We all have a tendency to idealise the view. To remember what we saw in our hearts than what was actually there.
But seldom does reality meet imagination.
Which explains my fascination with finding balance and symmetry in nature. For I am always seeking those rare moments when a pleasing composition, conjured up out of random elements, suggests that there was always a greater purpose. That there is an intended design behind everything we encounter.
Part 3 of my ‘Hálendi’ book walk through. Some of the video sessions are anecdotal, while others are fairly instructional and you might find quite informative.
Since March I have not been able to take a decent break away from ‘pivoting’ my business from workshops and tours to on-line teaching. I have just finished my second set of webinars which went very well.
So now it’s time to take time off. And what better way to do that, than go up Cul Mor mountain in Assynt with my sisters dog and my friend John Richardson who came along to do the hill with me today. We had a terrific day, and my sisters dog even got photographed with ears mid-flight :-)
I hope you are all remembering to switch off the tv from time to time, and to ignore the news. You’re honestly not missing much. And some time doing something you enjoy is much needed by all of us.
This is part 2 of 13, of a book ‘walk-through’ I did with Sam Gregory from TheTogCast.
Sam Gregory from ‘TheTogCast’ did a book ‘walk-through’ with me. We reviewed 13 of the images from my new book. This is the first instalment.
Having all the gear you want, will not make you explore photography more. I’ve always found when I had less, or that there were restrictions to some of the gear I had, that I worked harder to get the images I wanted.
So I’ve been thinking about this whole stupid virus thing. Since March my entire business ground to a sudden halt, and I’ve had to think differently, offer different kinds of options in order to keep making a living.
I am convinced that adversity always bring forth new growth. And having things too comfortable just makes one complacent.
I’m already working on a two new books for next year. One is the wrapping up of an on-going project for the past six years, while the other will be an instructional book of sorts. It’s still early days but since there is no other income coming in right now, this is giving me focus.
Deadlines, limits, constraints are always good for pushing oneself forward.
But right now, I need some time off. I’ve been working flat out since March, and so I’m going to be quiet for a while now.
I’d so love to have a dog. But being away from home most of the year wouldn’t work for me. Despite many of my workshop friends telling me that I could take it with me on the workshops. That would be a little difficult because I’d need to look for a ‘dog tripod’ and a camera with big buttons for my dog’s paws……..
Anyway, Sox the dog is a biker. He has been trained by his owner, and they go travelling the national parks of USA together.
Many thanks to Alister Benn for inviting me to be interviewed. It was nice to talk to a fellow Scot, and his interview approach was very informal and I think, opened up the conversation quite a lot.
This month I have been running an on-line set of classes about composition. As part of the class I invite participants to ask questions about some of the concepts of observations that I’ve put forward. It’s always interesting to be asked questions because for me, often it’s not the question I’m being asked that is intriguing, but more the motivation that has caused the question in the first place.
We seldom say what we really mean, and we seldom expose the true motivation that spurred us on to say what we said. And for me as a teacher, I am more interested in understanding why someone arrived at the question they had, because often the question is not the real question they started with: it is a filtration and mixture of ideas and concerns that has been bundled, re-packaged, and re-translated to try to form some kind of intelligible format that they can vocalise.
In other words, it’s damn hard understanding ourselves at the best of times. We have to work through the jumbled up thoughts and impressions we have, to try to figure out what we want to express.
As a teacher, I think you begin to look beyond the questions you’re asked. And some teachers I believe, get really good at figuring out the author’s underlying motivation of drive.
For me, I have felt that over the sessions I’ve run this summer, there is an overall feeling that most photographers feel a sense of frustration that their work is all over the place. Some images are good, while some are not. Sometimes they feel they are not progressing as fast as they would like, and they would like this to stop. They would like to have more clarity about how to proceed.
So I just wanted to share my thoughts on ‘progress’.
I would start off by saying, any medium out there - whether it’s sports, drama, music, painting, or photography all require one thing: a lot of commitment. And when I say a lot, I mean ‘more than what most people are prepared to give’. If you want to be creating work that is above average, then you’re going to have to sacrifice a lot. Perhaps less time with your family, or giving up that job you have.
And you have to accept that failure is part of the deal. Every artist fails every day. Including the famous ones. They’re just better at dealing with it, and most understand that failure is just part of the package. To create great work, there has to be bad work to contrast against.
You build on what you’ve learned. You build on your experiences. You learn from your mistakes. And you don’t get good at something by being an occasional warrior.
If you only go out with your camera a few weeks a year, or once in a while at a weekend, progress is going to be very slow. Sure, you may be a talented person who creates good work, but I’m talking about creating work that even you, will be surprised by, because it exceeds what you’ve done in the past. That kind of progress is not the property of the occasional photographer. It belongs to someone else entirely.
It does not mean you should torture yourself. Or put yourself under an inordinate amount of pressure. Nope, I don’t think great work comes from that kind of hardship. It has to come from a place of catching a ball and wanting to run with it. Seeing something in what you do, and knowing there’s a lot more to come if you keep on going. And keep going. And keep on going.
There is a cost to creating great work. You will have to give up on other aspects of your life to do it. I am sure of it. It is my belief that anyone out there who has made a name for themselves in what they do, has had to pay for it with less time and attention elsewhere in their lives.
So becoming a better photographer is no easy path. And even the great ones still have their off-days, where the work is so garbage that they don’t show anyone it.
I think the best attitude to have, is to enjoy what you do. Wherever you are, at whatever ability you have reached. Enjoy it. Of course, sitting around thinking how great all your images are won’t drive you forward, so a bit of healthy-introspection and awareness as to where you are is vital. If you see fault in your work - that’s good. Because it means you’re looking for something more.
Just be kind to yourself.
Just a short note today to say that the standard edition of my new book is now sold out. Thanks once again to those of you who have supported me at this difficult time by buying a copy of my latest book.
I only have a few Deluxe and Black editions left.
