Ed Schlotzhauer

An artists journey

Category: Craft

  • How Fragile is my Style?

    How Fragile is my Style?

    Some photographers say you should look at and study as many examples of other artists work as you can. Others say you should not view other’s work. Underlying it is an assumption of how much our own style might be affected by other artist’s work. Is my style fragile and easily influenced or is it inherently robust?

    I have been reading the book More Than a Rock by Guy Tal. (I have no financial incentive in recommending this) Guy is a very thoughtful writer and the book is challenging. I recommend it. It has no tips for taking pictures, it is about why we take them.

    Artistic Promiscuity

    A recent chapter titled Artistic Promiscuity made me examine some of my beliefs. Like many artists, I occasionally have self-doubt about my style – about whether I really have one. Guy poses the situation ‘I was baffled when I recently heard from a fellow photographer asking if I would recommend avoiding viewing other people’s photographs as a means of isolating one’s own “vision”.’

    A vocal proponent of just such a position is my friend Cole Thompson. His blog is well written and has some great insights. But he has a controversial position for his own life, he does not look at other people’s images. He calls it Photographic Celibacy.

    Guy attacks this straw man he set up, arguing about artistic history and how creativity flowed and developed over time as artists were inspired by other artist’s work. And he talks about how seeing great art is inspiring and elevating, especially to another artist.

    He goes on to say “So be promiscuous, at least when it comes to art. Seek and study and contemplate and revel in art of all kinds and genres and styles – the more the better. Find what inspires you and articulate to yourself why it inspires you. Borrow but don’t steal; incorporate but don’t imitate. Find inspiration, wisdom, and knowledge in the works of others, and in return strive to inspire others with your own work. Such has always been the way of artists.”

    Guy’s advice is very mature and inclusive. He has a strong world view and belief structure. A self-confidence that comes from experience and values. It is good advice, at least for him. It may not be universal advice for everyone in every stage of development.

    Photographic Celibacy

    Cole, on the other hand says; “As I stopped looking at other people’s images and focused on what I was creating and what I thought of my work, my Vision began to emerge. The work I am creating now is my work, not an imitation of someone else’s.”

    He has been on this path for years and is not likely to change his mind. He says “Ten years later and I’m still practicing Photographic Celibacy because I find it a useful practice for two reasons: first I’m still inclined to copy other’s work. … And the other reason I still find Photographic Celibacy useful: it keep me focused on what I am doing and not what others are doing. When I look at the work of others I find myself comparing their images and successes to mine. Sometimes I get discouraged at the large number of great photographers out there and all of the great images being created. All of this is an unnecessary distraction that keeps me from my purpose: creating images from my Vision.”

    This seems to work well for him. Cole has a distinct style and he is a great photographer.

    What is Vision?

    These two good artists disagree in how to develop your vision and grow as an artist, but what do they believe “vision” really is?

    Guy says “There is nothing to find – your vision, voice, and personal style are already in you by virtue of the unique amalgam of experiences, sensibilities, stories, and beliefs that make you who you are.”

    On the other hand, Cole says of vision “It is the sum total of your life experiences, it is the lenses you see the world through, it is your photographic personality and it is your inner voice (or the ‘force’ for you Star Wars fans). There is no need to be able to define, identify or describe your Vision. All you really need to know is that your Vision is there and then follow it.”

    Put these side by side and they are really saying the same thing – our vision is a unique property of who we are. It is inherent in each of us.

    Who is right?

    It seems that the Artistic Promiscuity position and the Photographic Celibacy position share the same belief of what Vision is. The difference is how to get there.

    Who is right? I believe Guy is right for Guy and Cole is right for Cole. They each recognize something about themselves that requires or allows them to behave in a certain way.

    Cole adopted his philosophy early in his formal career when he had doubts about his vision and style. He recognized that he was being influenced by other artists and needed to isolate himself to discover his vision. He recognizes and clearly states that this path is not for most people.

    Guy seems to be have a personality that thrives on the inspiration from other artists. He is confident in his vision and does not feel any temptation to imitate them.

    They are both right – for themselves.

    Fragile style?

    So is style really fragile? Probably not, but following and expressing our style is a very personal and individual journey. We may be going to the same place but we all take a different path to get there. Some of us get lost on our path and end up in the weeds.

    I admire that Cole recognized his nature and need and acted accordingly. It would be great to have the confidence of Guy, but in reality I am more like Cole. I am getting better, but the artistic spirit is a strange mixture of fragile and robust.

    Theodore Roosevelt said “Comparison is the thief of joy.”

    I think this is a wise warning. It is well proven that spending too much time on Facebook is destructive because you compare your everyday life that you know has problems to the happy, exaggerated image others portray.

    Likewise, being a photographic artist is a difficult thing these days. Everyone in the world is a photographer it seems. We are flooded with beautiful images all the time. It is hard not to compare ourselves to the best work we see out there and not feel doubt. It is hard sometimes not to think we should do work more like something we admired.

    Promiscuous or celibate? I think we have to know our own nature enough to decide.

    Is style fragile? No, not if it is really just who we are. It is probably not the style that is fragile but it can be hard to have the confidence to believe in ourselves and follow our own style. It can be hard to go against the stream of popularity. And some of us may need a quiet place to recognize our style and get to know it.

    How about you? What are your thoughts about style?

  • What is DPI?

    What is DPI?

    DPI is simply an acronym for “dots per inch”. It should be a simple concept, but people sometimes get twisted up in knots over it. Our printer manufacturers have not helped the situation.

    What are “dots”?

    Unless you are reading a printer spec sheet, dots just mean pixels. A pixel is a “picture element” – the smallest piece of a digital image. By convention, a pixel is a triplet of red, green and blue values. That sounds very technical, but it just means they are 3 values carried around together, say something like 95, 134, 47. By convention each value can have a range of 0 to 255. That is not representative of what camera sensors really do anymore, it is the convention. The convention comes from the 8 bit representation of color values way back in early times. The maximum value 8 bits of binary data can represent is 255. The practice has been established and perpetuated by Photoshop over the years. The actual data range we use is a subject for another post.

    The image that gets stored in your computer is a grid of pixels. The camera I am using most often right new creates an image that is 8256 x 5504 pixels. That makes a lot of data!

    A fuzzy quality metric

    Your camera does not know the concept of DPI. As a matter of fact, DPI is a fairly useless term unless you are printing an image.

    Have you ever had someone tell you they need a file that is 8×10 inches at 300 DPI? Unless you are sending the file to whoever does your photo printing, it really means they do not understand what they need.

    At best DPI is a metric for the quality of an image viewed or printed at a certain size. The more pixels you have in a given distance, the better the image should look, in general.

    But in most people do not even know the pixel resolution of their screen or printer. If you save a file in jpg format there is a good chance the default is 72 DPI. This was considered the “normal” screen resolution – way back. The main monitor I use is 219 DPI. And it is several years old. And I don’t really care, because that is a number that is never important to me. I never use it for anything.

    DPI really doesn’t matter for the screen

    One of the reasons DPI doesn’t mean much for most of us is that our computers scale images for viewing on our screen. And they usually do a really good job. But what most apps do is map the pixels available to the pixels of the screen. So if you look at a file that says it is 10″x10″ at 72 DPI, you will see a 720×720 pixel image. It will be however large 720 pixels measures on your screen.

    When you view an image on your screen all that really matters is the resolution. The DPI number is generally ignored.

    Size matters

    If DPI is not as important as many people think, then is resolution unimportant? No. Absolutely not. The number of pixels you have to work with is always an ultimate limitation of what you can do with the file. As is said in many things, size matters.

    With plenty of pixels imaged through good glass you have the flexibility to print large, or to crop tightly or to create images of astounding detail. Also, massive numbers of pixels gives sharper edges and smoother gradients.

    DPI for printers is a whole different thing

    The major printer manufacturers have confused the issue for us. A printer ad may proudly proclaim it does 4800 DPI! This is technically correct, but not helpful. They are talking about the density of ink drops they can lay down on the substrate (paper). But printers do not print pixels.

    A drop of print ink is not a pixel. You do not send the printer an image scaled to 4800 DPI!

    A printer takes the pixels available in a given area and transforms them to densities of the subtractive colors needed to come close to reproducing the colors and gradations contained in the original pixels. This is a complex technology and I will not attempt to explain it here. Sufficient that you remember a drop of ink is not a pixel.

    Where DPI means something

    When you know how large of a print you wish to make then DPI becomes meaningful. The number of pixels available combined with the desired print size give us the DPI. DPI is a measure of the amount of information available for an inch of print.

    For optimum printing the guideline is supplying a source file of around 250-360 DPI. This gives the printer driver enough information to do the ink transform we talked about above.

    My Canon printer, for instance, has a “standard” resolution of 300 DPI. It can print well with a range of values, but this is considered optimal. This means that one of my image files of 8256 x 5504 pixels could be used to print an image of 27.5″ x 18.35″ with no scaling or loss of resolution. That is the size of this image at 300 DPI.

    If I want to print one of my images at a more typical size, say 18″x12″ I could scale a copy of my master file down to 300 DPI. Or not, because Photoshop or Lightroom is perfectly capable of scaling it down when printing with little discernible degradation. One person even says that higher DPI gives better results.

    If I have an image with insufficient pixels I could just try to print it. Printer drivers do amazing things. Or I could scale it up in Photoshop, which also does an excellent job within limits.

    It’s those limits that you have to be able to estimate. If you have a 2 MPixel image and you want to print it poster size, well, your results probably will not meet your expectation. No free lunch.

    Conclusion

    So what about DPI? Don’t sweat it unless you are printing. Only if printing is it a meaningful metric. And it is only meaningful when you are taking about a particular image printed at a particular size.

    There are plenty of technical issues to stress out about. This should not be one of them, unless you are producing high quality prints.

  • Practice, Practice, Practice

    Practice, Practice, Practice

    How do you get good at anything? Practice. Does it apply to art? Yes, practice. When? Now.

    Seemingly it is a very simple thing, but constant practice trains your muscles and your brain. It refines your skill and makes your decisions automatic. It improves your concentration and your vision.

    The 10,000 hour rule

    You can learn to do many things pretty well with about 40 hours of work. Yet it is said that to become great at something takes 10,000 hours of practice. Now realistically, few people will put in 10,000 hours on anything (except maybe watching TV). That is 5 years of doing nothing else except practicing your craft for 40 hours a week. This is the level of effort required to become the level of a Michael Jordon or Tiger Woods. But isn’t that the level we aspire to as artists? I do.

    That seems an unrealistically high standard. But in most unrealistic situations, you do what you can. Putting in the time consistently is key. A good discipline is to make yourself get out with your camera every day. Having it in your hand makes it comfortable. It teaches you to see more, observe. You will not make a great image every day. That is not the point. The point is to improve.

    “The discipline of practice every day is essential. When I skip a day, I notice a difference in my playing. After two days, the critics notice, and after three days, so does the audience.”

    Jascha Heifetz, renowned violinist

    One of my exercises is to practice street photography a few times a week. I touched on this in my article on hunting images. It gives great practice in consciousness, fast reflexes, anticipation, using your camera with little thought. Most of my work is not street photography, but this is great skill development for everything else I do.

    Carry a camera

    It is hard to practice if you don’t have your tools. Not impossible, just hard. Going to the trouble of having your camera with you provides an important discipline. It is intentional. You have consciously committed to making images. It gives you permission (in your mind) to look for and take pictures. It makes you aware and on the prowl.

    The great Wayne Gretzsky famously said “You miss 100 percent of the shots you don’t take.” This is true of photography, not just hockey. When you are carrying your camera, make yourself stop and capture interesting scenes when you see them. As I noted in a another post, it won’t be there tomorrow.

    Examine, improve

    The purpose of doing this practice is to improve. It has been said that in 20 years, some people get 20 years of experience and some people have 1 year of experience repeated 20 times. Doing the same thing over and over without improving is very sad.

    Unless you have someone you trust to critique your work frequently, you have to learn to do it yourself. Be honest with yourself. And brutal. Did that work? Was it what you wanted? Is it technically perfect? Was the composition effective? And one of the hardest to judge objectively: is it actually a great picture?

    I used the 10,000 hour rule to give a sense of how long it takes to become an expert, but it is well known that the so called rule is flawed. People often practice for 10,000 hours or more but remain mediocre. Why? They are not learning from their mistakes! They get 1 year of experience 20 times. Don’t make the mistake of not learning from your mistakes.

    Be brutal on yourself. Better you than other people. The reality is most of your shots will not be very good. Most of mine are not. That’s OK. You have to get a lot of bad shots out of your system before you can start making better ones consistently. Be honest with yourself. When a frame just doesn’t work, examine it carefully. Understand why. What can you learn from it? A bad shot may lead you to a new understanding and be more valuable than a good shot that doesn’t teach you anything.

    The few, the proud

    The legendary Ansel Adams said “A photographer does well to get a dozen first-quality shots a year.” Technology has changed a lot and it doesn’t take much time or cost to shoot a lot of digital frames. But how many of yours are really great? Quantity is not quality.

    I’ll be candid, looking at my digital collection only, less than 2% of my shots are “gallery quality”. Two out of 100. Is that discouraging? No, in a weird way it is empowering. Based on Adam’s experience I am encouraged to be getting that many. Or I could be delusional. Of course I keep a lot more than that for various reasons. And since I like to do collages I have a lot that are not stand alone but would be excellent material for constructing new composites.

    Not the outcome

    This leads to the final point for this post. When I am practicing, I need to concentrate on process, not outcome. I am learning, doing repetitions, trying experiments, getting more familiar with my equipment. This improves me over time and sharpens my eye. If I get a “keeper” during practice that is just a happy accident.

    Practice daily and plan to throw almost all of it away. It is worth it.

    Do you have a regular practice regime? Has it helped? Let me know!