Ed Schlotzhauer

An artists journey

Tag: Artist

Themes Keep Emerging
Quite a while back I talked some about themes in our work. I mentioned that one theme I come back to is wabi-sabi. As I reflect on my work I find that there are common themes that keep emerging.
What is a theme?
In the previous article I gave the simple dictionary definition of a theme as “a subject or topic of discourse or of artistic representation”. This is right, but inadequate. I have come to believe that for artists, themes are ingrained and consistent.
That is, unless we are doing commercial work for clients, themes represent what we are drawn to. The things that have meaning or symbolism to us. They probably don’t mean anything in themselves, but they disclose something about us. What we see and the way we think.
So perhaps, for a fine artist, themes are the ideas that tweak our passion, that spark our creativity. It is important to keep in mind that the theme does not have to be deeply meaningful. It just grabs us for some reason.
Projects
I am at a stage where I think more and more about projects. These self-assigned projects help focus me and exercise my creativity. Without them I tend to run wild and shoot everything in sight. That is OK, but a project helps me get deepen into an idea.
I have a list of project idea I think I would like to do. Sometimes, though, when I try to start one, it turns out to be Meh… It is difficult to really get into it with any enthusiasm. I have come to recognize that this is a symptom of the project not aligning with any of the themes that channel my interest. I usually abandon these, unless there is a compelling reason to push on through it. There seldom is.
On the other hand, when a project aligns with my innate theme interests I can really get into it. It is energizing and exciting rather than being dreary work.
Look inward
So I have learned to look inward more to keep projects aligned with my natural themes. This can be hard for some of us cold, analytical types. After all, it is easier to talk about composition or exposure than it is about feelings. But as I have said before, art is primarily about feelings. I have to get in touch with my feelings??! Well, maybe not in that sense. But I have to become a lot more sensitized to them.
The unique nature of photography is that it is a subtractive art. The world is swirling all around us in unbelievable detail and complexity. When we lift a camera we engage in a process of reducing, filtering, limiting what we show to make a pleasing and coherent image. This takes discipline and a good sense of what we find important in the frame at the time.
Self discovery
This self-discovery process sounds hard for some of us, especially guys. But maybe not. Our own work can often tell us, if we listen.
If you have a body of work (a fairly large collection of images you think are good) you probably have the data you need already – your own images. As an exercise in self discovery, pick out around 100 of your best images. The ones that you feel you are most proud of and that represent the work you are doing now. If I were doing it right now, I would use Lightroom to go through my catalog of top picks and pull 100 of them into a collection to examine.
As painful and time consuming as that is, that is the easy part. Now it is time to think and reflect. Study this set of images. Write down the themes that come to mind as you look over the collection. Just do a free association, stream of consciousness at first. Write these theme ideas on sticky notes and lay them out on a table or a white board or your monitor or wherever is convenient. Look for groupings of related ideas. Put them together. Come up with a term to represent each grouping.
Hopefully you now have no more than 3-6 theme ideas. Go back to your image collection and try grouping them according to these ideas. Don’t worry if it is not perfect. A single image may overlap more than one idea. But it is a test to see if you believe the groupings you came up with.
Now you have a clearer map of the big ideas you are drawn to. This is enlightenment.
Rocket Science?
No, this is not rocket science. It is not really science at all, in the sense of being objective and repeatable. If you repeat the experiment you would probably select a different set of images, because they seemed meaningful to you at the time. You would probably label them differently and come up with different themes. Same but different. That is, there should be a lot of overlap, because themes are much more broad than a particular subject.
Does this make it invalid? No. The process gives you insight about yourself and your interests. It is turning your sights inward and trying to understand more about yourself. The fact that you get different results proves you are a complex and varied individual. That’s good. Be proud of your complexity.
What am I drawn to?
I mentioned wabi-sabi as one of my themes. Some others are time travel, weathered, force of nature, and black & white. I haven’t figured out if black & white is a theme or just an attribute of a lot of the art I like to do. Still working on it.
The image with this article I just shot yesterday (as I write this). This is in the force of nature theme. We just had our first good snow here in Colorado and I couldn’t resist getting up in the mountains to see it. This is not cloud or fog or smoke. It’s blowing snow. It’s not snowing. As a matter of fact the sky is a boring bright blue.
When we get sandwiched between a high pressure system to the west and a low pressure system to the east, we can get violent winds across the mountains as the pressure tries to equalize. When I shot this, it was about 18 F with about 40-50 MPH gusts. Very cold! But I hardly noticed. I love scenes like this showing the power and majesty and force of nature! I was in the zone. I didn’t even remember to put my gloves on, and I hardly noticed.
Connect with your heart
So I find that scenes that excite me when I am shooting them are usually in one of my themes. If I am not excited, I’m probably trying to shoot something that doesn’t inherently draw me to it. By understanding my preferred themes I can more easily decide what to shoot and what to avoid.
Someone once said “if it doesn’t excite you, why should it excite your viewers?” This is generally true. Have you ever made a technically perfect image of a beautiful scene and then later thrown it away? I have. Lots.
Art is about showing other people what we felt; what we were excited about. If we’re not in love with an image why should we ever show it to someone else?
November 23, 2022
What’s Your Motivation?
What’s your motivation? What compels you to do what you do as an artist? If we understand more about our personal motivation it will help carry us through hard times.
Motivation vs. creativity
Just so we’re on the same page, let me differentiate motivation from creativity. I wrote recently on creativity. To me motivation is the “why” behind what you do and creativity is the viewpoint or fresh approach you bring to your work. The ideas or substance behind our art.
Motivation gets us up in the morning or keeps us out shooting after the sun is gone or when the weather is miserable. Something drives or compels us to do our work. Creativity may give us a new idea of something that would make a good image. Motivation gets us off the chair and our the door. They work together to create our art.
Motivators
We are all motivated by something, but each of us is motivated by something different. My wife is one of those who is motivated by a check list. Getting everything checked off at the end of the day is her goal. I like to get things checked off, but it doesn’t really motivate me. I need to create, to make things that brings my unique viewpoint to the world.
There are many
Some other possible motivators that come to mind are:
- People’s expectations. We like to please others. For some of us, that can be more important than pleasing our self.
- Money. This is why some of us work. Now obviously, we all need to support ourselves, but for some, the money itself is how we “keep score”.
- Fame or recognition. This can be powerful, but realisticaly, few of us artists actually become famous. There is the dream, though.
- Helping people. An example is Beth Young who, after battling cancer, discovered that peaceful, relaxing images help soothe people’s pain. Now she tries to produce that to help others.
- Fear. This is sneaky, but do you ever feel you’re being left behind and want to work really hard to catch up? Perhaps you look at other photographer’s work and feel inferior. Maybe you don’t even know where you need to go, but you are plagued by fear. I think this is a lot of what social media is about.
- Personal drive. Some of us are driven to look around at the world and see things and we need to capture them and bring them to other people. Maybe it’s ego, or maybe it is just the knowledge that people would miss these scenes unless we show them. Either way, it is a motivation.
I’m sure there are many more motivators. Like I said, we are all motivated by different things. But my point is that, when you think about it, something motivates you.
Study yourself
Introspection or self inspection is hard for some. Learning to do it helps us grow and understand our self better. Do you ever sit back and reflect on your motivation? When you don’t feel like doing anything, what gets you going? Can you detect a cause/effect relationship? That is, when an idea comes into your head that seems to push or pull us to expend the energy to do something.
If we understand our motivation we can accept it and embrace it. Use it to propel us toward our goals. If we can recognize it we might be better at it’s care and feeding.
You’re not always motivated
Like creativity, motivation is not always around when we would like it to be. Like most things in life, it has cycles. It ebbs and flows like a tide. Unlike a tide, it does not have a predictable schedule. We can’t control it. We just accept it as our reason for doing what we do.
What to do when you’re not
Sometimes we have to recharge. Sometimes we are so drained that we have to rebuild. Maybe we are at an inflection points in our life when our subconscious understands we need to change direction but our conscious mind is still struggling with it.
Be patient with yourself. Let it work. Feed your mind – read, study, be with people to keep from spiraling into depression. Wait for the motivation to re-engage and push you along. Motivation is a force. It is neither good or bad, right or wrong. It just is and it works on us.
But don’t just sit passively and watch TV while you wait. Work. Keep doing your art. Shoot; process; market. Stay busy. You may not be happy with what you are creating right now, but doing something is better than sitting around feeling sorry for yourself. Picasso famously said “Inspiration exists, but it has to find you working.” I believe it is the same for motivation. When we are working we are more receptive.
There is a “why” behind what we do. Sometimes we have to re-discover it. Occasionally, but rarely, it changes. Reflect on your motivation. Understanding it will help you understand why you feel it necessary to do what you do. That understanding can carry us through the dark times when we do not feel inspired.
November 16, 2022
Dodging and Burning
I have mentioned dodging and burning before, but usually in the context of black & white images. Dodging and burning is much more general than that these days. They are techniques that should be known by all photographers.
History
We usually think of dodging and burning as something associated with black & white photography. This is because this is where they were invented and first applied. Ansel Adams and the masters before him used dodging and burning extensively to achieve the artistic look they wanted.
The technique has its roots in the chemical darkroom. Photographers discovered that during the sometimes minutes long exposure of a print, they could change the tonal values of the print by withholding or adding light to selected areas.
Remember that these black & white processes were built around negatives. That is, on the print material, the more light it receives the darker the area is and the less light it receives, the lighter it it. In the limit no light at all will give the white base of the paper.
Hence the origins of the names. The printer (a person creating a darkroom print) might use a small tool, usually a circular or oval shaped piece of paper on a stick, to shield a region from some of the light. This holding back some light was called dodging. It made the dodged region of the print lighter. The printer could also add light to a region, usually by cutting a small hole in a sheet of paper and using it to shield everything except the hole from the light. This was called burning. It made the region receiving extra light darker.
In today’s digital processing, the terms are archaic. I remember them by thinking that burning sounds like it would make it darker. They might better be called just lightening and darkening. In my LIghtroom process, I call these layers just “light” and “dark”.
What are they now?
In the more general sense, dodging and burning are a means of selectively changing the tonal intensities or other properties of regions of an image. We can do this in great detail now and it is not at all limited to black & white images.
I am fairly confident in saying that all images you see a professional fine art photographer print use dodging and burning. The artist may spend hours tweaking the relationships. It is so easy now and we have so much control relative to the chemical darkroom days that it would almost be foolish not to. It would be passing up a great opportunity to enhance the visual experience for your viewers.
Digital post processing
Virtually all software tools that photographers use have the ability to selectively adjust tones in regions. The different tools may use their own names for it, but they all do about the same thing. I will discuss Lightroom Classic and Photoshop since I am familiar with them.
Since we edit on a computer using software tools, we are no longer limited to it being a real-time “performance” in the darkroom. Artists back in the day had to repeat the lengthy dodging and burning process for each print. Now we can do it once to create our “digital negative”. Editing becomes a pleasant creative process we can enjoy in our office with a nice glass of wine and some relaxing music playing.
And because we are no longer limited to black and white and chemical processes, the range of what we can adjust is greatly increased. We use the same techniques to selectively adjust colors and sharpness and contrast. It is even almost trivial to remove distracting elements.
It’s a great time to be to be a photographer!
Lightroom Classic
Ah, a marketing blunder by Adobe. Renaming “Lightoom” to “Lightroom Classic” was an affront to photographers and a thinly disguised attempt to push most users to the (reduced capability) online version. Thanks. Now that I have that off my chest let me just say that I will call the product just “Lightroom”. Know that I mean the desktop version where I have all my images stored locally.
That out of the way, Lightroom is a fantastic product that is vitally important to a large percentage of photographers. It is where we store and catalog and search for and edit our image library.
In addition to everything else it does, Lightroom has very capable dodge and burn tools and they are being enhanced all the time. At the time I am writing this, Lightroom version 12 was just released. It adds some significant new features.
Lightoom has several selection tools for dodging and burning and general editing. They are called the linear gradient, the radial gradient, the brush, and color and luminence range. In addition, there are “AI-based” features to aid in selecting the sky, the subject, people, and objects.
The purpose of all these tools is to select a certain region of an image to modify. Once we have a selection there is a range of editing that can be applied, such as exposure, contrast, texture, clarity, dehaze, temperature and tint adjustments, saturation, and sharpness. This gives us a very fine degree of control of the look of our image, down to arbitrarily small regions. And a wonderful bonus is, all adjustments in Lightroom are non-destructive. Everything can be modified or rolled back however much we want, even all the way to the original image.
Photoshop
Lightroom gets more capable all the time and is used as the exclusive editing tool for many photographers. But Photoshop is the granddaddy, the patriarch. While Lightroom makes it easy to do a lot of things, Photoshop does not restrict us from doing anything. We can mash, bend, distort, replace and modify any of the pixels in an image. You can combine multiple images together. You just have to know how.
Adjustment layers with masks are a primary means of local adjustments. These layers can be used to do traditional dodging and burning adjustments. There are even tools in the Photoshop tool bar that do dodging and burning, but I would not suggest using them, since they directly modify pixels. The ability to use a non-destructive workflow is important in Photoshop. At least, it is important to me. Some people disagree. Do whatever works best for you.
There are probably 2 main ways to do dodging and burning in Photoshop: 2 curve layers or 1 overlay layer. The first uses 2 curves adjustment layers, one set to lighten about a stop and the other set to darken about a stop. Each has a black mask. By painting in white areas in one of the masks we can selectively lighten or darken.
The method I more often use is to create a layer filled with 50% gray and a blend mode of Overlay. Then when I paint lighter than 50% gray on the layer it lightens or darker than 50% grey it darkens. I like this better because it is only one layer and it is more intuitive to me to use white to lighten and black to darken.
Either method is easily alterable and non-destructive. Each can be set up by a simple Photoshop action.
It has been edited
So in today’s photography world, assume any image you see has been edited – a lot. It is easy. It makes our images better. We are making art, not documentary.
There are photographers who think any modification of an image is wrong. They are, of course, free to feel that and act on their beliefs. I feel sorry for them. They are severely limiting their artistic potential. And they are probably “stretching the truth”. They do some color and contrast correction. Maybe a little dodging and burning and vignetting. Take out an errant twig sticking in from the side. Be skeptical when someone tells you an image has not been modified. What is the limit of “purity” vs. “artifice”? Who sets the rule? Why should there be a limitation?
Dodging and burning and related transforms have been used since the early days of photography. Masters like Ansel Adams would never have become famous without them. That is why it took many hours to print an Ansel Adams print. Most people would say it was worth it.
If you are doing photography today, I believe you need to master dodging and burning and all the related tools we have to work with now. The tools are there for us to use to make our images better. The concepts are timeless, only the technology changes. The editing controls are there because we need to use them to achieve our vision for our images. Not using them is like tying one hand behind your back. Maybe it makes a statement, but it artificially limits you for no good benefit.
November 9, 2022
Consistency
Consistency is good, right? Unless it’s not. There is a time and place for everything, including breaking expectations. Consistency should not be our main goal. What we are led to see and create is more important.
Hobgoblin
A quote we all know that is attributed to Ralph Waldo Emerson usually says: Consistency is the hobgoblin of little minds. That seems odd. Why would he disparage consistency?
The reality is that this has been misquoted for so long that most people have forgotten the real statement. The quote, from his essay “Self Reliance“, actually is: A foolish consistency is the hobgoblin of little minds. Let’s explore that.
But first, what is a “hobgoblin”? Even though I have heard this quote forever and acted like I understood it, I didn’t know what a hobgoblin was. Wikipedia says: A hobgoblin is a household spirit, typically appearing in folklore, … Like other fae folk, hobgoblins are easily annoyed. They can be mischievous, frightening, and even dangerous.
So if we accept the concept, a hobgoblin is not a scary monster but something we tend to live with and accept that is kind of annoying, maybe occasionally dangerous. Playing that out, it makes it a spirit or tendency that can be dangerous or difficult to control. Something that can occasionally do more harm than good.
Consistency is good
We usually consider consistency a sign of intelligence, of good work habits, of reliability. You are respected when people know you can be relied on to keep your commitments. It is a sign of maturity.
As adults this should be a quality we cultivate in much of our life. It makes us more predictable and helps us get along well in life. People around us need to know we are not schizophrenic. When they come to us for something, they need to know who they are dealing with, how we will behave.
So what’s not to like?
Consistency is bad
But Emerson is saying that a certain type of consistency can be bad. Is that contradictory? One of the traits of an adult is the ability to keep contradictory concepts in our head and rationalize them. F. Scott Fitzgerald said: “The test of a first-rate intelligence is the ability to hold two opposed ideas in the mind at the same time, and still retain the ability to function.“
What is this, then, that Emerson calls “foolish” consistency? I believe he is referring to being a slave to consistency, even when it would make more sense to change. He says it is a trait of little minds – ouch.
We all have ideas and opinions and habits we have developed over time. Key is: they have developed over time. This means they change with time. Do not be afraid to seem inconsistent with your past beliefs when you change and adopt new beliefs.
As artists, we develop a style that is a signature of us. People recognize our work without being told. But is the style who and what we are, or is it merely a reflection of where we are right now? Don’t be trapped by your own success. We become reluctant to change it for fear of breaking our “brand”.
We grow and change. Sometimes radically. Do you ever feel trapped by a style you no longer believe in? This may be what Emerson refers to as foolish consistency.
As a couple of examples, I respect Joel Grimes for making a couple of right angle turns in his career. He became very successful for a certain look he brought to his work, mostly advertising. But he came to a point where he “used it up” and changed. He continued being successful.
Another one that comes to mind is Cole Thompson. Cole is a great black & white photographer who lives near me in Colorado. He has usually done long exposure landscapes. But his new series Negative Intersections is a big departure from his old style. I respect him for taking the risk and breaking out of the rut..
Go where the spirit leads you
Artists should stay fresh, alive, seeking, learning. When we do this, we change. We grow and evolve. Practically, this means we will change our style at one or more points in our career. Isn’t your vision different now than 5 years ago?
Let your feelings and instinct lead you in this journey as you develop as an artist. Consistency is good until it starts to limit you. Be willing to change, even if it means you now seem to be inconsistent with what you did before. You are not really inconsistent, because where you are now is authentically you.
Change or you are trapped in a box of your own making. Set yourself free. Trust that you are growing to better levels all the time.
November 2, 2022
Am I Creative?
Am I creative? I wonder this a lot. Especially when I look at a lot of other people’s art. Surprisingly, it is not that I think the other work is better, it is that I look at most of it and think: that’s not very creative. I must not understand.
Is everyone else creative except me?
When you seem to be going in a different direction from everybody else, you have to think either they’re wrong or I’m wrong. It is hard to tell, because there are no anchors, no fixed points of reference, no authority to judge. So in a sense, it seems to be entirely subjective.
If there are no absolute standards, I guess I can’t look at other art and think it is not creative. It might be very creative, I just don’t see it. Or maybe I am jaded from making images too long. Maybe I am burnt out or I have set my standards too high.
Been there, done that
It is hard for me to look at art with the wonder and joy I want to. Too often my reaction is “been there, done that; seen it before, and better”.
Is it true that everything has been done? That there are no more new images to make, no new songs, no new novels to write? I hope not. That would be very depressing. It seems like fresh, new, creative things happen. I’m just not seeing it too much in photography.
What is creativity?
It has been said that creativity is your capacity to make innovative connections and free associations that others don’t do the way you do. So apparently there is something unique about our particular makeup and viewpoint of the world. I see things different from everyone else. You do too. So, if we can execute on our ideas, we should be able to bring forth unique and creative things that other people would not do.
But if I create something, does that make it creative? Most of us love to create. The joy and personal satisfaction of bringing something into being that would not have existed without us is extremely satisfying. Those of us who have learned that we can do this become addicted to it.
I hear people equate the concepts, though. I create therefore I am creative. This seems to be at the heart of the issue for me. Creating vs. creative.
Here is one of the places I get stuck. I see a lot of people go to extremes, to the bizarre or ridiculous just for the sake of being different. Is being different sufficient to be creative? By my standards, not every creation I see seems to me to be creative. I can relate to this somewhat satirical quote by Banksy: “Modern art is a disaster area. Never in the field of human history has so much been used by so many to say so little.“
On the other hand, even if it is not bizarre, much of what I see labeled as “creative” leaves me puzzled. I look at it and think “how can that be creative? I’ve seen images like that lots of times.”
Buzz word
Has “creative” become just a required buzz word that everybody uses? Like “story telling” It seems like today everybody is story telling with their art. No, most of what I see has no story. It is just art that may or may not invoke some feeling or imagery in you. It may just be a pretty picture.
I guess “creative” has become like that. It would be an insult these days to say that someone’s art is not creative or not telling a story. Even when it is not.
Does an image have to be truly original?
It seems to me that there are 3 general classes of creativity: imitative, derivative, and unique. In my opinion, most art is in the first 2 categories. A few works are truly unique.
In imitative art, we see something we like and file it away so we can do something kind of like it later. We may create a very pleasing image, but it has not added anything new to our understanding. Maybe your goal was only to create a nice image. That’s OK, but it will not take you to the level of great art. It is not creativity.
In derivative art, something we have seen someone else do connects with some other ideas in our experience and inspires us to visualize something a little different. To me this is a valid type of creativity. We are building on other ideas and adding to the dialog. We have created fresh new art.
Occasionally, rarely, we or someone come up with something that is a leap from the mainstream. Something that is unique, that truly did not exist before. But even that is kind of an overstatement. There are stepping stones that lead even the greats to where they end up. Andy Warhol couldn’t have gotten to where he went without Picasso, Duchamp, even DC Comics. It is just that some artists seem to leap further and get there ahead of the rest of us. And we envy them.
But maybe I am arguing myself into the position that there is little wild, radical creativity. Most things progress in small steps.
Maybe it just needs to be our own?
With no scientific data, I am guessing that the majority of artists are imitative, and that most of the rest are derivative, as far as their creativity goes. A very few are truly, uniquely creative. Maybe that is good. If there were more creativity then the art world would be yanked in too many directions at the same time.
Even the art world, that thinks it is always looking for something new, resists change. Every major trend, like impressionism, modernism, realism, etc, was resisted by the critics and the entrenched leaders of the current movement. People actually don’t like wild leaps.
Maybe the best we can hope for is to look for derivative opportunities. Try to connect disparate ideas to synthesize something fresh and “creative”. Take risks, but not just for the sake of being different. This will help us rise above conventional ways of viewing things. It will let us contribute new ideas into the discussion and help people take their own steps to new ideas. Maybe the best view of creativity is that we make associations our own unique way to create things different from other people.
This is probably the level of creativity most of us can achieve. Maybe that is all that is required.
For me, I guess I will try to stop worrying about it so much. It shouldn’t matter to me whether or not I think other people’s work is creative. I will focus on making my own work creative in my estimation. I’m the one who has to be satisfied with my work.
October 26, 2022