Ed Schlotzhauer

An artists journey

Tag: fine art photography

  • Labels

    Labels

    We use labels as a short cut to knowing what to think about things. But when we do this without conscious knowledge of what we are doing we blind ourselves to a lot of the world around us. It is probably one of the causes of social, racial, class, sexual biases today. Once we assign a label to someone or something, we cease to see them for what they are. They become what our label stereotypes them as. As artists, we severely limit ourselves if we allow labels to get in the way of actually seeing things.

    Shortcut

    Labels serve a function. They help us quickly sort through the barrage of information we get every day. They also help make the world around us more predictable. When I recognize something as a phishing email or a spam call I can quickly deal with it without having to analyze it or waste time. I get dozens of emails a day, but I can quickly label most of them as useless or useful and dispose of them.

    We use labeling all the time as a prediction tool. I’m about to cross the street and a car is approaching the intersection. It is a fairly late model car and they seem to be obeying the law. I can mostly ignore them. They are not a threat.

    Likewise, I’m walking at night and another person is approaching. They look like they share the same labels I apply to myself, so they are probably “safe”. Does this imply some bias? Of course. That is one of the functions of labels.

    Self-fulling

    We can observe, and psychologists have researched and proven, that labels tend to become self-fulfilling. If a student is told he is smart, his effective IQ usually goes up. In the same way, if a student is told he is deficient, his IQ goes down. And teachers tend to treat them according to the labels.

    Labels set boundaries on the thing we are labeling. To us, it is only this. It cannot be more. When we correctly label unimportant things, it helps us be more efficient. I can get through my emails more quickly. I may occasionally mislabel one and miss something I would have wanted to see, but, oh well. Usually I am right. And it is faster.

    But labeling people is a dangerous thing. People are much harder to judge and the consequences of labeling them wrong can be high. People deserve to be given a lot more leeway in our “judgments”.

    The great old story about the founding of Stanford University after being rebuffed by Harvard is probably not true, but this one probably is:

    In July 1998, William Lindsay of Las Vegas said he contacted an unnamed Scottish institution of higher learning by telephone and told them he intended to give some money to a university in Scotland. Taking him for a crank, the person he spoke to rudely dismissed him. His next call to Glasgow University met with a warmer reception, and in March 2000 that school received a check for £1.2 million, enough to endow a professorship in Lindsay’s name.

    I’m sure you have your own story about labeling a person and then later finding you were very wrong. Did you feel a little ashamed?

    Danger for artists

    Setting aside the moral problems with labeling, as artists we are severely limiting ourselves when we trust labels to tell us about the things around us. We are putting blinders on ourselves. Labels prevent us from really looking at things and seeing them for what they are.

    As an artist, I need to be open and receptive. I need to be able to see things in fresh, creative ways. I can’t do that if I artificially put the things I am seeing into labeled boxes. Labels are fast and convenient, but I feel they get in my way of creativity. And they take away a lot of potential enjoyment we could get from seeing common things in new ways.

    Guy Tal brought out interesting points related to this in his insightful book “More That A Rock“. (I get no compensation for the link; I just point it out to you because it is useful) The title is based on a famous quote by the great photographer Edward Weston:

    This then: to photograph a rock, have it look like a rock, but be more than a rock.

    Mr. Tal goes on to say in the preface to the book:

    In the context of photography, therefore, representation is accomplished primarily through technology and skill, and a fortuitous convergence of “right” place and “right” time. Creativity requires something beyond objective qualities that are inherent in subject, tools, or circumstances – something subjective originating from the unique mind of the photographer that would not have existed had they not created it.

    To use Mr. Tal’s terminology, I am constantly trying to get past representation and find creativity. I believe this type of subjective creativity is difficult, if not impossible, if the thing we are considering is hidden behind labels. Unless we learn to overcome the tricks our minds play.

    Mindfulness

    This brings me around to a subject I keep coming back to more and more – mindfulness.

    To be a creative person ,we have to learn to manage our mind and attitude. We have to train ourselves to stay aware and attuned to interesting things around us. One big part of this is to consciously decide to see beyond labels.

    I don’t think there are any tricks or cheats. No shortcuts. We just have to be aware of being aware. Training and practice.

    Try this sometime. It will be weird at first. Take a block of time to practice mindfulness. Go out walking (or whatever) and keep asking yourself “What is this I am seeing? Have I ever seen anything just like this? How would I make an interesting picture of this?” And do it. Stop and make a picture. Even of silly things: reflections is a window. A chalk drawing on a sidewalk. A flower in someone’s yard. Set your expectations low. You are not doing this to get wonderful pictures. You are training yourself to see and consider more things.

    Give it an honest try a few times, then see if you are developing a new ability to see more and deeper. To see beyond labels. If not, write me. I would like to know why it is not working. And , even if it does work, feel free to write me and let me know what you discovered. I would like to share your experience. My email address is in the sidebar.

    The image with this article is one of these. I was having lunch near my studio and noticed the way the corner windows were creating abstract reflections. I stopped eating and shot some intriguing juxtaposed scenes. This is one actual image, just found by chance. And because I was looking.

  • Excuses

    Excuses

    Excuses, we have them for every occasion. There’s nothing interesting here. It’s too hot. It’s too cold. I’m too busy. The weather is not right. I don’t like this light. I’m not good enough. I’m shy. It could go on for a page or more. Excuses are our way of letting ourselves off the hook when we are scared or don’t want to do something.

    As a heads up, this is about the dreaded topic of marketing. In case you want to stop reading now. 🙂

    Why make excuses

    Excuses are a way of absolving ourselves of responsibility. We shift the blame to someone or something else. It lets us off the hook. We didn’t fail, it was “their” fault we couldn’t do it.

    Have you done that? I sure have. We don’t want to feel bad about ourselves. After all, we have a self image to nurture. The problem is when we rely on excuses to not do anything.

    Fear

    A lot of times we make excuses because we are afraid of doing something. Contact that gallery? No, they wouldn’t want my work. Submit for that show? No, I’m not good enough.

    Fear of failure keeps us trapped in our own prison. We build a cage of excuses around us to protect ourselves from failing. But we can become trapped in a cage of our own making.

    But we’re thinking about it wrong. What we fear almost never happens and not achieving our objective is not the same as failing.

    What we fear

    I believe a lot of us artists are introverts. We shun confrontation and don’t like to be criticized. Even if we are not introverts most of us do not like these things. So we fear that if we put our self forward we might be rejected. People might even think bad of us.

    Here’s what I am learning: we will be rejected, again and again, and no one really knows who you are or cares enough to think bad of you. That sounds harsh, but it should actually be somewhat comforting.

    I apply for a show and my submissions are rejected. I don’t know why. They do not give a critique. Perhaps what I entered doesn’t appeal to the juror. Perhaps they had different styles in mind. Maybe the juror was in a bad mood at the time. I cannot know. But what they didn’t say was “you are a failure; I hate your work; you are not worthy of being an artist; don’t ever enter this event again”. No, it was just a rejection. Get over it and go on.

    Trying

    You know the old Yoda line “Do or do not. There is no try“. It is a great line, but kind of misleading. Like Luke in the scene with Yoda, if we do not believe we can do it, we are probably right. The reality is that for most things, trying is all we can do. We cannot always create the outcome we want as long as we are dependent on other people’s decisions.

    Trying does not mean we doubt ourselves. It means we recognize that many of the attempts we make will not succeed. And we’re willing to live with that.

    It’s the trying that we fall short on. We’re afraid so we never try. We get a rejection so we stop trying. Persistence is required in order to succeed.

    As I have said before, “build it and they will come” doesn’t work. We have to let people know about ourselves and our work. This is called promotion. It is called marketing. That is not a bad word. It is what makes us recognized and successful.

    Just do it

    For years I had the attitude that I love doing art but I hate marketing. I am shy so I am not good at it. People will eventually recognize the worth of what I do.

    Ain’t going to happen.

    People are not out there waiting anxiously to “discover” me. They do not know I exist and don’t really care. I have to take definite and active steps to make them aware of me. It may take many attempts before they will take a serious look at my work and see something they like. This is called “marketing”. I now see it in a different light. Rather than being a distasteful thing I should do, but don’t, I see it as an exciting opportunity to promote myself and be recognized.

    No more excuses.

    The great Wayne Gretzky famously observed “You miss 100% of the shots you don’t take.” You cannot succeed unless you try. I have finally internalized that. Just coming to believe that made it far less distasteful. Starting to do it and discovering that a rejection is not fatal and no one blacklists me for trying has made it far easier as I go along.

    Try something. Act quick. Learn from your mistakes. Keep trying. Believe in yourself and never give up.

    You haven’t failed unless you don’t try. Stop making excuses. Just do it.

  • I Don’t Know

    I Don’t Know

    How did it get to where we think we are supposed to know everything? Why is it wrong to say “I don’t know“? I think it would be horrible to believe I knew everything. Where would be the opportunity for discovery? To be able to let my curiosity run free? I am quick to tell anyone I don’t know, if I don’t.

    Fallacy of certainty

    Believing we have to know everything is a trap. It will doom us to failure and disappointment. I would say there are 3 general classes of knowledge:

    1. Our values.
    2. The things we interact with on a regular basis.
    3. Everything else “out there”.

    As a person you have to know your values. Those things you will not bend. At what point will you fight for what you believe? These are the bedrock principles we build our lives on.

    In the next circle, we all do our jobs and use a lot of technology every the day. We probably drive a car or use a computer for various tasks or bank or shop online. It is important to being able to function in society that we understand enough about these things to be able to use them. That doesn’t mean we have to have a deep understanding. I was an engineer in the technology/computer industry for a career, and I absolutely know I do not fully understand all aspects of everything I use. In most cases it is OK to just understand enough to efficiently get the task done and minimize surprises. Maybe just to know enough to know how to not be stupid.

    Then there is everything else. The world is so big and interconnected and complex that no one knows how or why most of it works. I don’t understand micro or macro economics, and I’m not sure anyone else does, either. NFTs still seems like a Ponzi scheme to me. I don’t understand why people become zombies when they enter politics. Why do bad things happen to good people? I don’t know and I will never figure it all out. Nor do I have to.

    No one knows even most of everything

    We listen to the talking heads on the news spouting meaningless information with full confidence. We know they are probably wrong, but they speak with authority. Therefore, we distrust ourselves. And after a while we realize they don’t know anything, either. When neither side of the debate or the “experts” can be trusted, we tend to check out, become cynical and angry. Don’t forget, though, that they have an off button.

    There is a saying called Sturgeon’s Law that says “90% of everything is crap”. I have my own corollary to that: Sturgeon was an optimist.

    If most of the information you get is bad, what do you do? Hopefully you start to trust yourself. Learn to research things that are important to you. Research means even listening to people whose opinions you don’t like. You can’t just listen to your favorite guru who says things you like to hear. Make your own decisions. Build enough knowledge to trust your instincts and decisions. Don’t believe anything you hear until you check it out.

    Curiosity

    Too much ranting about heavy stuff. Let’s talk about art!

    After a long time of working up to being an artist, I have concluded that I have to follow my curiosity and trust my instincts. Sounds simple, but it is sometimes hard.

    I have spent time at times doing things in a way that they would be accepted by other people. It wasn’t entirely wasted, but is seemed kind of phony, and it was. I realized I was making someone else’s art. I don’t do that now.

    But do we follow the fashion of the day? Do whatever we have to do to be accepted by the ones who style themselves as the opinion leaders? Who anointed them with this divine authority? They are just people with opinions.

    I find that most of my best work happens when my inspiration is to ask “what if?” or when I say “I have never seen this like this before”. And do something with it.

    Adventure

    Do you lead a boring, monotonous life? Or is every day a new adventure? Much of the choice is ours. It depends on our attitude.

    I believe that artists have the opportunity to lead lives of adventure and excitement and personal growth all the time. Even if we never leave our town.

    Adventure is exploring and finding new things that excite us. We don’t have to go to exotic locations to find that. Our point of view determines our adventure.

    Nearly every day I go walking in the areas around my studio. I always take my camera. It is covering the same ground. Occasionally I create a new route, but there are only so many variations. Sometimes I get bored with it. But I am coming to realize that when I am bored I am not letting my curiosity roam free. If my attitude is better I am likely to discover new things or appreciate something for the first time. The same with driving through Kansas. It can be a nice adventure.

    Artists are on a journey of discovery

    As artists, we should be explorers. Not discovering unknown lands, but finding new things about ourselves and the world we live in. These discoveries could be as close as our back yard.

    To do that, we need to be always asking questions: What is this? What else is it? Can I see it different? What if this was combined with that? What if …?

    At the root, all of these questions are based on the assumption that I don’t know – but I will explore it to see where I can take it. Not knowing is fundamental to being creative. When we don’t know, it should excite and inspire us.

    Forget about the rest of the world that is pressing in and telling us what we should see and believe. We are capable of deciding for our self. Being an artist means being comfortable with high levels of ambiguity. And the accompanying joy of finding new answers or showing the world something they have never seen.

    Be yourself. Trust yourself.

  • The Decisive Moment

    The Decisive Moment

    Henri Cartier-Bresson was well known for promoting the “decisive moment”. I know from experience that in some situations there is an optimum instant to capture the image you want. But for some it becomes a mantra. Let’s examine some nuances of the concept of a decisive moment.

    Sometimes it is not a precise moment

    Almost all of my work is shot outdoors. Sometimes I shoot straight landscapes. Often other found objects around me.

    I believe I have the experience to say that in these outdoor settings, the “decisive moment” may last from a second to many minutes. Or I may have to wait an hour for the moment to occur. In a slowly changing landscape scene it can be difficult to recognize which moment was decisive – and hope you had the presence of mind to capture it.

    In these situations, there may well be a decisive period of time, maybe not an actual moment. It often requires great patience rather than lightning fast reflexes.

    A decisive moment

    I have shot some sports and kids. These are areas with definite decisive moments.

    Sports is easier, in a way. Most sports have a rhythm, a pattern. Once you learn it for a particular sport, you can anticipate the action and predict the best moment. It still may be difficult and you may not be in the best position, but you often will know when it will happen.

    I consider kids more challenging than sports. They are unpredictable. Their moods and expressions can change quickly. Framing then, lighting them, and being in position with the right lens and camera settings requires constant attention. Then on top of all of that is the delicate trigger you need to “spring” at the right moment, when the expression or activity is just right. You have to be fully engaged and in the moment.

    I make it harder on myself, because I never do formal portraits where I try to control things. I greatly prefer being in the environment where they are comfortable and letting them basically forget about me. Candid shots are what I like.

    Now is the decisive moment

    This brings up one of the main points I want to make here: now is the decisive moment. Wherever we are and whatever we are doing, we should consider it a decisive moment. We need to be in this moment. Things will never be the same. We will never have exactly this light or these clouds. We won’t feel the same or look at the subject the same.

    This used to be a problem for me. I would see something interesting, but I was on my way to do something else “important”, so I didn’t stop. If I even remembered what interested me, it was usually not the same when I came back. The light was wrong. The vegetation had grown up and obscured it. It was raining and foggy. Just not the same. If I wait a couple of months before coming back, it may be a housing addition now!

    Well, it may still be a problem, but I recognize it and fight it now. I am much more prone to go ahead and stop and get the shot when I see it. If I am late to something, I don’t mind asking forgiveness. It has not become a problem, except maybe for my wife. She knows now to bring something to read, because I will stop at unpredictable times and places.

    Being mindful

    This all now brings us to the larger issue of mindfulness. Not the pseudo-spiritual mumbo jumbo we get from the self-help crowd. Real mindfulness involves being in the moment. Being fully aware and conscious.

    Modern society does it’s best to train us to not be mindful. We are constantly distracted and entertained. Other people’s ideas bombard us and lead us to pay attention to what they want us to do. But learning to think our own thoughts and to look around and actually see what is there is necessary and healthy.

    Do you walk down the street looking around and actually seeing what is there, or are you scrolling Facebook or email to make sure you don’t miss something? Where is your focus?

    Do you ever take time for yourself? To think, to consider things, to read? Not to think about work or politics or where you are going with your friends tomorrow night. Is the idea of being alone with yourself scary or exciting?

    I suggest you practice being alone in your own head. It might be hard at first. Give yourself some time to just think and to just look around, not expecting something – just looking. Making a quiet place in your head could be a welcome retreat in our noisy, distracting world.

    The image with this post is a result of just being mindful. I noticed this scene on a walk along an ugly little canal in town. The location was not “pretty” in itself, but the conditions were right to make an image I love. I am very glad I took the time to notice it.

    Do you practice mindfulness? Let me know your experience!

  • Changing the World

    Changing the World

    Is your work important if it’s not changing the world? I know many earnest artists believe this must be their goal. They are focused on their particular cause and it seems the center of the universe. Their work must be serious and significant and world changing.

    And sometimes it happens. A couple of Nick Ut’s and Eddie Adams’s photograph of the Vietnam war or some of Robert Capa’s images of the Spanish Civil War, among others, probably effected a lot of opinion. But these events happen once or a small number of times in a photographer’s lifetime. And they happened because the photographer was there in harm’s way and snapped a quick image of a poignant scene that materialized in front of him.

    Maybe setting this as our standard is an unrealistic goal for most of us, unless we are going to spend our lives in danger zones. It might even be self-defeating.

    Serious art

    You may have a cause that is very important to you. Seems like everyone does these days. It may be climate change or pollution or human trafficking or animal rescue or any of many other things. It is healthy to be trying to make positive change.

    But how does this affect your art? Should it?

    Here is a huge generalization I freely admit I cannot prove: when the cause becomes the center of focus, the art is secondary. This is just logic. If your primary goal is to promote your cause, the art will probably become photojournalism or even propaganda. I have seen things that grab me, but I have seldom also said, “and what great art”.

    Exceptions

    Every “rule” has exceptions. One that comes to mind is the great Paul Simon song Kodachrome. Did you know this was kind of a protest song done to try to stop Kodak from obsoleting Kodachrome film? It didn’t work, but it was an excellent song all on it’s own. It is still well known, long after Kodachrome is fading from memory.

    A famous painting that was intentionally done as a protest was Picasso’s Guernica. While it is almost unapproachable by me, it was influential and generated a lot of support for the Republicans in the Spanish Civil War. But, it was done by Picasso. He already had credibility and a huge following. If Bob Smith (sorry Bob) did it, would it have been so widely received?

    Another whole class of art was done to promote conservation. Great activists such as Ansel Adams and Galen Rowell, often working with organizations such as the Sierra Club, promoted conservation by showing beautiful pictures of wilderness areas. They were making art and serving a cause. It was and continues to be an excellent strategy: beautiful and uplifting art to show the benefits of advancing the cause. First, it was great art. Secondly, it furthered their cause.

    Create art that resonates

    I suggest, for those of us who haven’t reached the stature of a Picasso, that we first create great art. If we can capture beauty or reveal deep insights into the human condition or the world around us, that will attract attention. If we earn a forum to speak from, then we can tie our art in to a cause and try to persuade people. Produce things that attract people so they will listen to you.

    There is an old saying that “you can attract more flies with honey than with vinegar.” Leaving aside the question of why you would want to attract flies, you will build an audience by giving people things they are drawn to.

    Alexandra Klimas paints portraits of animals that are part of our food chain. They are warm and touching portraits and they make us think fresh about the animals. She says, “I am not an activist, I am an artist and I make art. Art should touch people and make them think. I don’t want to shock people. I am satisfied when people feel more connected to this group of ‘forgotten’ animals.” I think she has a great approach.

    Even if you are not promoting a cause, don’t you want people to resonate with your art? Not to say we should take a coldly commercial view and only produce what is popular at the moment. That is a sell-out. Shouldn’t we use our creativity to engage people, to draw them in, to make them ask questions?

    After all, it is supposed to be art. Go and make great art. It might help promote your cause. Or it might just make the world better. We need that more and more these days.