Finding inspiration, redux

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Following on from the earlier thoughts on making ‘good enough’ images getting ever harder with increased productivity – the flip side of the coin becomes a question of how we find sufficient inspiration to get over that activation energy threshold*. How do we firstly get inspired enough to get out the camera and attempt to produce something at all, and furthermore – produce something that will satisfy us. In reality, what needs to happen is we must find sufficient motivation to make us want to answer the question of ‘how will the finished image look?’ There are several ways of doing this, I think. And hopefully – if you’ve been on hiatus or feeling photographically jaded, this might help get the camera out again.

*I promise one day I’ll write that long-delayed article on physics and photography.

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Opinion: Sensible perspectives on film and digital in current times

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Today’s post has been a long time brewing. The recent resurgence in the popularity of film is undeniable, to the point that there are both new brands and revivals of old ones happening on a fairly regular basis. It seems to be not so interesting for the big guys – look at the continual Fuji price increases as prime exhibit – but this has meant that there business is more open to the enthusiasts and those creating film specifically for the demands of those markets (such as JCH Street Pan). Anybody who gets off their comfortable chair to put money and action where their mouths are deserves a round of applause, in my book. Given all of this – it’s only natural that there have also been a lot of people rising to the defence of the medium, in the comments here, and sometimes much more aggressively over email. In the interests of saving much angst, it’s probably about time I make my personal position on film clear, and more importantly, the rationale behind it.

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Drama in Street Photography

If you look at the pool of street photographs online (one that seems to be growing exponentially each day), the images that stand out tend to have some drama in them. Drama, as I define it here, can be the split-second when something interesting happens, the creatively incorporating visually stunning lines and perspectives or something completely unpredictable and random yet beautifully captured in a photograph. The presence of drama in a street photograph elevates its status to something standout and noticeable, compared to the otherwise ordinary, uninteresting and cliché shots which have been done to death. To define the characteristics of these “dramatic traits”, is not easy and there’s enough room for experimentation to let each photographer inject his or her own style/perspective.

As a follow up to the article on street portraits, today, I’m going to share my usual process in looking for and adding the elusive element of drama to my street photography. [Read more…]

Shutter Therapy

Shutter Therapy is a phrase I created several years ago and one I use frequently throughout my articles. I don’t remember defining it, and, inexplicably, the phrase is now widely used by many friends and photographers, in Malaysia and around the world. With a little time on my hands post-Olympus Malaysia, I found myself introspecting on what Shutter Therapy was, what it signified when I started using the phrase, its origins and why I set time aside for some Shutter Therapy every weekend? This post is a result of that introspection and my attempt to answer these questions.

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More images may not always be a good thing…

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@mingthein; I’ve been there for about a year or so. Benefits? None that I can see…

Social media = instant updates = easy consumption of new content = necessarily easy production of aforementioned new content. With the proliferation of cameraphones, this is course the era of the snapshot – more so than in the tourist film compact days, because not only does pretty much everybody in the developed world (and much of the developing world*) carry a smartphone; they’ve also been conditioned to use it. When your parents and parents in law -= people previously uninterested in photography beyond normal family documentary – now take more photos than you do with their phones, you know a switch has flipped. But what does this mean for the image-making business and image appreciation as a whole? I have a theory, and I suspect you’re not going to like it.

*In Malaysia, it’s not uncommon to see people earning $700-800 a month before tax but owning the latest iPhone. The mind boggles, since this is easily a purchase that’s two months’ net pay.

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Diminishing returns and cutoff points

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The look of money evaporating in frustration

Written as a counterpoint to the earlier justification for being a lens hoarder, I have a feeling this is going to be one of my most unpopular posts ever. It will be widely circulated by I will be metaphorically burned at the stake for it, because it will not make me popular with camera companies, fanboys, enthusiasts or anybody who has a single bone in their body that appreciates a good piece of hardware – I know I do, and it pains even me to write it. But the common sense logician in me demands a stage, so here we go.

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The paradox of all creative professions

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Imagine you’re hired to do something on the basis of the work you’ve previously done: the client likes your previous work, and wants you to do the same for their brief – within limitations, of course. You have of course taken care to show only the kind of work you want to do, so that there’s no possibility for misunderstandings. But yet the inevitable happens: as the job progresses, the scope changes, and suddenly you’re being asked to do something that’s either a duplicate of what’s been done before – by somebody else – or worse, a mishmash of incoherent ideas that were clearly a case of design by committee and completely unsuitable for the original subject or brief. Sound familiar? Sadly, this is far too often the state of play in most creative industries, not just photography.

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On ugliness, beauty, and photography

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“Ugly boring boring boring. Such boring images despite having good equipment.” “Talentless.” “Mediocre”. Just a few of the choice statements this image brought out on Facebook for some odd reason; I have no idea why that kind of response only happened with one particular photograph; perhaps the commenters woke up on the wrong side of the bed, had an argument with their spouses or were served inferior coffee. In any case, it’s difficult to take such things seriously if there’s no body of work or any sort of artistic conviction displayed by the critic. But it did make me think about something else: what determines beautiful and ugly? What is the purpose of a photograph, if not to be a record of a unique point of view? Ideally, that point of view should trigger some sort of emotion – good or bad, because surely if there’s no emotion elicited in the audience, then the image has no impact at all – and thus won’t be remembered? Taking one step further, does it matter if the emotion is positive or negative?

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Reasons to have multiple lenses in the same focal length/AOV

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85mm lenses and equivalents on native or adapted formats – yes, I probably have too many. Upper left row: Nikon 85 PCE Macro, Zeiss 1.4/85 Otus, Nikon 24-120/4 VR, Hasselblad HC 2.2/100; middle row: Zeiss 1.4/85 Milvus, Canon EF-S 18-55 STM (APS-C), Nikon 85/1.8 G, C/Y Zeiss 2.8/85 Leitax converted to Nikon mount; lower right row: Zeiss Hasselblad CF 2.8/80, Zeiss Hasselblad C 2.8/80 T*. I wanted to add the Hasselblad HC 35-90 zoom, but it wouldn’t fit in the picture.  And there also used to be a Zeiss 1.8/85 Batis, Zeiss ZM 4/85, Nikon 80-400 G VR and Voigtlander 90/3.5 APO, but I’m recovering now…

Though this post may seem like a hoarders’ justification more than anything – I can assure you, it isn’t. Whilst you could probably pick one lens in each focal length or angle of view and hack your way into making it work, there are some pretty solid reasons why you might not want to – and this is something I’d like to discuss today. Trust me, there are reasons why I’d prefer not to have to carry two or three seemingly overlapping lenses on assignment – but often there’s simply no choice. Here’s my logic, using the 85mm-equivalent focal length as an example.

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Balance and composition beyond photography

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A combination of arts and senses in the appreciation: the feeling of weight; the design, composition and balance of visual elements; the subtle sound of the movement and even the sensation of temperature when you pick it up. Yet I doubt few will home in on any single one of these elements – but if you did, and only looked at the design for typography or prose, for instance, you might find quite a lot lacking…

I have a little hypothesis which I think many of you will appreciate. It’s somewhat off topic, so those of you expecting a how-to or review may want to skip today’s post. The creative person is not limited to one field: often, they have interests in other subject matter, and will try to apply themselves in a similar fashion. Musicians who enjoy photography or painting; chefs who sing; singers who cook. And often one tends to be not only good at the other, but there’s also a translation of style of sorts between the different disciplines, too. I can’t cook, or play music, but I do appreciate those two skills and can comment to some degree, in the same way that I can comment on design work which I do in addition to photography. And like my photography, people have noted my design work tends to be balanced, precise, and structured, but not necessarily simple…

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