for many.
©Ed Schlotzhauer
Mindful
I often talk about the desirability of being mindful. The intensity of our focus on our work leads to this type of mindfulness. Mindfulness in the sense that we are completely caught up in the moment. We are immersed in our art and the creative process. Other concerns and considerations do not exist for us at that moment.
Let me emphasize that I am taking about lower case “mindfulness”. Not some system of chants or meditation. It is not a semi-religious experience for me. I hold my own religious beliefs, and they are separate from this.
I believe this type of mindfulness is a result of my intense focus on my art, not a cause of my creative output. That is, my focus leads to creativity and mindfulness, not the other way around.
©Ed Schlotzhauer
Do it
We all get into creative slumps. No new ideas are popping up. We aren’t even enthusiastic about getting out and taking pictures or editing. That’s natural.
But I feel that one of the worst things we can do is just sit around waiting to feel inspired. At these times, I believe it is important to get up and get out and work. Go out to “do” art and do it until we loosen up and get into the moment and things start to flow.
This is what I mean by “lean into it“. It is a process of embracing what we are doing and the situation we are in, making it into something good. It is a matter of overcoming a situation or our inertia. We push back against what is resisting us, and deal with it, with confidence and determinism.
©Ed Schlotzhauer
Resistance can often be a good thing. That is what exercise basically is. Forcing our body to work against the weights or the track builds up strength and endurance. I believe strongly that it works the same way for our mental powers. We need to read and think about challenging material. Things that exercise our brain. I can’t prove it, but I believe it also works for our creative powers. We learn to create better by going through the pain of creating.
Same in our photography. We often blame circumstances, and they are real and inescapable. But much of the time the real barrier is our attitude. We are not willing to change our attitude and put in the work to overcome the situation. Get out the door (or go to where you do your work), get switched on, find your intensity. Lean into it.
Nike was right: just do it.
Do one thing every day that scares you. Those small things that make us uncomfortable help us build courage to do the work we do.
Eleanor Roosevelt
Inspiration is for amateurs. Us professionals just go to work in the morning.
Chuck Close
October 22, 2025