Ed Schlotzhauer

An artists journey

Category: Psychology

  • Boundaries

    Boundaries

    We have or experience boundaries in all aspects of our lives. Some boundaries are essential. Boundaries set limits to define acceptable behavior to allow society to function. But the boundaries I am talking about here are the ones we accept or even impose on ourselves in our creative world.

    What is it that bounds you?

    Most of us are limited by the beliefs we have accepted or been taught. Beliefs are not at all bad. They are necessary. It is when they limit you into a box you can’t break out of that they become a burden. Beliefs should be carefully examined and modified or discarded as we progress through life. Sometimes our beliefs become outdated because we grow to a new level of understanding.

    That is pretty philosophical. Let me take a simple example of a landscape shot. We know what it looked like and we believe it should look like that. But why? Why is it only allowed to look like the exact reality that was there? What is reality? What if you want it to be different? It is probably only your beliefs that prevent you from experimenting with something else and maybe ending up at a completely different place.

    Who sets your boundaries?

    Most of us learned photography from educators or mentors or tutorials. This is great. All are good ways to build skills and learn the craft.

    Many of us, though, simply accept and follow the instruction we were given. We might even proudly tell people “I learned the style of [____] from [____ ]” (fill in your favorites). Congratulations. But so what?

    The great artist you learned from has developed a set of values and skills over the years. They are based on their perceptions, the way they see the world. Their art reflects themselves and their experience. As it should. When they teach a student they are training them to think or view things like themselves.

    Why should you follow their precepts? Doing so limits you to being an inferior clone of the instructor. When we develop our own vision and become confident in the worth of our creativity we will have to uproot some of those fences our instructors put in place to help guide us.

    All the education you have received is good, in that it makes you what you are today. Learn all you can from all sources but reserve the right to form your own opinions. Don’t be complacent. Follow your own path.

    Technical boundaries

    All artistic medium have their own boundaries. Whether it is material properties or technology or physics, everything we use has limits.

    The wonderful cameras I use have hard technical limits. For instance, even though they have excellent dynamic range (the range of dark to light they can capture) it is not as great as some subjects I want to photograph. I have to learn techniques to deal with the limit, like HDR. Or I have to learn to make art that exploits those limits to create something new.

    Great artists tend to push the envelope of their medium. They discover ways to use the limits to express themselves in new ways. Don’t be afraid to push the limits.

    Mental limitations

    For most of us, though, our values and beliefs define our boundaries, not the medium. We hold ourselves back. We avoid pushing past or even seriously questioning the fences we have set up in our minds. Worse, we don’t usually even realize these limitations.

    A lifetime of criticism and training gets deeply embedded. You have to do this. Never do that. Always compose like this. Avoid doing this in post processing. Repetition leads to acceptance and eventually we become blind to alternatives. Fearful, even of trying anything outside the norm as we know it.

    Do you remember the famous Apple 1984 ad? You should watch it. It is a great classic and it has a very important message. Group think and indoctrination prevails in any group. It doesn’t change until someone stands up to it and says “I don’t think so”.

    Overcoming boundaries

    Your biggest creative boundaries are deeply held within you. You have to accept that they are there and learn to take them out and examine them and decide if they should stay or go.

    I recognize that this advice will only be useful to about half the population. The ones who are introverted enough to have the gift of introspection. I know enough extroverts to realize that they don’t think this way. I’m not saying that is good or bad, but since I don’t understand you I can’t offer much advice for you. Personally I observe that a disproportionate percentage of artists I know are introverts.

    I believe the first step to becoming our own is to ask “why”? Ask it of ourselves when we turn back at a “don’t go there” point. Ask it of other people who tell you you shouldn’t do something. Listen to the answers. Be honest with yourself.

    If you find the answer is because somebody you respect told you that is not the way to do it, maybe it is time to experiment. Maybe doing it is right for you even if not for them.

    Asking “why” puts you in a somewhat of a confrontation position. I don’t like that, but I realize it is necessary sometimes. You may get scorn or criticism. You may get evasive answers. But ask, at least ask yourself. Remember, as far as your creative direction, you are the only one who can answer.

    Permission to color outside the lines

    In a previous post I referenced a Calvin and Hobbs cartoon that is very meaningful to me. If you remember, Calvin was doing a paint by number but he wasn’t using the color codes or painting in the lines. When it was pointed out to him, it seemed a bizarre concept to want to paint their picture rather than his own.

    That is perfect! If we accede to other people’s boundaries, we create their art, not our own.

    I have been following this path for years but I still find myself stopped by boundaries I had not consciously acknowledged. I have to constantly give myself permission to go further, do it different, don’t worry about whether or not it looks like the original. It is important to remind myself that if I feel it I can try it. If I can express a reason that makes sense to me, that is good enough. I may not like it after I try it but it is very important and healthy to try something different.

    It is hard to truly give yourself permission to color outside the lines.

    But learn to do it. Make yourself do it. It is worth it. You start to discover what you really see and feel. It becomes your art.

  • Behind the Curtain

    Behind the Curtain

    “Pay no attention to the man behind the curtain” is one of the classic lines from movie history. It is brilliant and captures a universal truth.

    If you don’t remember, or if you’re young enough to never have seen The Wizard of Oz, Dorothy and her friends are terrified and fascinated by the projected image of an imposing wizard with his booming voice. But her dog Toto pulls a curtain aside and reveals an old man who is controlling things through levers and buttons. He tells them to pay no attention to the man behind the curtain to try to deflect attention from what is really happening.

    Once revealed, the magic is not intimidating anymore. This is very true in most things. Even the Wizard of Oz turns out to be a nice guy.

    Magic

    The famous science fiction writer Arthur C. Clarke said “Any sufficiently advanced technology is indistinguishable from magic.” This is also very true and we are effectively surrounded by magic all the time. For most of us, the internet is magic, making a phone call is magic, even getting in our car and driving it is magic. These and many others around us everyday are marvelously advanced technology products that few people really understand. We use them but don’t understand how they work.

    But everyone who uses a tool or product forms a mental model to help us understand how it works. Some of the models we make are wild hallucinations with no basis in fact. These incorrect models quickly break down when we venture into new or advanced territory. They no longer allow us to predict behavior, which is the purpose of the model.

    The way to counter this is to learn more accurate models of what is really happening. Learning the reality in effect lifts the curtain and lets us see how the thing really works.

    Maybe it is not as romantic and fanciful to learn the reality, but it lets us become more expert in the thing we are using. The magic becomes just technology that now serves us well.

    Photoshop

    I want to use Photoshop as today’s example of magic. I’m afraid that to many artists Photoshop appears to be magic. This is an invitation to get over that by starting to peak behind some of the curtains.

    I will not downplay it or dumb it down. That would not be treating you like an adult. Photoshop is very complicated. At first it seems like looking in the cockpit of a jet aircraft. I have been at it since about Photoshop 4 (it’s on version 21 now) and I have been fortunate to have the benefit of live and video instruction from some master teachers such as Ben Willmore, Dave Cross, and John Paul Caponigro. But every week I study it more and learn new abilities and ways of combining things.

    But there is a good side to all this complexity, too. All that capability to learn means all that capability that can be used creatively for your art. I rate Photoshop as one of the finest software products ever created, and I have used a lot and I developed software for many years.

    It is almost true that Photoshop is not magic. Content Aware Fill and Content Aware Move and a few other features may actually be magic. But for the most part it is just a collection of relatively simple tools that can be combined together to create artistic results.

    Demystify

    Demystifying is what happened with the curtain. It will happen for you with Photoshop if you burrow into it and get past the fear factor. You will eventually have a moment when the mists lift and you understand how people create with tools like this and how you can use the tools to realize your own vision. This is a moment of enlightenment. There is no right or wrong way.

    If you just try to memorize all the tools and settings and features you will go crazy. There are an unimaginable number of combinations. It is important to first learn the principles of how to work in it. I’m just going to discuss the Photoshop features that are most important to photographers.

    Basics

    I can’t teach you to be a Photoshop expert here, but maybe I can help point out some important concepts. There are basically 2 things you can do: transform pixels or blend and combine them.

    Layers

    One of the most important capabilities you will use is layers. Get very comfortable with them. A layer is just what it says. Think of it as a perfectly clear sheet of plastic. You create stacks of layers and each one can contain pixels or mathematical operations on pixels. A layer can be an image from your camera or things you have drawn or painted or many other things, including all or parts of other images. You can add or delete or rearrange layers at will. The image you see in the main window is the view looking down through all the layers. You can never see layers. You just see the pixels on the layers.

    Pixels on a layer can just hide ones below or they can be combined with pixels below using what are called blend modes. Blend modes can cause the pixels of a layer to lighten or darken or influence just the color or luminosity or contrast of pixels below.

    In addition, a layer can have a mask. The mask can block parts of the layer from view. A phrase you will hear often is “black conceals; white reveals”. The black areas of a mask prevent the pixels of this layer from being seen in the stack. This lets us be very precise in making changes to select parts.

    Tools

    Operating across all the layers and masks you have a large set of tools. These are like paint brushes or erasers or means to select certain areas to operate on. The tools let you manipulate the layers and masks to work some of the magic.

    While layers hold pixels, tools allow us to do things to the pixels. Pixels on any layer can be added or removed or colored or sharpened or blurred or moved around to almost any level. Same with masks, which are also just pixels but just function differently.

    Principles

    Focus on these concepts. They are some of the powerful principles that make Photoshop such a marvelous tool for manipulating pixels. When you get comfortable with these basic things you will be surprised how much you can do in Photoshop and how simple it starts to seem.

    So the reality is that Photoshop is “just” a large collection of fairly simple tools. The beauty of this is that these tools can be used and combined in near infinite ways to modify or create digital art. Each user has complete ability to express his vision without being constrained by the tools to look all the same.

    There is no lack of training available in books or on the internet. Look around and find some that work for you. I recommend Ben Willmore and Dave Cross as excellent instructors to start with. They can present powerful concepts simply and make all this wondrous capability accessible to you. Buying some courses on CreativeLive is one way to get their training.

    Living without magic

    The adult world has less magic than you had when you were a kid. A side effect of growing up is there is less magic in your world. In a sense this is good. The tools we use to create our art should be just tools. No matter how powerful they are, they are just things to be wielded in our creative process.

    Save the magic for your creative vision and spirit of adventure. Keep a sense of wonder as you go through the world. You are surrounded my magic. Don’t make it less important by viewing your tools as part of the magic.

    What you see and perceive and create is the magic.

  • Have You Already Done Your Best Work?

    Have You Already Done Your Best Work?

    Have you already done your best work? Have you taken your best image or painted your best picture, or sculpted your best piece? In other words, have you peaked and it’s all down hill from here? What a frightening idea.

    Yet I believe this is a great fear of many artists. Me, too. You love what you have already created. How can you ever top it?

    You have to believe in yourself and in your process.

    Your body of work

    Does your portfolio define you? Many of us believe it does. I think it would better to look at it as saying your portfolio represents the best of what you have done up to now. You will change and move on and do different things with time. Your portfolio doesn’t define you, it reflects you. Who you were up to today.

    If you destroyed your whole library you should be able to go on from here and build a new, better one. Of course, none of us would want to do that. We have done a lot of great work in the past. We have many impossible to recreate scenes. Our library or portfolio represents a huge investment of both time and creative energy. We should embrace that and celebrate it.

    But the creator is much more important than the creation. If I go to the Louvre or Orsay (back in the good old days) or another great museum I see people lined up admiring some of the important and enduring works of history. But the focus is on the art. This is only appropriate at these museums because the artist is dead. It is much more interesting to study and appreciate the people who created these pieces. They are the genius. The art is just a reflection of their vision. These famous works came out of their minds and through their skills. What was it about them that allowed them to create and overcome?

    In the same way, you are the one who makes images. If you have made great images in the past you almost definitely will in the future unless something changed to take away your skill. This can happen, through life-altering events like a wreck or a stroke. But barring something like that, it should be true that your creativity grows and persists. Very few of us can use this excuse.

    An idea

    A great image is just an idea you had at a particular time. You will have more. It is your ideas and your vision that creates. Ansel Adams famously said “The single most important component of a camera is the twelve inches behind it!“. In other words, images are made in your head, not in a camera.

    The “muse” or our creativity has ups and downs. Sometimes it seems like you are empty. You fear you will never do great work again. Be patient. Keep working at whatever you find while you wait for the spark to return. It will. Always.

    Fear

    Don’t be limited by fear of trying something new. Even if you are famous for one look or style, at some point it limits and boxes you in and you start to become stale. Then it is time to re-invent yourself. Don’t be afraid to make a sharp 90 degree turn and do something completely different. If that is what your creativity is calling you to do, follow. Better to follow it into uncharted territory than to have it leave you behind.

    And sometimes we look at the work we have done and think “Wow, I can never do better than that”. This creates fear of failure. We become afraid of creating anything because it might not be as good as what we have already done.

    This is because we are trying to do something like a work we did in the past. Don’t worry about trying to recreate an old look. Go with where you are now. It probably won’t be the same as what you did before, but it is you. It represents where you are now in your life. If you are growing as a person and an artist, it will be better.

    Push

    Always be pushing yourself. You are the only standard of measure that matters to you. Learn, grow, experiment, be open to new thoughts and ideas.

    When you don’t feel creative, work anyway. Just doing the work is refreshing and therapeutic. It is like “putting in the reps” that is required to learn and master almost anything. Keep pushing and when the creativity floods back, you have improved and can do even better work. You will be better equipped to keep up with the inspiration.

    Keep moving. Don’t ever just sit and feel sorry for yourself. Get out and do something. Don’t try to recreate your best works, do new things that are better.

  • Tools

    Tools

    Man is a tool maker. Tools are used in most activities in our life to extend our performance or help us get our tasks done faster, easier, and more accurately. The same is true in most of our art. Some people say that it is our tool making nature that allowed us to become the dominant species.

    A tool using artist

    I’m an artist. Specifically one who works with images originating as photographs. A camera is a tool I use. So is a computer. So is a printer. These tools do not create my art. I use them as part of my creative process.

    Yes, the tools allow me to create things I could not do otherwise. That just means they are good tools. My Jeep allows me to go places I would rather not have to walk, especially carrying my gear. That does not mean the Jeep creates my art. I know a sculptor who now prints a lot of pieces on a 3D printer. Does that make them no longer art?

    I believe in using tools to make my life better and to take my creativity further. Indeed some images don’t really start coming to life until I am manipulating them in Photoshop. As I try things and apply ideas and tools the essence of the image may start revealing itself to me. Note, though, that I – the artist- decide how the image should develop. I don’t sit back and watch Photoshop create it for me.

    Limits of tools

    There are probably some sharp Adobe computer scientists working on that right now., Maybe someday you will be able to point your phone at a scene and a “perfectly” composed and processed image will appear instantly in your social media feed. I hope for all of our sake that they decide that even though they could, they won’t. (Note: it came faster than I anticipated. Adobe announced many “AI”-based tools at Adobe MAX 2020. Now anyone can do almost anything to an image without know how they did it. Too bad.)

    Tools should be used as force multipliers. Not a crutch to let people with no skills seem to create something. That’s like going to DisneyWorld and believing you went on a pirate adventure. It is a manufactured experience that you did not contribute to. If you are over the age of 5 you know deep down inside it is fake.

    At the risk of being unpopular and sounding like a Luddite I will say I do not believe an image created entirely by a computer without an artist is art. It is just software combining patterns it has been trained with and throwing is a little random variability. Maybe this could be said of some artists, too. Let me just add that I spent an entire career working in advanced computer science, including artificial intelligence. So it’s not like I just hate technology.

    Digital fits my personality

    I am ADD enough that I don’t like there to be much lag between seeing something interesting and capturing it. It would be hard for me to work in a world of making multiple sketches of a scene to work out the best composition and staging, then spending weeks laying down the image slowly in layers with dry times between. All in order to create one work. I would abandon it after the first couple of sketches and be off to another idea.

    Photography is much more immediate and rewarding for me. See a scene. Click. Nice, but maybe move a little to the right. Click. Better. Maybe raise the camera a little higher. Click. Almost there, maybe reduce the depth of field. Wait for the right moment. Click. Good! Now I have a good starting point to work with on the computer to create a final image.

    In the computer I use a fairly disciplined non-destructive workflow. That just means never commit to something that can’t be undone. This does not slow things down and it actually makes it easier to get in a creative flow. That is because whenever I hit a dead end or even just decide I’m not liking the direction things are going, I can back up to any point I want and modify what I’ve done or even throw large “experiments” out and take a whole different path. The tools let my creativity flow naturally.

    This ability to freely experiment and take risks is wonderfully empowering. I even sometimes create several versions of an image. It is an embarrassment of riches to be faced with a hard choice of which one I think works best. The ability to be spontaneous and free is very important to my creativity.

    An artist

    I create art. My camera or my other tools do not create the art, I do. The fact that I start from a photograph should not matter at all. Some people think something is not art unless the artist had a long and difficult process from training through making an image. How myopic and judgmental.

    It had been said that an artist has to suffer. This is true, but you hear the statement from critics more than artists. Critics think they can analyze the process the artist went through to determine the worth of the art. Real artists know that art is suffering and what we learn and the feelings and vision we develop in the process guide our outcome. Art can be a cathartic expression of a deep experience, but that is not required.

    But this “suffering” is very personal and internal, at least for me. It may be the result of decades of failures to realize our vision. A suffering born of frustration that drives a continual renewal and a reach for what we feel but can’t quite express.

    It has almost nothing to do with a camera. That is just a tool, part of the technology used in creating art.

    Any tool

    When someone picks up a tool to create something as art, they become an artist. It doesn’t really matter if it is a brush, a pencil, a welder, … or a camera. What matters is what you do with it. Is something better and more worthwhile because it is carved from marble? Is it better if it is oil applied to canvas? Careful. These are dangerous judgments.

    The art I create is not because I’m a photographer. Photography is a medium that works very well for me. It fits my personality. I use it to create my art.

    I look at the creative process different from an oil painter or sculptor or author or graffiti painter. That is good. Artists are not supposed to be all alike. They should be as unique and individual as possible. That extends to the medium and process and tools, too.

    So, I’m an artist. I use a camera to capture pixels that become my art. I’m proud of it. I like what I create and it works for me. I’m very thankful for the tools I have. They help me create, they do not define me.

  • Play by the Rules

    Play by the Rules

    OK, I admit it, I don’t do well with rules. I’m a “ask forgiveness, not permission” guy. I don’t cheat and I never take advantage of people, I just don’t necessarily play by the rules. And for context, this discussion is mainly about the world of art, so don’t extrapolate my malady too far.

    Even if you don’t read the rest of this post please study this cartoon. A classic Calvin & Hobbs from the great Bill Watterson. This has been on my wall for at least 20 years. It perfectly captures my feelings about rules. 🙂

    Whose rules?

    Ah, this is a root of the problem. Who has the authority to make up rules I have to follow? Where did they get this power? What governing board set the standards?

    Now, I’m not an anarchist in my everyday life. Not entirely. But in my artistic domain I do not give anyone authority to dictate rules about my work.

    It seems to be human nature to want to control other people. Perhaps it is a power trip. Perhaps it is financially motivated to protest self interests. Maybe it is insecurity. I am a big believer in the old saying “Those who can, do. Those who can’t become critics”. Correct me if I’m wrong, but I have seldom seen successful and respected artists put themselves forward as a critic. They do not see any need to, they are too busy creating. And if someone else wants to go off a different direction, fine.

    What rules?

    The art world has no shortage of rules to live by. Each little group wants to exclude you if you don’t play by their rules. So my work may be criticized because it it too realistic, too abstract, too colorful, too little color, lacking in social message, too much social message, too sharp, too blurry, too painterly, no people, only people, etc.

    Even on a more safe level of visual theory, there is the “rule of thirds”, rules of balance, of leading lines, of framing; there has to be a definite foreground, middle ground, and background; don’t put the subject in the center, expose to the right, the subject has to be sharp, water should be smoothed with long exposure, never shoot in the middle of the day, always shoot on a tripod, …

    Being Conventional

    None of these so called rules make a work of art. If you are new to the craft these guidelines help you quickly learn to make images that are accepted as “conventional” and inoffensive.

    Let me give an anecdote from my own experience. It goes way back, so I’m sure the statute of limitations has expired. I was an early adopter of Photoshop. The excellent camera club I was a member of had monthly competitions. I was the first to enter a “Photoshopped” image. It, of course, won the blue ribbon, because the post processing improved the basic image a lot. When I “confessed” how it had been processed and modified there was a lot of hand wringing and discussion. Some people even wondered if such images should be allowed in their competition. What I did was outside the norm and the expectation, therefore maybe a violation of the rules. At the least it was suspect as not being fair or in the proper spirit of photography. Yet, they chose it as Best of Show.

    I have not been associated with that group for a long time, but from what I have seen, it would be almost impossible to win a contest there now without significant Photoshop processing. A new normal. Since it is conventional it is acceptable.

    Why have rules?

    I think I was on the right track earlier when I said rules create works that are accepted as conventional. Rules are normative, to use the proper term. Accepting a set of rules defines a baseline, a norm, it regularizes things.

    There are times to follow the rules exactly. My accountant needs to follow accepted practices. I fully expect my doctor to follow best practices as he has learned them and as his profession requires. If I go to a restaurant I want them to follow all the health and safety and food preparation regulations.

    But for artists? Well, yes. This may seem like I’m spinning 180 and shooting down my own arguments, but I believe the widely known rules are valuable for artists. Knowing and following them would protect the world from some of the useless stuff thrown around by people who do not know the history of their medium, its limits, or the social conventions people like to abide by.

    I believe all new artists should learn the rules and spend quite a bit of time creating boring and conventional work. It is good practice and it instills some discipline. I’m not saying artists should go to art school. That works for some but not everyone. I don’t believe there are any valid credentials that qualify someone to be an artist.

    After the rules are well understood, then comes the time to start exploring the edges. To start experimenting with breaking the rules that are limiting you if that is consistent with your style. Most experiments will be failures and the learning is that the rules are there because they point out something of general truth. But sometimes… Sometimes some new truth is discovered. Sometimes creatively breaking a rule leads to good art.

    If I break the rules?

    What happens if (when) I break one or more of the rules? Do the art police come and confiscate my computer? Do I go on a secret list shared by galleries and collectors to blacklist my works?

    Actually, nothing happens. If I break a rule it is an experiment. The experiment will have one of 3 outcomes:

    • I love it, do more like that;
    • I hate it, don’t do it again;
    • or that’s interesting, it has promise, I need to modify it and try again.

    And the people who view and potentially purchase my work will look at it and either say:

    • wow, I love it
    • yech, I hate it
    • or eh, don’t care.

    The combination of these 2 sets of votes determines if breaking the rule was a success. And my opinion about what I like is the overriding vote. Note in my value system customers have a vote but people who are just critics do not.

    Creating somebody else’s art

    Playing by the rules guides us to create art that is acceptable to the largest audience. Like the paint by number cartoon above, we, in effect, create somebody else’s art. Our art follows the pattern that many other people follow. “Wow, it looks like Ansel Adams.” “Wow, it looks like John Shaw.” “Wow, it looks like John Paul Caponigro.”

    These are good people to look like, until you develop your own style, your own vision of what you want to say. Then the rules are holding you back. At some point you have to make your own rules. To be you, you have to make something different.

    Nothing new is ever created without a painful break from the past. Impressionism would never have been established if Monet, Renoir and the others had listened to conventional wisdom. John Rewald, in History of Impressionism, said The only thing to be learned from the critics was how to suffer the sting of their attacks and carry on just the same, accomplishing a task which more then any other required serenity.

    If you play by the rules you will just get better and better at what everybody else does. That is not a waste. But to create something new and creative, rules, like eggs for an omelet, have to be broken.