Ed Schlotzhauer

An artists journey

Category: Fear

  • Improve Your Portfolio

    Improve Your Portfolio

    If you are an artist, you probably have a portfolio. This is simply a collection of your best work. One important thing I have discovered is that when you pull a portfolio together, you are not done. It is not done. Your portfolio selections can probably be improved. The portfolio improvement process is a critical skill to work on.

    Have you had a relative or friend who wanted to show you “a few” pictures of their vacation? You know, they took 1200 pictures and they want to show you every one of them. Eventually your eyes bleed and you want to strangle them.

    Some portfolios are like this. We like almost every one of our images so other people need to see them. Don’t be that one.

    Less is more

    Here was a hard lesson for me to learn: every image you take out of your portfolio makes the collection stronger. On the surface it doesn’t make sense and it hurts a lot to do, but it is true.

    It has been said your portfolio is only as strong as your weakest image. Therefore, every weak image you take out makes the remaining ones stronger overall. If you actually take out the weakest one. Therein lies the hard part.

    How do you take out that image you love or represents a great memory for you or was a once-in-a-lifetime location? You do it brutally and without mercy. Sorry. That’s the way it is.

    The viewers of your portfolio don’t care. They weren’t there with you to share the experience. Any image you show needs to be near perfect technically, compositionally, conceptually. This is representing who you are.

    Portfolio improvement process

    I recently watched a video by Ramit Sethi. He is a well known writer on finance and business. Something he talks about a lot is copy writing. Copy, technically, is any written communication you get from a business. It can be ads or email or brochures or anything else. Ramit is persuasive in showing that great copy is far more effective than weak copy.

    In this valuable video he made 3 points about improving copy, but I was impressed that the idea applies to other things, too. Paraphrasing him, the points were

    1. Know if something is good or bad
    2. Know why it is good or bad
    3. Know how to improve it

    I believe this same process can apply to building a stronger portfolio. It is a model for a vary mature and knowledgeable way to approach improving something.

    Recognize good

    Do we really recognize the good? Without letting our emotions get in the way? Do we have a base of knowledge to compare our work to?

    We can educate ourselves to improve our recognition of good vs. bad. One easy thing is to look at a lot of good examples. Spend time in museums and galleries. This work has been vetted by curators. That doesn’t mean much in reality, but at least you know someone consciously chose the work there.

    Books of images are useful, too. Most contain carefully chosen collections of the artist’s best work. Again, we don’t really know who did the choosing or by what criteria, but if the work is being presented as art it is often quite good.

    Finally, cultivate a collection of artists you admire. Browse their web galleries regularly. They also often have very good blogs. But of the many thousands of photo web sites, probably only a small fraction is worth bookmarking.

    Exercises like this will help build a base of knowledge. It gets us familiar with the look of good work. I can’t recommend that you will get better by looking at bad art.

    Articulate good

    Recognizing good is an excellent start. It probably puts you ahead of most people. But we also need to be able to describe the reason for our evaluation. It is not enough for us, like Justice Stewart to just say “I know it when I see it”.

    There is an old saying that if you want to understand a new subject, explain it to someone else. It helps you understanding it yourself. This works kind of like that. When you can clearly explain to yourself or someone else why an image is good or bad (in your opinion), you have a clear understanding of your judgement.

    Getting to this point is harder. You can build a mental model of what you think certain art critics would say. You might have taken some lessons in art appreciation. If you are very lucky you may even have a good mentor who can coach you and help develop your conscious evaluation.

    Your standards

    Better is to train yourself. Study composition. Know the “rules” of photography. Study technique and use of light. In other words become enough of an expert to have a solid and well reasoned opinion about your craft. And don’t forget that, as you grow, your style becomes more and more different from your peers.

    When you evaluate an image it is from multiple viewpoints. You have to consider what the artist intended. Determining if you have ever seen anything else kind of like it gives a point of comparison. Applying conventional composition norms to it helps to set an evaluation framework. It is tricky, but fair, to consider what you would have done in the same situation.

    But at the base of it all, pretend you are explaining to someone why it is good or bad. Really go through the dialog. Be honest. Don’t skip over the hard parts.

    Improve

    Then there is the improve part. I hope we all are consciously trying to improve our work all the time. If you think you have arrived at the peak and can’t go any higher, you are fooling yourself. As an artist you have to have a lot of confidence but at the same time be humble enough to realize you are a work in progress.

    Ask yourself what could be different, what variations on this could you think of? What part or this image is weak? Can you move your location? Should you wait for better light? Maybe a smaller part of the scene is a better image. Some of these questions may lead to a different way to approach the subject.

    Your portfolio

    These 3 questions from Ramit could lead most of us to becoming better artists. But let me relate it back to improving our portfolio.

    As I am going through my portfolio I need to be brutally honest. For each image in your portfolio ask: is this a great image? If not, it shouldn’t be here. Can I explain why it is good? Clearly? Finally, can I envision a way to improve it and replace it with a stronger image?

    The survivors should be strong images. There is no hard rule of how many images you should have. A number I hear a lot is 20. That seems insane. I have to boil my thousands of great images down to 20? Crazy. Impossible. Have you tried? It is quite a revealing exercise.

    There are some attitudes I have to take when I am doing it. First, I must really believe that taking out a marginal image makes the set stronger. Second, I can’t keep an image in just because I love it. It has to be able to stand on its own. Third, I make myself believe that taking out a favorite image is not like throwing it away. It could be used somewhere else, like if a gallery requests a certain subject that it fits.

    Lastly, I have to understand that the viewers will only see what I show them. They will never see the ones that almost worked. They will not see the ones that were bumped by stronger images. What they do see determines their evaluation of me as an artist. Better to lose some of my favorites if they are not to the level of craftsmanship and creativity I want to portray. I have done it and lived through it.

    A living thing

    Your portfolio is a living thing. It should change as you do better and better work. Go back periodically and test some of your new images against your portfolio. Hopefully you will sometimes reluctantly take out some of the old favorites in favor of the new works.

    This is sad, but it should also be exciting. If you are growing as an artist you new work should be even better than the best of the past. It is a way to see your progress. And your portfolio gets stronger. You are growing.

    To see a snapshot of my current portfolio broken down by several genres, check it out at:

    photos.schlotzcreate.com

  • Living With ADD

    Living With ADD

    I have semi-jokingly said I am probably ADD. Attention Deficit Disorder. I grew up before it was popular (or profitable) to label it. I may be, and if so, I am proud of it. It actually has benefits. (Yes, I know – potentially debilitating… It’s generally called ADHD now. I have at least one family member diagnosed with it and I probably have some form of it. But I’m looking at the positives.) By the way, I resent being labeled as having a “disorder” just because I’m different.

    My “problem”

    I suspect I am ADD because I get bored easily. I am impatient. It is hard for me to suffer fools. My mind wanders a lot and I am easily distracted at times. I don’t like to follow instructions. When watching training videos I greatly prefer recorded ones, so I can listen to them at a higher speed and skip through rambling or useless parts. And I try to avoid boring tasks.

    This makes a seriously mind-numbing task like preparing taxes agony. It is well worth it to me to pay someone to go through the tedium. Yet my annoyance is selective, depending on my interests. I used to be a software developer. I could sit and focus single-mindedly on designing or writing code for hours, not even realizing the time. Likewise, now I can get lost spending hours at the computer processing images. What would be tedium for some is not necessarily so for me if I am interested in it.

    On the positive side, this “malady” gives me a huge curiosity about a wide variety of things. I love to pursue new subjects and learn new things. It makes me very attentive to things happening around me. So I am predisposed to notice things most people pass by. That is a secret to my style.

    Modern ADD

    Those are some of my “problems” that make me what I am, but there is a trend going on in the modern world that concerns me a lot. Much of the world seems to be captive to a new type of attention deficit disorder – our communication devices.

    I may be easily distracted by things around me, but much of the world now seems in a box, oblivious to the world except what they can see through their phone or computer screen. This scares me.

    It is the norm now to see everyone walking, but glued to their phone. To see many people who can’t even drive without dangerously checking email or texting. To see that most people sit at a computer or TV most of the time instead of getting out into the world.

    Stuck to the screen. That becomes many people’s world.

    FOMO

    The new anxiety seems to be fear of missing out. Fear that if we are offline for a few minutes we will miss something important. That we might be irrelevant if we do not immediately comment on the latest trend or viral video.

    It is common for people now to check their email or messages or Facebook dozens of times a day. I have read that the average (young) person looks at their phone over 250 times a day. Fear. An impossible treadmill.

    What is the actual benefit of that to you?

    Virtual living

    The virtual world has become a surrogate life for many people. But it is a poor substitute. Real life is happening in the real world. The things we do do not require a Like or an upvote to be significant. The world does not need a smiling selfie of you to make an event important.

    I read that most people spend most of their time everyday consuming media. These are packaged experiences being fed to us to entertain us. Sounds like the Matrix or other dystopian science fiction. Wouldn’t it be healthier to be out exploring on our own? Wouldn’t it be healthier to create our own adventures?

    Living in the collective means we lose the ability to think and feel and plan for ourselves.

    Missing out on life

    I readily admit to being neither a fan or a user of Facebook or most other social media. While I see some benefits of connection with long lost friends or relatives, the downside is the addictive power it has in many people’s lives and the amount of information they accumulate about us.

    First, make a life worth living. Then spend a little time telling other people about it. If we don’t have the discipline to unplug and be independent we should treat this as any other type of dangerous addiction, like alcoholism. ‘Hello, my name is [____] and I am a Facebook addict.”

    Embracing my ADD

    I readily admit I am probably ADD. I accept it and live with it. Even more, I embrace it for the positive aspects it brings me.

    I have a bottomless curiosity. I will take “side trips” anytime to explore things I do not know. Because I have always done this and learned new things, I have a large base of knowledge. That makes it easier to build on and connect the dots as Steve Jobs said.

    I hate passing by a road if I don’t know where it goes. I really like to find out what is around the corner or over that next hill. When you look for them, interesting things are everywhere. Learning to see takes practice. Perhaps my ADD, if I have it, makes that easier for me. No matter the reason, I love that and am thankful for it.

    I fear that younger people coming up will not have that curiosity and drive. I fear they may lose the ability to even look around and see the world for what it is or to live as an independent being. That will be a great loss for all of us. The benefits from the always connected, media driven world are not worth losing touch with the real world around us.

    I encourage each of us to have the courage to think for ourselves. Learn to be alone in our own head occasionally. Inside is our spirituality. Inside is where creativity comes from. Step out of the hamster cage and see the Matrix.

    Don’t waste your opportunities

    For all his faults, Steve Jobs was wise in some ways. I will close with a famous quote from him:

    Your time is limited, so don’t waste it living someone else’s life. Don’t be trapped by dogma – which is living with the results of other people’s thinking. Don’t let the noise of other’s opinions drown out your own inner voice. And most important, have the courage to follow your heart and intuition. They somehow already know what you truly want to become. Everything else is secondary. – Steve Jobs

  • What’s Right

    What’s Right

    Dewitt Jones often makes the point that the mantra of the National Geographic is “celebrate what’s right in the world”. He even has a TED talk about it. At this point in history focusing on what’s right seems like a great idea.

    National Geographic

    Ah, National Geographic. What a great institution with an excellent brand image. How many of us suspect our parent’s houses are held up mainly by the stacks of yellow magazines in the basement? If you are old enough you remember eagerly claiming your time to read each issue cover to cover when it arrived. The photography was amazing and the photographers were idols to us aspiring artists.

    I suspect Mr. Jones is right that one reason for it’s success is that it was positive, uplifting, showing the good side of places and issues. That seems so foreign in today’s world. It is expected now to show how bad everything is. To show the dark and depressing and gloomy side of every issue. Where are you when we need you, National Geographic?

    Some things are depressing

    It is absolutely true that there is disease, poverty, instability, pollution, economic uncertainty and political division all around. But does that need to be what we’re focused on? Is it really healthy and helpful? If we just moan about it without doing anything doesn’t that just make us more depressed?

    Dr. Martin Luther King said “Darkness cannot drive out darkness; only light can do that. Hate cannot drive out hate; only love can do that.” I believe this to be a very true statement.

    When we focus all our attention on how bad things are then everything seems bad. The attitude pervades our life, polluting all we see. That is a choice.

    Art, too?

    Doesn’t it seem that art, too, suffers from darkness and hate these days? There is a lot of dark, empty art. Like many artists seem caught up in depression and can only create brooding, depressing work. Does it have to be ugly now days to be art? Why?

    And we are told that everything has to support a social cause, otherwise it is not worthwhile. Who says? There are a lot of great causes, and a lot of bad ones. What you choose to support is your decision. But art should transcend the cause. Art should be art independent of the social or cultural context. If you are trying to produce art mainly in service to a cause, it might be propaganda. I am passionate about some causes, but they only indirectly influence my art.

    Can anything be done?

    Is the world too far gone to change? Does an individual have any power to effect things?

    I can’t change the world. I can only change me. The world is made up of individuals and each of us can make our own decisions about our values and behavior. Are you restricted to doing certain things or believing certain ways because your Facebook crowd says so? Break free. Are you going to hate everyone who doesn’t believe in your cause because a powerful influence leader says to? Run away.

    Be yourself. Make your own decisions.

    The sources of information we follow have a huge influence on our life. I won’t get into an argument about “fake news”, but a safe starting point is to believe that most everything you hear is wrong, or at least biased. So listen to many viewpoints and make your own decision. Be a grownup. That builds personal integrity.

    If the information you follow is talking about how terrible events or people are but not offering practical and positive solutions to improve things, they are just spreading fear and division. We have enough of that. Stand up for yourself. Go your own way. It doesn’t matter how famous or respected they are.

    And art?

    This blog is supposed to be about art. Being an artist exposes our beliefs and outlooks to the world. What has yours been looking like lately? What do you respond to? Writing about his WW2 years in Nazi Paris, Picasso said the artist “is a political being, constantly aware of the heart-breaking, passionate, or delightful things that happen in the world, shaping himself completely in their image.”

    I suggest we practice being positive and encouraging. Both in our art and our lives. Not just responding to what happens but consciously shaping our response. Being positive is not a Pollyanna, head-in-the-sand avoidance of the pain that is around. It is an effort to make what we touch better. To make people around us better and more able to cope with life. And to make ourself better.

    What do you love? What do you consider good and beautiful? Show it in your art. Help people see something uplifting. Bring joy, not sorrow.

    Maybe National Geographic had the right idea. Maybe focusing on what is right with the world would do a lot more good than harm.

    Be an individual. Be an artist. Don’t be afraid to follow your own values and beliefs. Try to be a positive influence on everyone who sees your work.

  • Being Timid

    Being Timid

    Aren’t most of us pretty timid with our art? We are intimidated to stray outside the safe boundaries of convention. We follow the trends or a favorite artist. At the root of it, we are too timid to be ourselves or go as far as our vision wants to take us.

    I hope this does not apply to you. It would be great if I am just preaching to myself. Probably not, though.

    Playing it safe

    Safe doesn’t get us in trouble. Safe doesn’t get us criticized for being weird or different. If our art is safe we will get nice comments on social media.

    At some point in our lives we will confront a dilemma, though. If our vision takes us in a direction that is no longer “conventional” we have to decide which path to follow. Do we play it safe and stick to what everybody likes or do we go where our vision is taking us?

    Going our own way is not safe. Just like starting a business is not safe. Or making investments is not safe. But if done well, these things usually lead to greater freedom and satisfaction than remaining in our safe boxes.

    If you keep denying your artistic values you will eventually either give up your art or lose your creativity. That seems a very high price to pay for safety.

    Who are you trying to please?

    Maybe I talk about this too much, but I keep making the point that the main audience I need to be concerned about is me. I would love for people to like my work and give me praise and buy my prints for their walls. But if they don’t and I still like my work, I’m successful. It is hard to remember sometimes, but I know it is true.

    Let me remind you that I am talking about what we call “fine art”. If you are a portrait or wedding or commercial photographer you do the work your clients want. They hired you to do that for them. You try to put your own creative spin on it, but when it comes down to it, the client calls the shots.

    In this fine art world I, as the artist, am called on to be creative, to boldly give my own interpretation. To make it my vision. If I am holding back because I’m timid then I am probably not pleasing myself or my clients.

    Don’t worry about making other people happy. If you intend to photograph as truthfully as you can, your days as a member of polite society are numbered, anyway. (Paraphrased from Stephen King)

    Are you willing to be an outcast if necessary to be pleased with your art?

    Be bold

    Timid is safe. Timid doesn’t discover new, creative things. We should, instead, take chances. Be bold. Go for it.

    I give you this advice, but I have recently discovered that I am still too timid. The epiphany startled me when I realized I am not fully following my vision where it wants to lead me. After giving the advice, I found out I was still timid. I apologize.

    I won’t go into detail, because my vision is mine and wouldn’t do you much good, but I realized I am still too conventional in my subject choices and post processing. I don’t make New Year’s Resolutions, but I have resolved to loosen up and take more risks.

    The realization that I have been stopping short of where I want to take my images was a blow to me, because I thought I was being pretty bold. It was a wake up call, but it had the feel of a discovery that was true and freeing. Long years of studying conventions of composition and post processing were deeply ingrained. I have to break through and let my imagination take me to new heights.

    How will I know if I have gone too far? It will be when I decide it’s too far. Then I may back off some.

    Only those who will risk going too far can possibly find out how far one can go. – TS Elliott

    You don’t know you’ve gone far enough until you’ve gone too far. – John Paul Caponigro

    No fear

    I will try to keep this in mind as I start to experiment more. I know that there will be a lot of mistakes and failed experiments. But that is the only way to learn when you’re making a path where no one else has been.

    The magic is in you. I’m convinced that fear is at the root of most bad photography. Remember that the best photographers understand that YOU is more important than NEW. The magic is in you. – Jay Maisel

    I believe in looking reality straight in the eye and denying it. Garrison Keillor

    It’s time for me to seriously question reality. It is fearful but exciting.

    This will be an interesting journey. A growth period. A time of stress but joy. I’ve been there before and I trust my creativity and vision to take me through this to come to a new place. I hope you will come with me through the adventure.

    Let me know where you are in your journey and what you think!

  • Experimenting

    Experimenting

    I can’t speak for your goals or interests or learning style, but I know that my creativity is enhanced by actively experimenting some of the time. It is a conscious decision to try something completely different than what I normally do.

    Break the rules

    If you have read this blog much you have picked up on a love-hate relationship to photographic rules. Rules have a place but also a time when they should be abandoned.

    Learn, study, internalize the normal rules of composition. Get excellent at the techniques necessary to create well executed images. These things prevent you from embarrassing yourself by releasing well meaning garbage to your viewers.

    Sorry to be so blunt, but not bothering to learn the accepted conventions established over the years for good images is just arrogance and immaturity. Learn the conventions and follow them until they are deeply ingrained in your subconscious. Follow them until they become uncomfortable. and confining You will eventually understand when that is.

    Breakout

    At some point you will find yourself saying “yes, but…”. Then the rules are no longer enough for where you are creatively. They are restraining you to do the same kinds of images everyone else is doing. Something inside is compelling you to do it differently.

    It is very important then to realize you have permission to change your norm. You don’t have to ask anyone or apply to some authority for permission to do this. Just follow where your now trained instincts lead you.

    Now you will begin a period of experimentation and uncertainty. The old foundations you trusted are beginning to crumble. Will you trust your instincts to carry you to a new place?

    To be honest, you will probably start doing a lot of bad work. At least, work that is very different from your norm but far short of the vision you have for where you want to go. That’s OK. Push through it. Keep on trying and modifying until you get closer.

    At this point you probably better be content to get criticism. The people who enjoyed your old work will not be happy and you haven’t really gotten to a stage where you could develop a new audience to support you. Honestly, if you have to support yourself from your art you may have to continue doing the old style work and confine this experimentation to personal projects and off times alone. For a while.

    But you have to really ask yourself why you are changing and experimenting. Isn’t it because your vision is changing and you are no longer content with what you used to do? You will need to decide at some point if you want to be true to your vision or keep in the safe zone of doing what worked in the past.

    Do things that can’t possibly work

    Let me challenge you to regularly set aside time to experiment with wild ideas. Come up with crazy ideas that can’t possibly work – and try them. Can’t work might just mean no one has tried it like you are approaching it. Or it really can’t work. Either way you learn something.

    History is full of failed experiments that led to whole new ways of doing things or looking at problems. Did you know that Post-It Notes came from a failed adhesive experiment? What would anyone want with an adhesive that didn’t stick? Until somebody needed a bookmark that didn’t fall out of the book. They got together and things sparked.

    And those things you are trying that don’t seem useful? You are building a catalog of possibilities. A base of knowledge and ideas that will find surprising applications in the future. And you are accepting that not every image has to be “successful” in the conventional sense. Success in expanding your vision and your abilities may be more important long term.

    A special snowflake

    Please pardon the cynicism, but everybody is told they are unique snowflakes and many of us believe it. But do you act it? Or do you spend your energy trying to make the same pictures everyone else does.?

    Most photography tutorials are “how to create the same image I made”. Most workshops take students to locations where they can take the same iconic images everyone else does. Aren’t most online comments praise for safe, conventional images that are just like the norm?

    Everybody has the possibility of being truly unique, but you have to develop that uniqueness. You have to reach deep inside and bring a vision that is truly you. You have to be able to express that vision is a tangible way that others can see.

    Experimenting with ideas you have never seen before is one good exercise for that.

    And now for something completely different…

    All right, so I’m old enough to have been a Monty Python fan.

    I have preached the faith of experimenting but I haven’t shared any examples I have done. The image with this blog post is a deliberate experiment I did recently that violates virtually all rules I know of. It is long exposure, hand held, taken from a moving vehicle. There is nothing sharp in the entire image. It doesn’t fit normal composition rules. I certify that this is a single original frame with no double exposure or compositing.

    What has it got, in my opinion? Intrigue, interest, great flow, visual interest, ambiguity, questions, a staying power that makes me want to put is on the wall and look at it for a long time. Those things give me joy. And hope. I’m very glad I experimented.

    It keeps you fresh

    Training yourself to have a habit of experimentation will help keep you fresh. Always ask “what if?”. You lose the fear of trying something new and maybe failing. You gain the benefit of letting your vision expand and bloom in new ways.

    Do you look at your work and see the same subjects, the same treatment, the same composition over and over? Experimenting and taking on “strange” personal projects outside your norm and with no intent of commercial success will keep you from getting stagnant. You need it to keep your creative energy flowing.

    And when your experiments lead to results you are proud of, be confident to incorporate the technique into your mainstream work. You are a dynamic, living being who changes with time. Your work should reflect that. Don’t be afraid.