Ed Schlotzhauer

An artists journey

Blog

  • 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 Sometimes our beliefs become outdated because we grow to a new level of understanding.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.

  • The Problem of Mega Pixels

    The Problem of Mega Pixels

    I love the capabilities of modern digital cameras, especially the wonderful sensors and great lenses available. But nothing is free, and I’m not just talking about the price of the gear. Having too many mega pixels can cause problems you may not anticipate.

    Resolution is wonderful

    I love extreme resolution. I’m not a fanatic about it, but I really appreciate it. I have not gone to 100+ MPixel sensors yet and I don’t normally do very large panoramas. Still, I get a thrill when I zoom in to 1-to-1 and see the great detail that is there. Then when I sharpen or contrast it more and the detail pops – wow!

    Having large resolution allows me to create large prints. It is a necessary thing since I do this for a living. It is also something I really like to do. I don’t think an image is complete until it is printed. For me, a print is the physical expression of the image.

    All things being equal, which they seldom are, higher resolution usually leads to sharper images. I love certain images to be “crunchy” sharp with great detail. It is part of my values that I can’t get away from.

    Also, larger files allow for more cropping freedom. I try not to rely on this. It is much better to compose the image the way I want it at capture time. But sometimes it cannot be avoided. Maybe the image works better in a square format, or maybe I’m only carrying a lens that goes to 70mm and I want to shoot something I can’t get close enough to. In that case I have to “zoom” in post processing by cropping the image.

    Or maybe I realize later that the real interest is in a smaller part of the frame. I have to crop the image heavily to salvage it. It’s not good practice, but I admit to doing it on occasion.

    For me, a great print from a well executed, high resolution file is a joy.

    Resolution is a pain

    On the other hand, high resolution can be a pain. It increases the cost and time of all the downstream stages.

    Every time I press the shutter it drops around 60 MBytes on my memory card. That is just the raw capture. It requires CFExpress or XQD cards to keep up. They are very expensive.

    As long as I can process the image in Lightroom the size stays around this, but when I step into Photoshop each image balloons to several hundred mega bytes. And that is even without adding a bunch of layers.

    Did you know that a Photoshop psd file (the native Photoshop format) cannot exceed 2 GBytes? Or that a tiff file cannot exceed 4 GBytes? I have found this out the hard way. Some of my images now have to be stored as psb files, the large file format version of Photoshop’s data.

    Processing and editing time goes up with pixels. I use a powerful computer with 64G RAM and very fast Thunderbolt3 disks, but it can take seconds to do a simple stroke when I am masking or burning or dodging. I have seen multi GByte files containing one or more embedded smart objects take 2 minutes just to save to disk.

    And you have to get to know disks in multiples of Terabytes. If you have a disciplined backup strategy, something I am fanatical about, then there are layers and layers of them.

    I have bought in to the need of powerful and expensive equipment for editing and storing my images. The biggest problem, though, is the slow editing speed. This interrupts the flow of my mental process. I don’t like waiting on the computer.

    Technique

    One of the unfortunate truths they seldom tell you when you are looking at a shiny new high resolution camera is that it is harder to take good pictures with it. This is partially because of the geometries you are dealing with.

    A full frame sensor, by convention, is 36 x 24 mm. My Nikon Z7 places 8256 x 5504 pixels in this space. That makes each pixel site 0.004 mm square. That is 4 microns from the center of one pixel to the center of the next. If you do not work in the world of integrated circuits or advanced physics you may have trouble conceiving these sizes. We do not directly encounter these dimensions in the real world.

    As an example, human hair ranges from 17 to 180 microns in diameter. Therefore the thinnest strand of hair you can possibly find would cover over 4 of these pixels. An average sized hair, around 50 microns in diameter, would cover a strip of at least 12 pixels wide across the sensor.

    A fun fact, but so what? The so what is that with each pixel being so small the problems of focusing and holding the camera steady are greatly compounded. Focus is critical and you almost have to rely on the very sophisticated focus system in your camera. Especially if it is contrast detection – meaning that it is searching for the best contrast, hence sharpest focus, measured directly on the sensor pixels.

    And for the sharpest results, don’t even think of taking a picture without using a good tripod. I don’t know how steady you think you can hold something, but consider that for optimum sharpness the camera cannot move or shake as much as 0.004 mm while the shutter is open. I can’t do that, especially after coffee.

    You need new lenses

    Another sad truth is that to realize the full benefit of your high resolution sensor you need lenses designed to match it. Current lenses achieve resolutions significantly better than was the norm a few years ago.

    The requirements for lenses for these new sensors greatly exceed the standard required for film or, say 6 – 10 MPixel cameras from just a few years ago. I have tried older lenses on my Z7. The results might be usable for some things, but nowhere up to the quality of something like a Z 24-70 f/2.8 designed specifically for the Z series.

    So another cost and problem of trying to achieve very high resolution is that you need to use lenses that will achieve the quality you are seeking.

    Why have lots of Mega Pixels?

    With all those problems, why should you want to shoot high pixel images? Maybe you don’t. That is what I am leading to here.

    Your gear should be chosen based on your intended use. These days many people will only post images on social media or put together a slide show of a trip or event. If they print at all it will probably be 8.5×11 inches (about A4 for you in the rest of the world). Quite honestly, a good 6 MPixel camera is all you would need for any of these things. Almost any mobile phone is great, except for the lack of lens choices.

    I have images from a 6 MPixel camera in my portfolio.They are good files and the quality of the pixels is good. I just would not try to print them very large.

    About the only thing that requires huge files is making large prints. This is a world I live in, but if you don’t then why bring these other problems on yourself? A good 12-16 MPixel camera is probably more than adequate for most people. They are smaller and lighter and cheaper. It is easier to take good pictures with them, it is easier to process them if you want to, and they require far less disk space. You can probably keep most of the images you want in online storage.

    But human nature being what it is, we can’t discount the lust factor. Pixel lust. Just like I know people who do some woodworking and have a workshop outfitted with an array of near commercial quality equipment. An expensive overkill, but if they have the space and money to burn, why not? You might need it someday.

    If you want to be logical and save some money and time, resist the lust for lots of mega pixels. You won’t need them.

    Its an OK problem to have

    Some of us are convinced we need them. Some of us just want the biggest and best. Many are just caught up in the hype of shiny new products.

    If you are going to have a high mega pixel camera, be aware going in of the costs and problems. But if you “need” it, go for it! The results are marvelous if you use the tools well.

    I love the results I get so much that I forget about the size and processing problems. I love the results so much that I gladly learn the required techniques to achieve them. They make all of my images better.

    Cameras and gear have advanced to the point where many of us cannot achieve the maximum they are capable of. But that is an astounding problem to have. What an embarrassment of riches! If we are the weak link in the process, we can learn and improve. We get better and our results get better.

    It’s a great time to be a photographer.

    What have your experiences been with high resolution photography? Let me know!