Ed Schlotzhauer

An artists journey

Category: Craft

  • To Be, or Not to Be.

    To Be, or Not to Be.

    I’m not discussing Hamlet’s famous existential crisis. I want to continue an ongoing theme of mindfulness. To be or not to be refers to our state of mindfulness when we go out shooting.

    Backwards

    John Barclay is an excellent photographer and workshop leader. I read an interesting article where he talked about a student in a workshop who changed John’s approach to photography. The student was a new photographer, but a Zen priest. His work was noticeably better than the rest of the student, even maybe John’s. John said “I had been approaching photography backwards and I believe this to be true for most people. Flint arrived at photography because he had learnt how to become mindful and present in the world, so when he picked up a camera, he’d already done all the hard work.”

    What an interesting idea. And I see it playing out constantly. Photography instructors spend massive amounts of time teaching the technical process of taking pictures. Apertures and shutter speeds and depth of field and rules of third and all the other trivia we think is important to taking a good picture.

    But this student, Flint, had already figured out how to see what was interesting. Now he just needed to learn the technical process for recording it. Amazing. He starts out at the level most of us strive over years to attain then just has to learn to use a camera.

    Mindfulness

    John’s takeaway was a change of philosophy. A desire to become more mindful. He states it as “we don’t take pictures, we are taken by them.“

    Cutting through the mystical fog that often surrounds its discussion, mindfulness is learning “to be”. We need to be present, to be still, to pay attention, to quiet our minds and let go of the plans and schedules and demands and interruptions that are constantly calling us.

    This is increasingly hard for most of us in the Western world. It’s a 24/7 world. We are over scheduled; we multitask; we carry devices with us that are always connected and bringing us “critical” information that is more important than our art. If we don’t respond immediately to every ding of our devices, we might miss out on something.

    Out culture is the opposite of mindful.

    Why do it

    I believe, and have seen research supporting it, that we cannot really multitask. We work much better concentrating on one thing for quality time, even getting into a flow state. Every time we are interrupted, it takes us at least 20 minutes to fully engage with the previous task we were doing.

    Even more seriously, as artists, we cannot think, reflect, introspect, envision creative new work when we are constantly stimulated and distracted by other things. The arena we perform in is our mind. We must take enough control of our mind that we can focus our creative energy on our art.

    Our work comes from our own mind. We need to carefully protect that and be serious about managing our own thoughts and environment. Outside forces want to impose on us and control our attention. We must fight that.

    How to do it

    Ah, how. That is the challenge. And the challenge is different for everyone and the solutions are different for each. We are each in a different situation.

    My personal experience and what works for me is all I can speak of with any confidence. I do not have a problem with social media, because I have never let myself become addicted to it. I realize this is a problem for many people to day. While I can sympathize, I do not understand it. In the same way that I can sympathize with an alcoholic even though I do not truly understand because I do not have a problem with the addiction myself.

    Social Media

    Social media is one of the worst attention sinks in most people’s lives.

    I know people who are on Facebook, or their drug of choice, dozens of times a day. They feel compelled to immediately respond to everything they see and spend hours hypnotized by short video clips. And if they do not post something every day they fear they will become irrelevant – in a couple of hours. This Fear of Missing Out is a primary tool of the media companies. They have huge staffs of unbelievably smart people working daily on ways to keep us addicted to their service. Results show that it works.

    What would happen if you put yourself in control of your attention instead of defaulting to what the media companies want you to do? For instance, if your main creative time is 8 to noon, then turn off your devices and do not allow yourself to access social media during those hours. Set a meeting on your calendar to block out time for you. Honor it and reserve it for your creative work. Put a wall around yourself and fiercely protect your creative time.

    After that, get in touch with the world and light up your huge network of followers if you need to. But an interesting thing to ask yourself is, in cold marketing and financial terms, what are those likes and followers worth to your business? How much revenue does it bring? Might your time be better spent on your art?

    Benefits

    I am talking generally about mindfulness. I strongly believe that we must be mindful in order to create the art we want.

    Do you ever just take your camera and go for a walk? I highly recommend it. But it is not effective if you are still fully tapped into the online world. Silence the phone, Take out the AirPods so you can actually listen to what is happening around you. Coach yourself to look at the world you are passing through. Really look. Take some time. Walking is good exercise, but forget the personal best goals. Just walk. Maybe even slow down if it will help you to pay more attention.

    It will take practice to slow down and start seeing. Keep doing it. It is a form of meditation to unplug from the connected world and get in touch with what is actually there. Life is a series of moments, and we have to re-learn to recognize them.

    Having a camera along is important to me. It gives me license to look for pictures. This ties back to what John Barclay said “we don’t take pictures, we are taken by them.” I go out, not to force myself to take a picture, but to allow myself to find something that interests me that should be photographed. I am often amazed.

    To be

    To be, or not to be. Being, in the moment, undistracted, is a powerful tool and a strong meditative force for artists. We engage different parts of our mind, waking up the right-brain creative side.

    Plus it has other benefits. We come back refreshed, more alive. Ready to do more creative work. Maybe we even want to keep the devices silenced for longer periods. Unwilling to put out precious attention under someone else’s control.

    Like the student John Barclay mentions, being in the moment is the hard part. Then we pick up the camera and capture it.

    We don’t take pictures. We are taken by them.

    Today’s image

    This was a mindful day in the woods. It was fall. The leaves and undergrowth were changing color. I love that time of the year, but I was feeling a reluctance to just snap pretty pictures of fall trees. On this occasion I got in tune with the rhythm and flow of the day, The wind blowing the leaves and grass. The light moving through all of it. Rather than a normal picture of fall leaves I worked on capturing the movement, the transitory feel of the season. I like it. It seems more in spirit with the day as I remember it.

    I want to hear your comments! Let’s talk!

  • Why Photography?

    Why Photography?

    Photography is my chosen art. Obviously I wouldn’t continue doing it unless I loved it. But why? Why photography?

    Faults

    I’ll be honest. As a modern art form, there are negative aspects to photography. I’m talking about people’s view of it, not what I believe of it. And I’m not making a pun about photographic negatives. Many “serious” artists and critics view it as a lesser art, if art at all. After all, it is too easy. Just point your camera at something and take a picture. Where is the art?

    The critics view photography as a mechanical art. Where the camera does the work and the photographer just holds the camera and pushes a button. How can it be “Art”, with a capital A, if it is fast and easy?

    Billions of people are taking trillions of pictures every day. So it is considered a “common” craft. Just for selfies. But those critics discount the difficulty of doing something special in a field that is so crowded. Millions of books are written, but we still celebrate the relatively few authors who creates a standout book.

    And photography can be reproduced pretty easily. You can get a stack of prints made at Walmart for a few bucks. This, too, devalues it in many people’s estimation.

    And it’s getting to where your AI chatbot can make a fairly realistic picture. Is there any photography anymore? Or painting, for that matter?

    Alternate view

    But let’s examine some of those statements. I’m a firm believer that something is not correct just because people say it, especially if it is “experts” talking.

    It is true that trillions of photos are taken every year. Very few of them are considered art, even by the people taking them. They are for utilitarian purposes, mostly selfies to post on social media. Of the ones whose makers consider them to be art, most are, well, forgettable. In this crowded field where the majority of people on the planet have a camera and take pictures, it is extremely difficult to take a memorable one. It takes a lot of skill and vision and technique and luck to make one of the exceptional ones.

    And the fact that they can be reproduced easily should not be a factor, except for top collectors. The ability to make prints is actually democratizing. And a great art print is a very different thing than a cheap drug store copy. The materials and ink and care that goes into an art print sets it apart. If you have seen and handled one you have experienced the quality factor. A great print can be shown on your wall the rest of your life and be passed down to your heirs.

    Even painters very often have prints of their works for sale. And they usually request a significant price for them. Does that make their prints not art?

    It’s what I can do

    I said I was being honest. I long ago discovered I have little talent or patience for drawing or painting, and sculpting is too slow and expensive for me. Does that mean I’m not an artist? Absolutely not. I found areas I have an inclination for.

    I originally latched onto photography as a creative outlet to my highly logical, left-brained Engineering career. Intuitively I knew I had to have a balance. It served it’s purpose, even though I wasn’t very good at it.

    But being somewhat obsessive and a perfectionist, I later pushed myself to learn and understand why I considered myself mediocre. So I improved my knowledge and education and technique. I learned about design and composition and lighting and editing. And I moved beyond just straight representational images of big landscape scenes and even pushed myself into uncomfortable areas like abstract and surreal.

    So when I retired, I was eager to go full time into art as a creative activity. I do not regret it. It has been a great move for me and I feel I have grown rapidly. I would have gotten frustrated and quit if I had tried to force myself into doing art I was not suited for.

    Fast moving

    A joy to me in photography is that it is relatively fast moving. Move, see, compose, shoot. I get into a flow and can spend hours creating. And likewise in post processing. Unlike some photographers, I like it. Working with the images on the computer is another important part of the creative process of photography. I can edit for hours and not even realize what time it is.

    This pace and rhythm of photography is part of what works for me. An important component of my creative energy. I know myself enough to know I would not be happy spending weeks working on a painting, to then have to set it aside and not touch it again.

    My images are much more malleable. Even after “finishing” one I can get a new idea and revisit it, maybe alter it, maybe create a new work based on it. What I shoot is raw material. The elements emerge, combine, re-emerge and get re-imagined in a very fluid way. I love this.

    Versatile

    This immediacy of photography also enables one of the other things I love about it. I can do it anywhere, almost any time. Day or night; walking around town; looking out an airplane window; winter or summer; in the rain or snow or fog; alone or with other people.

    If most painters see a scene they want to paint, what do they do? Take a picture. They use that to work up sketches to define their image. I skip directly to the end. My “sketch” may well be the finished image. I’ve done 20 interesting images before they finish a sketch.

    I never have to worry about what pallets of colors I have with me. Did I bring a large enough blank canvas? Do I have the right grades of pencils with me? Are they sharp? Don’t care. I can take a crisp, detailed shot of a rusty truck and turn around and take a time exposure of a stream. The camera is a powerful tool that lets me express my art in a variety of ways. But I am the artist and only I determine what I want to accomplish.

    Element of reality

    Another aspect of photography that is unique and significant to me is that photography contains elements of reality. The sensor records the scene in front of it as imaged by the camera lens, to the extent I allow it. That is, I may blur it or overexpose it or underexpose it. That is an artistic choice. But I am working with a capture of reality.

    Photography is unlike any other art in this respect. To me, there is something honest in that. That, even if I composite or heavily edit or alter the colors or tones to create a completely different scene, still, the component parts are pieces of reality.

    I enjoy images of mine that are straight captures of a real scene and I enjoy the ones that are created scenes that do not exist. Both contain reality. One much more directly than the other.

    I don’t use Photoshop as a blank canvas to paint imaginary scenes on. I have no problem with those who do that. It is another good talent. But I don’t. Everything I create is built from pieces of reality. In my weird value system, it wouldn’t be photography if it did not contain actual elements captured by a camera.

    Easy to reproduce

    I love that after editing an image and thinking it is almost ready, I can make a test print on my printer in my studio. In a few minutes. A print on paper is very different from an image on screen. Most of us are only used to seeing images on screens.

    But a well done print on high quality paper is an entirely different thing. It becomes a physical object with presence. Our relationship with it is different. We hold it and look at it differently. We feel the texture and the forms and colors of the image are seen in a new way. A print changes our perception.

    And this is just a test print. Usually it will have to be edited more and reworked is some ways to eliminate problems we did not notice until it was on paper. After a few cycles I now know how to print this image. This next one that comes out of the printer is one I can be proud of. We eagerly show it off, because it expresses our intent, what we saw and felt when we captured the image. It has become a physical piece of art. And I can push a button and make another one for you. Does this devalue the medium? Not to me. I think that is fantastic.

    This is a unique feature of photography. I love it.

    Photography is a versatile, fast moving, high quality art form. It has advantages and disadvantages over other types of media. But that is true whenever you compare one type to another. It is the perfect art form for me. I hope I have given you a clear picture of why photography for me.

    Today’s image

    A busy airport at night is a wonderland of lights and shapes and movement. If you are that nerd who gets his camera out and shoots out the window during takeoffs and landings. I am. I love the colors and abstract forms. 🙂

    It also illustrates one advantage of photography I discuss in other places. The ability to record time. Not just a still instant, but movement over a period of time if we wish.

    This is one of those scenes you seldom see painted. We cannot see this directly with our eye. The painter would have to take the picture then paint it. But is that different from taking a photograph and making a print?

  • The Subject?

    The Subject?

    I wrote recently about the sometimes ambiguity of the subject. But the subject itself? I’m not sure I care what it is. Is that heresy?

    Subject is king

    People sometimes travel halfway around the world to photograph a certain thing or event. As I write this, several of my friends are preparing to travel to photograph the upcoming total solar eclipse. Or if a friend corners you to watch vacation pictures or videos, it is of their trip to [______] – fill in the blank of the place you don’t care about.

    The point is that it seems most people are highly fixated on getting the best images of particular subjects that are important to them. This is probably perfectly natural. After all, when we go to the trouble of taking a picture, it should be ‘of’ something, shouldn’t it?

    Most photo instructors emphasize this. Actually, they initially put beginners through a boot camp and hazing packed with technical details and jargon about aperture and shutter speed and ISO and depth of field and … If a beginner survives that, and are still interested in photography, then they are taught to have a foreground, middle ground, and background and a clear and strong subject. Then you work on composition, lighting, exposure, etc. This is standard practice.

    Is it wrong? No, but learning photography is actually a difficult thing. There are many technical levels and esthetic aspects to learn. It takes a lot of practice to get good at all of them. People have different preferred learning styles, so a one-size-fits-all regime may not be appropriate.

    A genre

    Many well meaning experts firmly recommend that their listeners have to pick a subject area and specialize in it. They say if you are going to make a place for yourself in this over crowded field, you have tp be well known for one particular thing.

    Are they wrong? Probably not. It is good advice if your goal is money or fame. So their advice is to become the recognized wildlife photographer, or portrait photographer, or street photographer, or night sky photographer, or … pick your specialty.

    Then they tell us to look at what our “competitors” are being successful with and do more like that. While I can’t believe any “authority” would recommend that artists copy what other artists are doing, I can see where it is shrewd advice for maximizing your income. If you don’t care about your art.

    Develop a body of work

    And then we are told that we have to have a body of work. This sounded mysterious and difficult to me until I figured out they were just saying we have to be able to demonstrate we have done this enough to be taken seriously and we have to show the sustained quality of our work. Oh, well, sure. I have to do that for myself every day. I would call it my portfolio.

    But then they say our portfolio must have a consistent subject focus and style and look. One “expert” I heard recently answered a question about this by using an analogy of an aspiring musician. The gist was if you are submitting an audition tape, it should all be similar type and style. You wouldn’t do some Country & Western and some rock and some bluegrass and some rap.

    Maybe that is good advice if you are trying to break into the music industry. But I don’t think it works for me in my art.

    Conventional wisdom is that our work needs to have a theme or be centered on a cause. After all, we can’t be a “serious” artist unless we are dealing with serious, life and death subjects. Right?

    And we need to have a recognizable look that sets us apart. And our work needs to be cropped to a consistent presentation format, like square. Of course, it should have consistent color grading so it all looks like it came from the same artist. And so on.

    Omnivorous

    Some of us have real trouble with this, though. We are missing that ambition gene that allows us to suborn our artistic vision to the needs of marketing and fame. At least, I suffer from this defect.

    I consider my artistic interest to be omnivorous and wide ranging. To the point where I would assert that I don’t care what the subject is. If it interests me, I will shoot it. And almost anything can interest me under the right conditions.

    I am coming to see that it is not usually the subject that makes a good image. It is my reaction to it, My relation to it. The interest, even love, that comes across to me and my viewer.

    Ultimately, an image can seldom be great unless I love it. And few images of an “interesting” subject will be great to me unless there is a strong connection there. I have heard people debating if you should take a picture if you’re not sure it will be a “portfolio” image. I say, if it interests you, take it. You won’t know until later what your reaction to it will really be.

    An artist

    Am I an artist? My answer is “yes”. The style and theme of any image in my body of work is a record of what I was drawn to at that place and that time when I made the image. I refuse to restrict myself to only shooting rusty 1950’s Chevy trucks in black & white and square cropped. It would make me crazy if I closed down my options like that. I love rusty 1950’s trucks, but I could not exist on a exclusive diet of them.

    I may travel half way around the world to go to a place I am interested in and want to explore. But I don’t go to photograph a subject there. As I explore, I will likely find many images to take. But when I take one, it is because the whole scene grabbed me and tweaked my interest.

    Let me give an example to make it concrete. I am unlikely to ever go on a safari in Africa. But if I did, I wouldn’t care if I came back with a great shot of a lion. Why? I don’t really care about lions. I would be more interested in a nicely formed tree in great light with a stormy sky. Or a native tribesman. Or …

    What seems to happen is, as I’m looking around, something clicks. My subconscious triggers a message to my conscious mind to let me know “there’s a picture there! Get it!”. When that happens, it is not just about a subject. Its the subject, in this place, at this time, in this light, with me in this mood. Bam. That makes an image. Check my current online portfolio. I try to organize it to make it easier for you to browse, but you will see a wide range of subjects and styles.

    The subject

    So the subject? Not as important to me as it seems to be to a lot of people. The subject is only part of a good image. And it’s usually not even the most important part. At least to me. So yeah, I will go so far as to say I don’t care about the subject.

    This is just my personal approach. You do what works for you. I hope you get the shot you want.

    Today’s image

    Today’s image is an example of the subject not being as important to me as the overall look and how I felt about it.. You could argue there is no real subject. I loved it and had to shoot it, even though it was difficult. I won’t say here what it is, but if you write me I will at least give you some hints. 🙂

  • It Is What It Is

    It Is What It Is

    It is what it is. This is actually an expression I hate, but I’m used to it because some of my kids occasionally use it. In one sense, what I photograph is what it is.

    My methods

    I photograph outdoors in natural light. The subjects I shoot are “found” things. Things I encounter on my way and I shoot them as I find them. That is, I do not stages shots. I will very seldom move anything or do any “gardening” to remove distractions or competing elements.

    This is the method that appeals to me. There is a kind of honesty or transparency about it that feels right.

    One of the things I am indirectly pointing out in it is that most of us go through our daily life with blinders on. We tend to be oblivious to most things we encounter unless they are what we are looking for or they seem a threat.

    What I want to do is take these found subjects and elevate them in a way that makes them interesting and to gently say, “see what you missed by not being mindful”.

    Explore

    To accomplish this, I have to be an explorer. I forage for images rather than planning them. And it requires heightened senses. I have to be outside my head and paying attention to things around me. Some may say I’m out of my head, but I will call it outside my head. I have to quiet the inner critic and be constantly scanning around me for interesting things.

    It is a learned skill that I have practiced for quite a while. While I am far from perfect, I feel like I am getting better at it.

    It has become a joy to me. I look forward to these explores. Most often I am just wandering in the vicinity of my studio. Familiar and well worn paths. It constantly surprises me that I can discover new and interesting things in such familiar territory. Some days it is easier than others. But more often than not I find something new or I see something differently. Even if I don’t come back with any images, I have enjoyed getting out and being in tune with what is around me.

    Go out empty

    One of my inspirations is Jay Maisel. I have mentioned him many times. Jay is a famous photographer living in New York City – now Brooklyn. One of the many things he is famous for is just going out rambling every day on the streets close to home.

    He is so good at spotting interesting scenes that it is almost depressing. I would hate him if he weren’t so phenomenal. 🙂

    Jay describes what he is doing as “going out empty”. He wants to go out as unprepared as possible so he can get filled up with what the world has to offer. The point he makes frequently is that if he has a certain thing in mind to shoot, that is a mental block. He might find that, but would probably miss everything else that’s on offer.

    Through lots of practice I have determined this style works well for me, too.

    Make something out of it

    So I explore. I wander. I’m searching for things that catch my interest. And when I find them, I don’t rearrange them or clean them up, except maybe for a stray blade of grass or a piece of trash.

    Therefore, the challenge is to make something out of what is there. Position, crop, lens choice – these all factor in to making the image. Someone has said the picture is already there, we just have to crop it. There is truth to that. The excellent instructor Ben Willmore once said “What elements are adding to the image? What elements are detracting? How do I remove more of the detractions and add more of the good?” That is a good description of the game: try to remove enough of the bad and include enough of the good.

    It is what it is – work with it

    It is often stated that everything has been shot. What matters now is our personal treatment of it. Can we use our unique vision to see the subject in a new and interesting way?

    I choose to work with things that interest me as I find them. It is what it is. How can I make it the best it can be? It can be a challenge, but the reality is there is a lot more interest in the world around us than we usually notice.

    It is a joy to me when someone exclaims over one of my images and I can think – or say out loud – that is right where you go by every day and you’ve never noticed it.

    A final quote from Jay Maisel: I want people to see what I see. It’s all out there. It’s a joy to look at.

    Yes, it is what it is, but it can be more.

    This process works for me. It fits me and there are benefits. I recommend you experiment with it. It might need several outings to become comfortable. You might discover a new world around you.

    Let me know your experience!

    Today’s image

    OK, I didn’t find this around my studio. But thousands of people passed by this daily and I bet few if any ever glanced at the scene closely enough to take notice of it. It was clearly visible from a main highway. There seems to be a story and a lot of unanswered questions wrapped up in a single frame.

    I was driving and I turned around and came back to it. I’m glad I took the time. It is a good memory for me.

    The scene is gone now. But that is a topic for another day.

  • Outside the Frame

    Outside the Frame

    The frame is one of the most important aspects of our images. I’m referring to the edge, the border, not what may or may not surround the outside of a print as it hangs on a wall. Sometimes part of the storytelling is to suggest our viewers think about what is happening outside the frame.

    The frame

    The frame or border around our image is a powerful component of our design. An image is created within a frame. The frame defines the extent and what is included. The frame also defines what is excluded.

    This is one of the unique and beautiful things about photography. A painter starts with a blank canvas and is free to include anything he wants for his image. No limits. And if he doesn’t want something, just don’t put it in. The photographer knows that everything in the field of view of the lens is recorded in his image when the shutter opens.

    So a photograph is constructed by deliberately deciding what is included and what is excluded and what the viewpoint on them is. Unless you are constructing a still life or compositing images together. My focus here is on natural scenes.

    It’s a dance with the frame. It’s a succession of tradeoffs and optimizations. The result is the artist’s unique viewpoint.

    The edges

    Magic happens at the edges. Most of the standard “rules” of composition are relative to the frame. For instance, the famous “rule of thirds” is relative to the frame edges. Leading lines come in from the edge. Diagonals are diagonal because of their relationship to the frame.

    And how often has someone advised you to look carefully for things poking in from the edge of the frame. They tend to be distracting, because things near the edge of the frame are powerful. As you become experienced it is an automatic action to scan the edges to check for these elements.

    The famous Jay Maisel rightly said: “You are responsible for every part of your image, even the parts you’re not interested in.” This seems especially true around the edges of the frame.

    It’s kind of a paradox. Small elements at the edge are distracting. But large features projecting well into the frame are strong design elements.

    A window on the world

    So then our frame is our window on the world. The image is the projection within the frame. We are trained to compose carefully within the frame. To make sure the image is self-contained. Anything outside the frame is unknown. It doesn’t exist.

    Or does it?

    Imagining the unseen

    Have you ever considered using things outside the frame as a design element? Is that even possible?

    Think of a repeating pattern within the frame. If it is not stopped before the edge, we assume it continues. This brings up questions, like does it actually continue? How far does it go?

    Or perhaps you consciously include a shadow coming in the edge of the frame. It can raise questions about what is the thing, is it about to come in, what will happen when it does?

    Have you ever intentionally had someone or something leaving the frame? It can raise questions about why, where is it going? What will happen outside? Why is this composed this way?

    Ever shoot an image with the subject looking out of the frame? It raises lots of questions with the viewer. We try to analyze the person’s expression and figure out if they are looking at something amazing, or startled, or apprehensive. Is something scary coming? We want to know.

    Another example is shooting a tight section of something and leaving the rest to your imagination. We probably know what the overall thing looks like and we start filling is the rest in our mind.

    Today’s image

    You want to know who he is talking to. It seems to be a happy moment. We wonder what the conversation is. You want to join in the moment, so you make up your own story about what is going on. All because we are directed out of the frame to complete the scene.

    The frame is a strong component of the composition of our images. We are very careful to arrange things within the frame. But it does not have to fully constrain our world. Sometimes leaving the outside of the frame as a suggestion to tweak the viewer’s imagination can be powerful.