I love this process you share. It's great I believe as a way to produce thematic books and marketable essays for publication. I love this.
What I find, though, is that when students go into the world at the start (emphasize: "at the start") with a "box" around their planning, the world before them becomes a binary mash of "1's" and "0's". Meaning, is it a car, or not a car? If it's not a car, they move on and potentially lose many phenomenal moments of discovering non-cars. Which may be just fine if the assignment is to photograph only cars. But if the goal is to discover then drill down, it's a limiting approach.
A way to avoid this, in my limited experience, is to go out and shoot shoot shoot what moves you. As you cull and edit, you will then see themes that your unconscious eye has discovered which you can then box in and explore in deep fashion.
I may be needlessly threading a semantic needle here, and I don't think any of this is mutually exclusive to your process, but in teaching writing I saw too many students target a subject too early in the planning process and miss out on greater possibilities. They imposed what they already thought they wanted and didn't give their own subconscious imaginations the space to do its thing.
I always want the photographers to be open to any and all imagery that are there in front of them. And, you are correct; if they take the admonition literally, then the creative process is closed, and they are essentially on a scavenger hunt for images for a book or portfolio.
Usually, that doesn't work out nearly as neatly as they think it will.
That is why I always ask them to start small, or as an addition to their creative work. While my student, Carla, was working on her Gin book, she was also very busy with commercial shoots both in and out of the studio.
I think some things can be taught as a hard subject, and others as a soft subject.
Understanding the role of photographer is a soft subject. You have to BE a photographer before you can understand the role, and that can be a hard process.
You are correct: ABS = Always Be Shooting.
Whether as a one off image or part of a project, the work is the work.
I hope I don't talk too much in your posts. Your teaching triggers moments in my past teaching and current thinking. I need to see my thoughts in writing, in dialogue, to clarify them and dust off the mental cobwebs. So I appreciate the space to do that. You seem deeply committed to pedagogy. I have huge respect for that.
Absolutely right on target. I am working on improving my product portfolio with the new images every day, with the must mounding products that we use every day. From shoes, shampoo, and cleaners like Pine Sol. Still working on it. I
Am still working on the Architectural portfolio. Thanks for mentioned Vulnerable, and Derby.
I love this process you share. It's great I believe as a way to produce thematic books and marketable essays for publication. I love this.
What I find, though, is that when students go into the world at the start (emphasize: "at the start") with a "box" around their planning, the world before them becomes a binary mash of "1's" and "0's". Meaning, is it a car, or not a car? If it's not a car, they move on and potentially lose many phenomenal moments of discovering non-cars. Which may be just fine if the assignment is to photograph only cars. But if the goal is to discover then drill down, it's a limiting approach.
A way to avoid this, in my limited experience, is to go out and shoot shoot shoot what moves you. As you cull and edit, you will then see themes that your unconscious eye has discovered which you can then box in and explore in deep fashion.
I may be needlessly threading a semantic needle here, and I don't think any of this is mutually exclusive to your process, but in teaching writing I saw too many students target a subject too early in the planning process and miss out on greater possibilities. They imposed what they already thought they wanted and didn't give their own subconscious imaginations the space to do its thing.
In agreement.
I always want the photographers to be open to any and all imagery that are there in front of them. And, you are correct; if they take the admonition literally, then the creative process is closed, and they are essentially on a scavenger hunt for images for a book or portfolio.
Usually, that doesn't work out nearly as neatly as they think it will.
That is why I always ask them to start small, or as an addition to their creative work. While my student, Carla, was working on her Gin book, she was also very busy with commercial shoots both in and out of the studio.
I think some things can be taught as a hard subject, and others as a soft subject.
Understanding the role of photographer is a soft subject. You have to BE a photographer before you can understand the role, and that can be a hard process.
You are correct: ABS = Always Be Shooting.
Whether as a one off image or part of a project, the work is the work.
Thanks for your insight.
I hope I don't talk too much in your posts. Your teaching triggers moments in my past teaching and current thinking. I need to see my thoughts in writing, in dialogue, to clarify them and dust off the mental cobwebs. So I appreciate the space to do that. You seem deeply committed to pedagogy. I have huge respect for that.
Not at all, Mark.
Dialog is the goal.
And tacos.
Dialog and tacos.
...
And beer.
Which order is still undetermined.
Absolutely right on target. I am working on improving my product portfolio with the new images every day, with the must mounding products that we use every day. From shoes, shampoo, and cleaners like Pine Sol. Still working on it. I
Am still working on the Architectural portfolio. Thanks for mentioned Vulnerable, and Derby.
Thanks Don for always inspiring. Li
I love your passion, Li.
Keep on shooting!
wow great minds on the topics for the Sunday newsletter this week! Loved this Don
Thanks Wesley.
I am excited to see what you come up with.
(Gotta get me one of those half frames. I had the original way back when.)