The Creative Process - what is yours?

[terrib]

I've been thinking about posting something on this for a few days. It's kind of a spinoff of the discussion started by Andre HERE.

I've been doing this photography thing for several years now and although I still enjoy "recording" sitings of wildlife and other things in nature, I am really trying to turn the corner from simply getting the recording right to having a vision of what I want and creating that. Not to say that you won't still see a lot of photos of opportunity from me, but I do want the balance to start shifting.

If you've ever said something like "well it's nature, you have to take what you can get" then you might find the episode 1 podcast by David DuChemin as fascinating as I did. Found here: Craft and Vision Podcasts. In it, he goes through what he was thinking while shooting a street scene and it demonstrates preplanning, knowing your subject and their habits, knowing the light and it's affects on the environment and more.

So far, my creative process is limited to scoping out a place for direction of light, planning for being there during the golden hours, having an idea of what subjects might visit and for some subjects like hawks and herons I'm starting to be able to anticipate their movements. But there is so much more.

I know there are some of you out there who CREATE your photographs. What is your process? What are you considering when you look at a scene and decide how you want to present it? Not a simple question, I know but I feel strongly that we have to at some point figure that we know the basics of how to operate our cameras and we have to figure out what people mean when they ask you "what are you trying to say?" So far my answer has been something like "Say? I'm not trying to SAY anything. I'm just trying to take a great picture!"

[chauncey]

"Say? I'm not trying to SAY anything. I'm just trying to take a great picture!"

Eight years into photography I'm still saying that very thing.
Follow my two links in Andres thread.

[Shadowman]

Sometimes the process just involves being there. For instance, I've seen multitudes of photos of the Golden Gate Bridge, planning a trip to SF you could do a story board, visualize in your mind, study the works of others, but until you get out there you don't know what will move you or what weather conditions (think of a overly foggy day) might do to change your strategy. By the way, when I did visit I spent more time photographing the Bay Bridge than I did the Golden Gate.

[DanK]

I'm generally not trying to 'say' anything either. I just want to create interesting and pleasing images.

What I am working on is getting better at visualizing how images will look and deciding in advance what I want. I actually find this hardest for landscapes, where it is hard to separate these questions from the overall experience of seeing the view in real life. This is particularly hard at times when the light is changing rapidly--which is to say at most of the times that are optimal for photography. I'm very left-brained and don't have a lot of free time, so this is still often a struggle, even after years of photography.

I do a lot of flower macros, and this is why I most often do them under floodlights rather than using strobes, e.g., for the image I will post below. I want to be able to move lights around and see the effects before taking the shot.

[FrankMi]

Developing a vision is indeed a learning process, Terri. BTW, thank you for posting the link to David DuChemin's pod casts, I just watched the first one in the series and plan to view as many as I can. Several years ago I bought his book Vision and Voice and it has helped me to 'work the scene' to get better compositions.

I don't envision myself as one that so much creates a photograph but rather as one that explores a scene that has grabbed my attention. My goal has been to find the right combination of shooting angle, light, weather condition, and activity that communicates an interesting and emotional response. I prefer my images to be uplifting, entertaining, educational and fun so I rarely do street scenes or somber subjects.

Hope this helps!

[Gospelflier]

For me, it is a little of both visualizing a photo before hand and seeing something that I feel is begging to be photographed.
Often I spend more time thinking of the composition and attending props than I actually do taking the photo!

Sometimes I see a photo in my mind and start thinking about how to execute it. This is especially true when photographing people. I have several ideas that I want to execute this summer when the lake warms up a bit.

Otherwise it is something I see when I am out and about and think to myself "This would be a great shot when the sun is setting"

Lastly, I will take my camera and just drive around looking for something that looks great and stop for a photo. Then I try to think about the composition and lighting. I also think about alternative renderings, such as the "Photo Sketch" setting on my camera.

But all in all I am still in the beginner's learning mode so I have a lot to learn!
Hope this helps!

[Geoff F]

In many ways, Terri, this is another of those 'how long is a piece of string' questions.

Sometimes I go out with a particular project in mind; and often get side tracked into something else which just happens to be there and catches my eye.

Often the weather isn't 'playing along with me' so can I change my plans and use this to my advantage.

And quite often it is just a case of go for a walk somewhere which might produce something interesting.

Luck can play an important part in a lot of general photography. Simply being in the right place at the right time. And then doing the right thing; very occasionally, all three come together.

Different types of subjects require different approaches to the creative process. For example, with wildlife shots, particularly entomology, my first interest is getting clear shots of the correct angles for identification.

So my first thoughts are 'Do I have any idea of the species and which angles will be crucial for identification' and without scaring off my 'model'. After getting those angles, or with a common species which doesn't require complex identification, I can then relax and start thinking about getting more artistic with the background etc.

Portraits and landscapes are totally different, although shooting those quick relaxed shots of people who aren't posing is a lot like wildlife photography.

Landscapes often allow for a little more thinking time, although sometimes something needs to be in a particular place/ratio to give the best result. For example a boat in a seascape or a person/vehicle in a streetscape, or a raincloud/rainbow which can be rather transient in their appearance.

If you have more time, you can start to think more deeply about the scene and consider what must be included; also what must be excluded. Then there is time to consider the overall scene balance.

I find that using a tripod tends to slow down my composition decisions and gives me more time to notice those little items/arrangements which make all the difference in the final image.

As some examples of what I think about before pressing the shutter. The last entries in my Weekly Photos. It was a rather sudden change in the weather, with rain and showers giving way to a short clear spell, but still with a moderate wind.

So I had a think about suitable locations and decided to try a seascape location fairly close to where I lived, but where I could probably get some free parking if I was there early enough!

Then on arrival, I had to decide which direction to walk. The angle of light was as important as the wind direction. Then I needed to find some spots where I could shoot between cliff top foliage, which would severely limit my options.

When suitable locations occurred I could start to think about composition and shooting settings. For example, take this shot http://www.pbase.com/crustacean/imag...5/original.jpg

First thoughts were for the shutter speed, sufficiently fast for moving water but not excessively short. Then an aperture to give sufficient depth of focus and good detail. An Iso had to be chosen to fit in with the previous elements. And bear in mind any potential over exposure hot spots on the whites. So a little bit of exposure compensation would be required.

Then I could think about the composition. Some foreground water was needed in front of the main headland and a little to the left, but not too much plain water. Some surf would be needed. A little of the dark sky but not too much would be necessary. I wanted to get an angle where the rocky headlands were roughly in a line. This meant a bit of jiggling around crouching down or climbing on a sloping bank until I could find a balance between the foliage gap and what I wanted to achieve.

And then, keep shooting when there were some waves in the right alignment hoping that one shot would work better than the average.

Whether I succeeded is probably down to my camera settings, I think I found the only acceptable camera angle.

[Geoff F]

And a little further along the cliff path on the same day. I couldn't get the angle that I wanted with the available light so eventually decided to try a long shot; quite literally.

So I switched to a longer lens just as a distant rainbow briefly intensified. Further away than I would have liked though. http://www.pbase.com/crustacean/imag...7/original.jpg

Choosing my camera settings was once again my first decision. Then came composition which must have sufficient sky for the rainbow with the rock surrounded by a little water, but without excessive areas of 'uninteresting water'.

So this meant a balance between the rock and something else to create a balance. I shot some scenes with a headland on the right but this placed the rainbow a little too far to the left. I really wanted it going from one side towards the centre.

Eventually I tried this angle with the rock well to the right and a house on the left side skyline, plus a church just below it to balance the rock. I'm stretching the points of interest a little with that sort of composition but hoped that the large white building (hotel) would sufficiently hold the scene together.

Not sure if I have fully succeeded here, but I think it was the best available option to try for something different.

Anyway, right or wrong, this will give some idea of my thought process when I have sufficient time to think before pressing the shutter.

[tbob]

As a landscape photographer I really would have to say my creative process is identical to yours. Get to a place with potential at the right time and then wait. Beside the broad brush strokes (a river valley, a mountain, a swamp, a seacoast, a prairie vista, etc.) I really do not have the foggiest idea if nature will cooperate. I quite seriously make it up as I go along. I will switch tacks at the drop of a hat. My aim is to be open to the moment; which is the sole reason I am out there anyway to be honest. My daytime job is too goal oriented for me to want to do anything more than play when I am out photographing. Sure I will get up at 6 am, at minus 34C, drive 45 minutes to be somewhere where something might happen. I don't know if that is creativity or planning. I may get a good shot. If I am in bed I can guarantee I won't.

What am I saying in my photography? Basically; "Look at this thing I found/saw, cool isn't it". My aim is to present it in the best light possible given my skill set. Creativity for me is being open enough to see an opportunity. And maybe skilled enough to exploit it.

Since David Duchemin was mentioned here is another link to one of his presentations http://davidduchemin.com/2013/09/the...-series-vol-1/. I found it useful. Gave me the freedom to take forty lousy shots while trying for one that works.

[Mike Buckley]

"what are you trying to say?"

With each image that I make, I may try to say something different. Even so, when I'm saying something I'm saying it only to myself. I leave it to others as to whether the image speaks to them; if the image moves them, I really don't care how, why or in which way.

[Donald]

I have, many times on here, made reference to a series of papers. They inspired me and, I think, still capture the essence of what Terri is asking above.

US-based French photographer, Alain Briot published these on the Nature Photographer's website. If you click HERE and then scroll down to the April 2009 list you will find the first of these. Then follow the trail up through May, June and July 2009. These 4 papers made a huge contribution to my thinking and development. They may also do so for you.

[Brownbear]

Terri... Thank you for sharing.

Terri and Donald, Thank you for the links.

Aside... right now my creative process simply involves walking around, looking for and seeing landscape images in my head. Whether it will help or not, I truly don't know.

[chauncey]

Alain Briot published these on the Nature Photographer's website.

Donald, he's active here as well

Trying to tie the How and Why together is what Alain Briot's treatise attempts to explain here...http://www.luminous-landscape.com/co...t_skills.shtml.
But then I'm a little biased as he once said that he liked my stuff...for someone with no specific style/genre.

[Brownbear]

Hi Chauncey,
Just FYI. the link doesn't exist

Donald, he's active here as well

[rpcrowe]

I like to view my image without a lot of distracting surroundings when I am shooting. In order to do this, I use my eye level finder 98-99% of the time. If for some reason, I am forced to use the LCD, I will view the LCD using a Hoodman Loupe. This will also eliminate the extraneous distracting elements such as the camera body, rear controls, hands and the scene in front of the camera...

I could not concentrate on my image viewing the LCD from 12 to 18 inches in front of my face. Additionally, the details of any image capture shown solely on the LCD are too small for me to see.

If I cannot effectively see the image that I am shooting, I certainly cannot be creative...

[chauncey]

sorry 'bout that...http://www.luminous-landscape.com/co...t_skills.shtml

[Brev00]

I am not much of a planner or visualizer. Instead, I feel more like a detective once I happen upon a particular setting. I find I take a shot or two to orient myself to the surroundings and then just let myself feel my way through whatever series I take. Sometimes, I stop and take a shot that seems to have no reason. A branch half-encased in ice against a blue sky. What am i doing, I ask myself. Maybe it is just to explore the detail of the branch later on. For my own enjoyment and to see the quality of the lens. Or, having taken the shot and put it on my computer, I might explore different ways to present the branch. So, the process of 'feeling my way' continues as I process the image. An image that seemed almost random at the time becomes a complete work, a keeper in my gallery, and a part of my flickr stream. So, if there is one thing that I feel about my process it is just being open.

[John Morton]

Some years ago, whilst in the midst of one of my philosophic musings, I came to the realization that the question, "Why are we here?" has no meaning, really; and that the proper question to ask first is simply, "Where exactly are we?"

When I am out hiking, as a matter of course and of personal safety, I have developed the habit of STOPPING to look around when I want to survey my surroundings for photographic potential - it is far too easy to misstep when one walks while rubbernecking! But when I started to do this, I also began looking a little more intently at my surroundings; and, I started seeing little things: characteristics of color, and of pattern, that might be somewhat unique to the area I happened at any one point of time to be in.

Now, I tend to look around where I am; take note of what seems to be characteristic of that place (regardless of how mundane it might be); and then actively seek out permutations of how such elements combine from different points of perspective.

It's not a "big" thing to be doing; it doesn't yield the "oooww" and "AAHHH" views people here seem preferential toward; but I greatly enjoy doing it, I feel I get to know the places I visit, and I have interesting photographs long after I've left the area... photographs that reconstruct for me the experience of being THERE rather than just somewhere with a nice sunset or sunrise.

[ShaneS]

Terri;

I like the term "photos of opportunity" that you used. I too have been trying to figure out what is meant when some folks say that they see and image before they press the shutter. Is that the same as saying that I see a scene that I want to document and have found a composition that expresses my feelings or does it run deeper than that? And, when I say expresses my feelings I usually can't put that into words which can be frustrating - it is more a but reaction to a scene.

You asked:

I know there are some of you out there who CREATE your photographs. What is your process? What are you considering when you look at a scene and decide how you want to present it?

In a way, I think that you are creating an opportunity when you seek out a location, study the light, learn the actions of the critters that you want to 'capture' and take that to the next level by trying to be at the right place at the right time. You are at least increasing your odds of capturing that elusive 'great image' which will be a different image for everyone.

I have similar questions about developing a style. For example, we are all very surprised when Donald shares a color image or if it isn't a large scale scene. I guess that makes his style (or is a genre?) black and white landscapes....

My creative process is similar to yours in terms of searching out a location, researching the light, and then making an effort to be there at the right time. I then try to be open to the scene that presents itself or, said another way, one that catches my eye. I then take a closer look to see if I can create an interesting composition and may take quite a few images.

I still don't know how to create an image that 'says' something and it seems that everyone wants there to be deep meaning in an image or have it evoke an emotional reaction or it is not a worthy image ("What a pretty picture!" doesn't seem to count...)

[Manfred M]

As I am a photographer who does not specialize in any particular genre, and do a lot of photography while I am traveling to places I have never been to before (and in all liklihood, will never return to again), I find I have two distinctly different photograhic styles.

I call the first style "opportunistic", i.e. it's a bit like scouting out a location, with a camera in hand, but while walking around, I will watch for interesting situations, whether it be buildings, landscapes, seascapes, cityscapes, people, wildlife, etc. I will try to produce a shot that has photographic merit, pretty well everytime I press the shutter release. The few exceptions to the rule is when I am documenting something for future reference; it could be a nameplate on a building or statue, a picture of a trail in a park, etc. I would say that 90% of my photography falls into this category.

I may do some planning using tools like Google Maps, Google Earth or The Photographers Ephermeris. Sometimes I will look at travel guides (on-line or books) and old-fashioned maps and of course websites ahead of my planned visits.

I also use a planned style; i.e. when I am returning to a known location. When I do this, I tend to be looking for a particular shot; whether that be related to time of year, time of day or a specific event. These types of outings generally include a lot more equipment; tripod, filters, etc. I will usually spend some considerable time on site setting things up and getting the shot I planned for. Sometimes things don't cooperate (i.e. the weather being the most common culprit), so I will take test shots and try out different shooting locations so I have things down pat for the next time I get there.