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Right Brain vs. Left Brain: Crossing the Lines Between Technical and Creative Photography
- 1. Image © 2010 Alex Suarez The Right Brain vs. the Left Brain Crossing the Lines Between Technical and Creative Photography OR A Good Magician Never Reveals His Secrets or Mistakes(NOT)
- 2. “I have often thought that if Photography were Difficult in the true sense of the term - meaning that the creation of a simple photograph would entail as much time and effort as the production of a good watercolor or etching - there would be a vast improvement in total output. the sheer ease with which we can produce a superficial image often leads to creative disaster” - Ansel Adams If you are messing with technology, then you are not getting your work done. It is only when the technology becomes invisible that true creativity can take place. Photography is about contradictions
- 3. Technology = Time 1986 2006 Shoot Time=30-40 min. Shoot Time=1-2 min. Post-Process~60-90 Min. Post-Process~20 Min. Photograph Unusable Photograph Usable
- 4. “The boon of digital photography is that the photographer has complete control of the image, and the bane of digital photography is that the photographer has complete control of the image. What seems to be occurring is that the poets within us - the poets who started this tidal wave of revolution - are becoming imprisoned by the technology” - Vincent Versace
- 5. Ansel Adams “Yosemite, Summer” (1935) Tom Haymes, “Classic Valley” (2009) “Pictures, regardless of how they are created and recreated, are intended to be looked at. this brings to the forefront not the technology of imaging, which is of course important, but rather what we might call the Eyenology (Seeing)” - Henri Cartier-Bresson
- 6. “Photography has not changed since its origin except in its technical aspects, which for Canon Tl me are not Sinar Alpina (1982-1986) important” (1986-1991) Henri Cartier-Bresson Leica M2 (1986-1997) Replaced by M6 (1998-) Valuable Lessons
- 7. Valuable Lessons Canon Tl “Capitol Reflection” (1983)
- 8. Sinar Alpina “Horse and house”(1987) Valuable Lessons
- 9. Leica M2 “Tour de France, Berlin” (1987) Valuable Lessons
- 10. The Tyranny of Media The Rigors of Slide Film Valuable Lessons Pt. 2
- 11. The Tyranny of Media The Strictures of Sheet Film Valuable Lessons Pt. 2
- 12. The Tyranny of Media Limits of Film and Paper Range Valuable Lessons Pt. 2
- 13. “Twelve significant photographs in any one year is a good crop” - Ansel Adams Speed Kills Good Photography
- 14. Speed Kills Good Photography Technology can make you sloppy because it tempts you to hurry
- 15. Slowing Down - It’s Hard to do Tip #1: Do Some Night Photography
- 16. Slowing Down - It’s Hard to do Tip #1: Do Some Night Photography
- 17. Slowing Down - It’s Hard To Do Tip #2: Be Patient - Watch the World Develop
- 18. Slowing Down - It’s Hard to do Tip #2: Be Patient- Watch the World Develop
- 19. Slowing Down - It’s Hard to do Tip #2: Be Patient- Watch the World Develop
- 20. Use Technology Appropriately Tip #3: Speed (technology) is most useful in Post-process
- 21. Use Technology Appropriately Tip #3: Speed (technology) is most useful in Post-process
- 22. Use Technology Appro- priately Tip #3: Speed (technology) is most useful in Post-process
- 23. Use Technology Appropriately Tip #4: Start with the Basics “Photography has not changed since its origin except in its technical aspects, which for me are not important” Henri Cartier-Bresson
- 24. Use Technology Appropriately Tip #4: Start with the Basics
- 25. Use Technology Appropriately Tip #4: Start with the Basics
- 26. Use Technology Appropriately Tip #5: Once you’ve Mastered the Basics, Then Get Weird. your Instincts will Reward You
- 27. Use Technology Appropriately Tip #5: Once you’ve Mastered the Basics, Then Get Weird. your Instincts will Reward You
- 28. Use Technology Appropriately Tip #5: Once you’ve Mastered the Basics, Then Get Weird. your Instincts will Reward You
- 29. Find your Passion - and Get Good at It “In my mind’s eye, I visualize how a particular... sight and feeling will appear on print. if it excites me, there is a good chance it will make a good photograph. it is an intuitive sense, an ability that comes from a lot of practice.” - Ansel Adams
- 30. One more Thing.... Use Technology to connect you to the world: If you are interested in marketing your work, invest your time in the internet
- 31. Where to Find Me: www.haymesimages.com www.flickr.com/photos/tomhaymes E-Mail: tom@haymesimages.com Phone: 281-748-3684 This Presentation is at: www.slideshare.net/haymest Upcoming Shows: September 20-29, KAA Member Show “WonderFALL Art,” Traditions Bank, 1515 S. Grand Pkwy., Katy, Tx November 13, KAA LSAG Show, Cinco Ranch Church of Christ, Katy, TX December 4-23, Featured Artist “Skyscraper City,” Betz Gallery, 1208 W. Gray, Houston, TX
Editor's Notes
- I. Who am I? II. Talking about photography III. Vision is a learned thing.
- I. These two quotes seemingly contradict each other. II. Photography exists in the balance between vision and technical skill III. Today I am going to focus on the vision thing
- I. View camera vs. Digital Camera II. View camera image later enhanced digitally III. Post process adjustments in PhotoShop replicate many view camera functions
- I. It’s easy to rely on technology as a crutch II. This can get in the way of creative vision
- I. Anyone can be an Ansel Adams - even me II. 10,000 hours - Gladwell
- I. Over the years my equipment has shaped the way that I shoot II. I want to look at how my equipment shaped the way that I shot and continue to shoot. III. There is an important pre-equipment factor to the development of my vision - I did art before I did photography. That helped me learn composition.
- I. The Canon TL had a meter (not always reliable) and not much else. II. It did have sharp lenses that always did me in good stead. III. Problems of learning with 35mm - too many shots.... IV. Note that this early photograph of mine is a night shot. We’ll come back to that later.
- I. View cameras are extremely fussy and time-consuming. II. It usually takes 10 or more minutes to get set up for the shot, which leaves you plenty of time to contemplate the action. III. I used to take Sunday drives with just me and the camera to capture scenes like this.
- I. The M2 had no meter. I either had to use handheld meter or eyeball it. I got real good at “Sunny 16” and riffing from there. I learned how to bracket. II. This is not a good type of picture to try to capture with a rangefinder.
- I. Slide film is very exacting. II. It has a very limited range and if you mess that up there is no recourse. III. I was a Kodachrome 25 nut. It was hard to beat the saturation and permanence of the image.
- I. With sheet film you only had a few shots. I think I only ever had 3 film holders so that’s six shots. II. I might have shot more shots of this image with variations in lighting as the sun went down
- I. Knowing the Zone system is still a very useful tool but with film and paper it’s absolutely critical. II. No HDR in the 80s III. I’m not sure I ever mastered this but I spent a lot of time trying - including a lot of darkroom time.
- I. Tell story of airshow motor drive vs. no motor drive
- I. This picture could have been better if I had slowed down to contemplate it.
- I. Night photography forces you to slow down because of the length of the exposures. This gives you time to think. II. This is a good time to practice your pre-visualization skills III. It is also a test of your skills in this area as night photography often stretches the limits of your tech
- I. I was able to get multiple views of the same area because I had the luxury of time to contemplate the images in question.
- I. When shooting outside, you have to slow down and let the scene develop. Sometimes you get lucky but usually patience is rewarded. II. Learn to watch the world around you. Become a student of the light.
- I. Nature will always surprise you. That’s one of the things that drives my outside landscape and architecture photography.
- I. This image took over a year to make. The lighting in the first year was not what I wanted but I came back for it. II. Know your area - especially for outside photography. Think about how the light changes throughout the year - plan your shots well ahead of time.
- I. This photograph wouldn’t have been possible without digital post-processing.
- I. Having the freedom to play with filters and film after the fact is extremely useful - especially when dealing with black-and-whites. I visualized this image but made it happen in post. II. Adams - film is the score, print is the performance
- I. This image has extreme tonal and exposure ranges that were only realizable through post processing.
- I. Get a 50 and shoot with it. Simplify your approach. II. Get to know your lenses well - car analogy. III. Treat each lens as a new project for your brain.
- I. Start simple. Look for basic shapes and forms.
- I. Play with minimalism. Look for juxtapositions of colors and shapes.
- I. Once you have the basics down, get funky. II. Try unusual camera angles.
- I. Combine unusual filter combinations with your understanding of the basic shapes and composition form Tip #4
- I. Train yourself to look for the unusual.
- I. Know the limits of your tools and train your vision to recognize opportunities.
- I. Technology is extremely useful in the marketing aspect of photography. II. I’ve sold more images off of the Internet than I ever sold pre-Internet