Ed Schlotzhauer

An artists journey

Tag: creativity

If No One Ever Saw It
Would you still take this shot if no one ever saw it? The answer to that can tell us important things about our goals and motivation.
There are many reasons for shooting images. I am focusing on “serious” pictures. Not just selfies or simple travel pictures or sunsets. Rather, ones where we are motivated to put our best effort into it because it is important to us. Where we are trying to create something lasting.
Shoot for hire
Some photographers are hired to create images for a client. It may be commercial photography or weddings or other things. but the result is that you will shoot images as specified by the client. They expect to see most if not all of the shoot.
This is a good way to earn money and build a reputation. If you can impose some of your style and personality on the result, it can also be a creative outlet. But ultimately, the client dictates.
In the context of this article, the point is that the client expects to see most of your shots. They will pick the ones they want to use.
©Ed Schlotzhauer
Shoot for a competition
Sometimes we shoot for a competition. Whether it is International Photographer of the Year or your local camera club monthly contest, the process is generally the same.
We probably are given a subject or genre to focus on. We may have a deep catalog of relevant images to choose from, or we may go out and shoot specifically for the contest.
But ultimately, we will have to go through the painful process of deleting all except the one (or 5 or 10, depending on the contest) that will be submitted. Then it will be judged and, hopefully, shown to the “world” as a winner.
The point is that this is an outward focused process. The result of the exercise is to carefully present our star image to the world to compete. Sometimes we even study past winning images and the judges to try to game the system and give ourselves an edge.
The goal is to win in a public arena. Maybe at the expense of what we really like best.
©Ed Schlotzhauer
Shoot for exposure
Many believe the siren song of “likes”. That lots of clicks, comments, and followers makes us a “real” artist, maybe even important.
I am having to talk here from what i have observed. I do not personally participate in this. Sorry if I overstate it.
I will just ask what has that social media presence earned you, versus what it has cost you? Becoming well-known and widely followed, maybe even becoming an ‘influencer”, is usually a long process with lots of time and effort. It involves learning the algorithms used by your social media channels of choice and trying to optimize for them. Maybe this involves conforming to the type of work that is popular with their viewers. The things that usually get “likes’.
This may not be the work you resonate with. Perhaps your real creative work is unpublished.
Keeping up with this takes a lot of time and may involve bending our artistic vision to the popular taste du jour. I can see that if you are a commercial photographer this might be a way to get visibility and some new clients. But I do not play this game. It is not worth it to me.
©Ed Schlotzhauer
Shoot for ourselves
Or, if you are very lucky or strong minded, you decide to shoot primarily for yourself. You are the audience who matters.
It is hard to get rich or famous like this, so why would anyone choose to do it? Well, I believe that comes down to our goals, our personality, and our situation.
Is your goal to be famous and, maybe, rich? Or is it to satisfy some creative need within? I shoot to fill that creative need. I am an introvert. The marketing and self-promotion required to shoulder my way into the mainstream art world is alien to my personality. It is too big a price for me to pay. Trying to do that made my art drudgery, not creative fun. Plus, I am very lucky and grateful that my situation doesn’t require me to earn my living from my art. At this point in my life, I can reserve it for my personal joy and expression.
I realize that everyone is different and has varying goals and needs. This is just being honest about my motives.
You won’t see it
So, back to the question of what if no one sees it. I think I have established that my primary audience is myself. I’m not trying to make my income from photography, and I do not really care about likes or comments. They are welcome when they happen, but they are not the reason for making an image.
I do share some images with friends and the occasional show entry or online article, like here. Even an infrequent hanging in a gallery. Most of my images are for sale. But I would give a print away to a friend who appreciates it rather than sell it for an insulting price that doesn’t even cover my costs.
And the ones anyone does see just are the tip of the iceberg. I would not show an image I am not proud of. That means only a small portion of the images I shoot might ever be seen.
If I shoot thousands of images but only consider a few of them worthy of being seen, am I a failure? Not in my mind. My standards are high, and I am not motivated to try to get much seen publicly.
©Ed Schlotzhauer
Would I shoot it?
Photography is mainly a creative exercise for me. I resonate with the challenge of trying to do something above average with the scene I find. If I am learning and growing and making fresh new work that pleases me, I am content. That is my standard and reason for making pictures. Your mileage may vary.
So, would I take the shot if no one ever saw it? Trick question. I will see it, and I am the audience that matters for my work. Yes, whenever I get the chance, I will shoot it. It may not be a “money” shot. It may not make me famous. But if it excites me, that is what is important.
Note: The inspiration of the phrase “if no one ever saw it” came from Nuno Alves on Medium.
October 8, 2025
Depth of Insight
In a recent Medium article, Marc Overmars gave a good introductory description of depth of field (DOF) This is a technical term uniquely applicable to photography. I want to take the concept in a somewhat more philosophical direction. Maybe there is a concept of depth of insight.
Purely technical
On the surface, depth of field is purely a technical concept. it only applies to photography, because it is associated with the physics of focusing through a lens.
I went into some of the issues in a previous blog. Sorry for the math. 🙂 I know most people don’t like that. I don’t have much use for it either, and I would never use it when I’m out in the field shooting, but some level of understanding is helpful for mastery of the art.
Maybe the most challenging concept from that article, and a fundamental concept of DOF, is “circle of confusion”. The idea that there are acceptable levels of unsharpness. Very briefly, only one point in the frame is technically “in focus”. But practically, a certain amount of unsharpness can be tolerated before we would consider something blurry. The size of this allowable unsharpness is called the circle of confusion. So, when your DOF calculator gives you a distance range, those are the points where the focus becomes unacceptably blurry. The math is exact, but the concept isn’t.
Perhaps there are analogies in our understanding of what we shoot.
©Ed Schlotzhauer
Looking deeper
Let’s set the math and technical details aside for now. I can hear the sigh of relief.
I propose that there is an analogous concept concerning the sharpness of our intent when we are shooting. That is, did I just point my camera at a subject, make a decent composition, and shoot? Or was I clear in my mind why I was taking the picture and what it was really about?
I have often referenced the Ansel Adams quote that “There’s nothing worse than a sharp image of a fuzzy concept.” There are 2 reasons for that. First, it is a brilliant observation. Second, it is something I struggle with, so it is very real and close to me.
Yes, I can compose, and I can use good technique to get the sharpness I want. I can use light to my advantage, and I have a lot of experience post processing. But even so, I often look at my images in despair. Too often they are sharp images of a fuzzy concept. When I am honest with myself, I know that sometimes I didn’t have much in mind when I shot them.
©Ed Schlotzhauer
Art happens in our head
Maybe it is too obvious to state, but art happens in our head, not in the camera or the computer. As with any definite statement about art, this is a generalization. Sure, there have been many times when I was working with a scene and experimenting (e.g. playing), and things seemed to come together. That is the exception, though.
All too often I look at my images and realize they are, at best, just record shots of a place I was at. No depth of insight. Not much below the surface to give you a reason to pause over it and consider it.
The fault is entirely my own. I didn’t have anything to say, and I said it.
There is a marked contrast with the images I get when I go out to shoot a project, or ones I shoot when I feel strongly about the subject or the situation. Many more of them are strong and satisfying.
We all know this: the more we put into something the more we are likely to get out of it. Why don’t I remember it more when I am out shooting?
My excuse, other than simply laziness, is that I like to go out exploring and shoot interesting things I come across. I don’t always find interesting or “deep” things. That is just that, an excuse. Maybe it is as much that I didn’t have much to say that day. I try to remind myself of Jay Maisel‘s quote that “If you talk with nothing to say, that’s bad. When you shoot with nothing to say, that’s worse.”
©Ed Schlotzhauer
Circle of confusion
So, is there a “circle of confusion” concept for our shooting? Maybe so. If we can’t get our ideas into focus, maybe we shouldn’t shoot. Do our ideas have to be in perfect focus? No. Like the technical term, maybe there is an acceptable level of unsharpness. I hope so.
What do I mean by this? Well, sometimes I realize exactly what the scene means to me, and I can determine exactly how to shoot it. That is great. I am often happy with the result. Sometimes, though, I just have a feeling, a sense of what I am experiencing. I have learned to follow those instincts even if I cannot clearly express their meaning at the moment. If something is drawing me, there is probably a reason.
Later, while editing, I may realize what was calling me to it. Sometimes an image I was initially dismissive of emerges as the strongest of the shoot. It could be that’s just luck. I prefer to think my instincts were trying to tell me something.
Maybe I am being too hard on myself. Jay Maisel also said “You always end up with too many pictures to edit and too few that you feel ‘got it’.” I suppose the feeling is common to all photographers, but it still is frustrating.
©Ed Schlotzhauer
Projects for focus
I am learning to use projects to help me focus more clearly. A project is a chance to think deeply about something, decide how I feel about it, and then find opportunities to express it.
It is basic psychology that when you are concentrating on something you are more attune to it. A simple example: a friend was thinking about buying a Nissan car. I don’t think about there being many of them around, but after that conversation it seemed like every other car I saw was a Nissan. I was more attuned to them.
A somewhat more relevant example is from a recent trip to France. It was a family trip, not a dedicated photo expedition. But I didn’t want to come back with just random tourist shots. So, I created a few projects to keep in mind to focus my thoughts and energy. One of them I called Sacred Places. It helped me be much more aware of cathedrals, of course, but also monuments and memorials and standing stones. Even a small village celebration of their liberation in WWII. I felt it helped me to see more opportunities, and I looked deeper at the occasions I found.
If I don’t see it, why should you?
Circling back to Jay Maisel’s quote: “If you talk with nothing to say, that’s bad. When you shoot with nothing to say, that’s worse.” If we can’t focus our feelings and experience, are we shooting with nothing to say? Just taking a sharp or well composed picture isn’t enough. If you can’t participate in the experience I felt, then I’m not bringing you anything other than an “I was there” picture. Maybe it is pretty, but there isn’t much to feel or remember.
Perhaps I do not have to be able to precisely express what I was feeling at that moment. Maybe there is a “circle of confusion” associated with our understanding of the image we are creating that gives us some margin for imprecision. But the circle of confusion in focusing helps discuss a range of acceptable sharpness, not permission to be out of focus. Maybe there is a range of acceptable understanding of our feelings leading to making an image. But little or no understanding is out of range. With no real understanding or feeling, there is little interest for viewers. Have something to say.
I am starting to concentrate. much more on depth of insight than depth of field.
©Ed Schlotzhauer
Head image
I mentioned having Sacred Places in mind and encountering a memorial celebration in a small village in France. The image at the top was a result of that. We happened, by accident, to be there on the day of their annual celebration of liberation in WWII. They still remember and memorialize it to this day. That is heartwarming.
This flag display was presented while local dignitaries and military officials made speeches. I didn’t understand enough French to follow it, but it was moving.
Having the Sacred Placed project in mind made me more attuned to this. We stayed for all of it and loved being there. When they discovered that we were Americans I barely avoided having to give a speech at their village celebration afterward.
I hope a little of the dignity and solemnity of their memorial comes through.
October 1, 2025
Challenge and Stimulation
We are all motivated by different things. That is good. Otherwise, we would all make the same art of the same subjects. But do you understand your personal challenges and stimulation?
Different personalities
Our personality type partially determines what motivates us and how we approach our art. I have mentioned introverts versus extroverts, but there are other dimensions.
Some of us are visual learners. We take in new ideas best through pictures, diagrams, even videos. Others receive information best through words. There is not a best way. It all depends on how we are wired. I am more of a visual learner.
Some want to carefully design their art and work slowly and deliberately. Others work better at a fast moving, “run & gun” approach. Some feel that their images must be created entirely in camera in a single frame. Others prefer to manipulate images heavily and even composite them together. Some like hyper-realistic, razor sharp images where others prefer to use intentional camera motion to create impressionistic images.
All people can make art, but they must approach it in the way that makes sense to them.
©Ed Schlotzhauer
Different goals
Some of us are challenged by the hunt, the contest. We need to be working toward a goal of a competition. It is a contest against others. Winning is the motivation. A prize and its bragging rights are up for grabs.
Others of us could care less about that. We are challenged by inward values and goals. We are self-motivated to do our best work even if just for ourselves. An audience is nice, but not necessary.
There is not a best way. What matters is what works for you.
I got frustrated recently reading David duChemin’s Light, Space, and Time: Essays on Camera Craft and Creativity . He goes on a lot about working a scene from many angles and points of view to get the “best” shot. The best shot seemed to be all important. Then I realized he is an extrovert. I should have figured that out from a video I saw of him. As an extrovert, the product is the goal. With me, an introvert, it is more the experience.
There is no one right way in art.
We need challenge
However it comes, we all need challenge and stimulation. Challenge gets us out the door on a cold morning. We are seeking something. We need to do this. Some people need the fire of competition to test and motivate them.
Challenge might come from wanting to enter a contest or the prospect of a gallery show or to pay the bills. Or it might be the need to answer questions for ourselves. Questions like what can I do with this topic, or is there more interest to be found in this subject I have photographed many times?
Challenges do not have to be public. It could be a personal quest. One for me has been to get what I consider and interesting and non-cliché shot of the Eiffel Tower. That is a challenge for such an iconic and over-shot subject.
It may be the challenge of having “failed” to get results we were happy with in previous attempts with a subject but believing there is a better way to do it if we just learn from our mistakes and dig deeper.
Whatever it is for us, our challenge presents us with a goal or idea that has been out of our reach, but we are striving for it. We need to elevate our art, our ideas, our craft a little to get there. It is an effort, and it tests our ability.
We all need to test our ability frequently. Whether it is by entering competitions or by our self-examination when we review our images in Lightroom, we need to honestly evaluate if we are growing as an artist. Challenges stimulate growth.
©Ed Schlotzhauer
We need stimulation
Maybe I should say that I need stimulation. I realize that we are all different.
Stimulation is different from a challenge. It is an encouragement to reach beyond your present state. Stimulation is that spark that ignites something in us, that tweaks our interest. It gets us excited.
Each of us is stimulated by different things at different times. I do not think there are any universal answers. I can only give anecdotes of the kind of things that stimulate me.
Travel stimulates me. When I am out of my home area, things look different. I look at things as new and interesting. It energizes me and helps me to continue to see things fresh when I get home.
Learning stimulates me. New ideas, new images, new techniques add to the mix of things swirling in my head and sometimes pop out in surprising new ways. That is exciting. It might even take my art in a new direction. It is great to feel that you have stepped up to a new level.
I don’t usually need stimulation to get out the door and take pictures. But it helps to break me out of ruts and look at the world in new ways.
©Ed Schlotzhauer
Creativity
We humans sometimes need to be prodded to do our best work. Challenges and stimulation are part of that. I view it as the classic carrot and stick. Stimulation is the carrot. It energizes and excites us to go forward. Challenge is the stick. We have accepted a challenge now we have to get busy and go for it to keep from failing.
Creativity is not well understood, despite many smart Psychologists spending whole careers studying it. Creativity seems to happen in our subconscious. That is why ideas “pop out” at seemingly random times, like when you’re going to sleep or in the shower.
The process may not be understood, but history tells me we can do things to feed our mind and encourage our subconscious to be more creative. Some of the important things are these ideas of challenge and stimulation. And keep working. It is important to avoid just sitting around feeling sorry for our lack of creativity.
©Ed Schlotzhauer
Feed your head
My model is that we can lure our subconscious to work for us by assigning it a task. Say we want to create a new art project that is significantly different from our normal work. We do not know the best way to approach it or even understand yet what the end should look like. But by turning it over to our subconscious and letting it work on it without much interruption from us, we are often surprised later to find that we have clarified our thoughts a lot and now have a direction for the project. Maybe a creative new direction.
Giving the subconscious a goal is setting the challenge. But for me, it needs stimulation to energize it. The stimulation is often completely unrelated to the goal. Start to learn a new language, research how knives are forged, read a biography of a famous person, go to a museum. I’m not sure it matters as long as we are stimulating our mind with new learning and following our curiosity. (TikTok is not new learning) I do believe that the new information makes new connections in our mind and energizes it to do creative work.
Surprises happen. That is creativity.
©Ed Schlotzhauer
Push through
So, when we get stuck and it seems the creative muse has left, often the best things to do is to not worry about it. Instead, decide if there are some challenges you are wanting to undertake. Then go on a learning binge. Don’t stress about your challenges or lack of creativity. Just follow your curiosity and learn new things. Immerse yourself in something new that is stimulating to you.
Keep working, but don’t try to force the creativity. You may not be doing career changing art, but it is important to keep trying. Creativity will come back even stronger, but in its own time. When it happens, accept it and be grateful. And it will happen if you challenge it and stimulate it.
September 24, 2025
Run & Gun
There are arguments for working slowly and carefully. But there are times when we must be fast and in automatic reaction mode. There is no one-size-fits-all in photography. Sometimes the best choice, or your only choice, is run & gun.
What is run & gun
I doubt there are any hard definitions of this, but by run & gun I mean shooting fast and without prior planning. It is working fluidly, rapidly, instinctively, without setups or lots of takes. Some would call it “fast and loose.”
This is often constrained by external circumstances. The. idea comes to mind for me because I just got back from a vacation in Europe where I was put in exactly this situation on most of the tours I did. These were not specific photo tours. Rather, one where the guide says, “here is the Strasbourg Cathedral; go in and look around and meet back here in 15 minutes.” Gulp. No planning, no chance to work the scene, no bracketing, not even a tripod. I have never even seen this place before and do not know what to expect, other than that it is one of the tallest churches in the world.
Other situations where this is necessary are sports photography, concert photography, or candid wedding photography. All are places where we cannot control the action or pose the subjects.
©Ed Schlotzhauer
Arguments for slow
It’s easy to argue the merits of shooting slow. We have time to contemplate, to consider options. To walk around and look at different angles. Maybe to wait for better light.
This is the kind of shooting Ansel Adams or John Fielder would do. When you are carrying heavy, large format cameras way out into the field and exposing expensive film plates, it imposes a discipline on you.
You would always use a tripod (necessary for slow film anyway). You would compose carefully and thoughtfully. Exposures would be calculated in detail, maybe using the Zone System to make sure all the tones are captured and placed where you can do the darkroom work you want later.
In slow shooting you may go out for a day of shooting and come back with a dozen or so exposed images. But each is very carefully considered.
©Ed Schlotzhauer
Arguments for working a scene
On the other hand, in Light, Space, and Time: Essays on Camera Craft and Creativity, (I get no consideration for the reference) David duChemin argues eloquently for working a scene thoroughly. That is, to shoot your first instinct, then to move and shoot more, look at it from different angles, try to refine your idea and improve on what you did.
He says that, when teaching workshops, if a student says they are not happy with their work, he scans through their images on their camera. He is not looking for technique but for the number of frames they shot of it. His point is that if the student shot 3 images of something and then stopped, they did not explore the possibilities adequately.
I believe most photographers would improve their work if they did this. Most of us shoot digital now, so we are not limited by the cost or bulk of film. We can review our images immediately on the camera. This quick feedback can help, especially if we are learning composition and camera technique.
It is amazing how even a slight movement or re-framing can make a huge difference in the impact of an image. Having the time and self-discipline to do this can be beneficial.
©Ed Schlotzhauer
Arguments for shooting less
On yet another hand, I just read an article by a friend, Dean Allen, arguing that we should shoot less. His is a minimalist argument. The burden of sifting through all those excess images we shoot to find the few good ones is time consuming. It is hard to find the needles in the haystack.
Doing this would certainly save a lot of time culling and editing. I think most photographers would rather be out making images instead of sitting at the computer. So yes, in this sense, fewer is better.
It sounds attractive to say to only shoot the good ones, but I would counter that it is very hard to tell at the time which one will be the best.
But when that doesn’t work
There are situations where one of these disciplined approaches can’t be used effectively. I mentioned being on a tour with limited time to see a spectacular location. There are others.
My nature is that I do not like to perturb a situation to set up a shot. Whether that is on a tour in a cathedral or at a sports event or a family gathering or doing street photography, I prefer to accept what I find then use my skill and experience to be able to get a good image.
This is a basic conflict with my wife. She thinks good pictures of people have them lined up in front of whatever the scene is, staring at the camera, with big smiles on their faces. I would never do this. To me the shot to work for is a candid capture that reveals someone’s personality or thoughts or feelings. One that shows them doing something natural and characteristic.
Not trying to control the situation is a healthy acceptance of reality. And an opportunity for creativity.
©Ed Schlotzhauer
Skill and reflexes
Sometimes you must shoot fast and instinctively. There is no opportunity for planning or even thinking much. The run & gun approach. This is a learned skill. One that I enjoy working on.
To me this is a kind of dance between me and the subject. They are moving or doing whatever they do, and I have to be in sync with them, to anticipate the movement, to recognize the right composition and moment and be ready to react instantly.
It would be nice at times to be able to spend time to move and re-frame and shoot lots of trials, but that is usually not an option in this style of shooting. I find that I am in reaction mode. That is not bad. It is a kind of hunting, where I have a general idea of what I want, and I am patiently looking and waiting for the situation or composition to develop, then I must recognize it and act fast.
It is a rush of adrenaline and satisfaction when I press the shutter and know I have captured a good image.
One way to practice this is to go to a High School football game. Decide what the interest is to you – the action on the field, the sidelines, the cheerleaders, the fans – and to concentrate on that.
If you have kids or grandkids, they are a rich opportunity. They will be comfortable enough with you around that they will ignore you and go about their play.
Using a camera is the best practice, because you are working with the actual framing and exposure and lighting and people. And the get the real feedback to see how you did.
But sometimes in these situations, I simulate it. That is, I imagine I am using a certain focal length lens, I try to visualize the composition as the camera would see it, then think “click” when I would press the shutter. It is good practice for reacting, but you do not get the feedback of seeing actual results.
Expect lots of bad pictures until you get the timing and reflexes. Don’t be discouraged when good results do not come fast. Keep on learning and practicing. Even after a lot of practice, do not expect the same percentage of keepers you normally get.
©Ed Schlotzhauer
Adapt to the situation
I do not believe there is a single right approach to photography, unless you are a commercial photographer in a narrow product niche. Different situations present different opportunities and challenges. It is good to practice approaching scenes from a variety of perspectives and with different skill sets.
Shooting in a run & gun manner is right for some times. And there is a certain wild exuberance from shooting this way. Especially if you are comfortable with it and you have practiced enough to have a good success rate. It is one of my preferred ways to work.
I love the challenge of taking things as I find them and seeing what I can make of them. In some situations, it may be the only way to shoot.
Try it. You may love it.
September 10, 2025
Solitude
Solitude is a longed-for state for some, a fear for others. I am going to argue in favor of it, but maybe in a different sense than normal. I believe learning to embrace solitude is a component of fine art photography.
What do we think of?
I think most of us, when solitude is mentioned, picture being completely alone in a remote location. No connection with the outside world. No cell phone service.
How do you react to the thought of it? Does it sound like a welcome break from our too busy, demanding, normal life? Or is it terrifying to think of being cut off from human contact. To be cut off from the flow of events and the latest news.
Many of us have been so trained by our devices and social media that fear of missing out would paralyze us. I mentioned before that studies show that some people would intentionally inflict pain on themselves rather than be alone or bored for a few minutes.
So, to a great portion of people, even artists, the idea of solitude sounds like pain and suffering. Something to be avoided at all cost.
Is that how you feel?
©Ed Schlotzhauer
Why seek it?
Without talking about what solitude is, let’s talk about why we may want, or even need, it. Most of us live in a world of constant demands. We are over scheduled, always running to catch up. There is a constant bombardment of outside sources telling us what to think, where to go, what to buy, what to do.
This is the noise of modern life. It is as real and debilitating as the constant loud noise of a busy downtown.
In this environment, we are in a constant state of distraction. Our thoughts are not our own. From the demands of our soul-sucking job to having to run the kids around to their after-school activities to keeping up our image on social media to just constantly fighting to keep our place in the world, we are pulled in a thousand directions at once.
I’m told that a trend in startups is to adopt the “996” system. In that, you work 9am to 9pm 6 days a week. That is a scheduled and expected 72 hour work week. Hiring advertisements proudly list this as a “feature” of the company and plainly say that if you do not buy into this, don’t even apply. I hope you don’t buy in.
Our brains can’t thrive in such busy environments. We are organic beings, not machines. If you want to use your brain, you must care for it and strengthen it. A key to this is to give it time to rest, to build and maintain connections, to sort through its accumulated input and discard some and build the rest into memories and knowledge.
Solitude provides opportunity for this brain healing. Like a field that lies fallow in winter is renewed, so too our brain needs some down time.
©Ed Schlotzhauer
What else is it?
I have a photographer friend I have mentioned before who routinely does solo wilderness trips in the Colorado mountains. That has to be a form of extreme solitude. But I do not think that is the only way to achieve a goal of relaxing and refreshing.
Solitude is an attitude at least as much as it is being alone. With the right frame of mind, we can have solitude riding on a crowded bus surrounded by people glued to their cell phones. The key is, where is our mind. Are we thinking or are we letting some external entity think for us? Are we disengaged from the external demands and noise, or are letting that direct our mind?
Here is a similar example of what seems to me to be the same problem, but at the other extreme. We just got back from a trip to Switzerland. There were times hiking in the high Swiss alpine valleys that I would see someone walking along with their face stuck in a cell phone. They seemed almost oblivious to the incredible beauty around them.
Maybe I am judgmental, but it seems like they ignored an excellent opportunity to look and think and relax their mind. Instead, they chose the cold addiction of technology.
©Ed Schlotzhauer
Not mindfulness
I advocate mindfulness in a lot of my writing. But solitude is somewhat different. It is important in different ways.
Mindfulness, as I use it in the context of photography, is being very aware. Being in the moment and attuned to what is happening around you. That lets us see things other people might miss. To perceive relationships that are non-obvious. By having all our spidey senses on alert, we do not miss opportunities. We might even find insights that others miss.
Solitude, on the other hand, is being in a quiet place, at least figuratively. Calming our mind and letting it rest and review and build connections. Letting our mind wander. This is critically important to learning and making meaning for us.
Learn to do it
As I said, solitude seems to be fearful for many people. It is so alien to our normal life that it seems wrong. But perhaps it is our normal life that is the mistake.
Start small. Do not suddenly go out into the wilderness on a solo trek. That would be like deciding you aren’t going to be a couch potato anymore and going out and trying to run a marathon the next day. Your body would let you know that that is not a good idea without the proper training.
Start with going for short walks “all by yourself”. No cell phone in your hand, no music playing. Just walk around the block. Give yourself permission to let your mind wander. No fair thinking about the projects you are working on or the concert you are going to next weekend. Try to make your mind blank and see what surfaces.
The first few times you try it, it probably won’t work. That is, you will think about work or what the market is doing or the political situation or what you will fix for dinner. That’s OK. It takes practice. Push through it. After a few times you will find your mind wandering to unexpected places. Things you didn’t think you would think about. That is very healthy. Your mind is learning to accept and use solitude.
Increase the length and frequency of your walks. Extend it to sometimes just sitting quietly at home with all your gadgets off. Just thinking.
Eventually we can learn to be happy and accepting alone. We are no longer dependent on the constant entertainment we were used to in the world. Now we have some time to think and dream and envision. Even just letting our mind wander is healthy.
©Ed Schlotzhauer
So what?
Why should you go to this trouble and learn the discipline of disconnecting from the world? It is healthy for you in several ways.
Solitude recharges our batteries. We connect with our heart and feelings. It helps us develop relationships with others and more understanding of ourself.
Solitude helps us develop our emotional resilience and independence. We re-develop the ability to think for ourselves. To be able to figure things out. We are better able to trust our judgment.
It also helps our creativity. We give ourselves the space to explore ideas and conceive of new possibilities.
The sound of silence is good for us. It helps reduce the toxic byproducts of the stress generated in us in our everyday life.
©Ed Schlotzhauer
Solitude, them mindfulness
i am a proponent of mindfulness as an ingredient of becoming a more creative photographer and artist. But I am also coming to see that many people first need to develop the ability to give themselves solitude. That helps us be a stronger human being.
Solitude gives us the energy to be creative and independent. Mindfulness helps us look and see better. They work together, but solitude comes first.
I hope I have encouraged you to stop fearing being alone with yourself. Learn to embrace solitude. Practice until it becomes part of your creative life. It is well worth it. There is power in learning to be comfortable alone with yourself.
I hope it becomes a sought for, pleasant state. Not something to fear.
Post script
At a recent doctor visit, I thought I would be a hypocrite after writing this if I did not consciously practice it. So I sat in solitude for the 40 minutes I was waiting in the exam room. I didn’t read my book or open my iPad or phone or AirPods. At first my mind was swirling with thoughts about the procedure I was about to have and some other things that were bothering me. After a few minutes, I got control and just let my mind wander. It was healthy and the time passed quickly.
But then I realized that I do this almost every day. When I go out wandering and walking and photographing, that is a solitary session. For the 1 to 3 hours I seldom allow distractions and I do not open my phone or listen to music. Solitude.
September 3, 2025