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What’s Your Creative Process? 1 Habit That Will Change Your Life

Creativity - Writing  Comment
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Alignment IV

Do this one thing and you will transform your creative life.

Watch your process.

If you make this a habit, you’ll develop a better understanding of not only what but also where, when, how, and why do the things you do.

Noting what you don’t do can be an equally powerful practice.

You’ll quickly find yourself flooded with new information and ideas, which you can turn into a creative advantage by taking notes.

When you notice what when where how you do the things you do, after every observation ask, “Why?” Don’t think of the question as a challenge but rather as an opportunity to gain greater clarity about your motivations and what does and doesn’t drive you to action.

First, note what you do and don’t do.

When you watch your process carefully you become aware of every step in your process and everything involved in it. Actions and things that went unnoticed before will become clear to you. Find out if your habits are serving you well by doing what you do in a different order or by adding or subtracting one thing systematically. Make a little time to observe your process like a scientist might and find out what positive benefits that perspective has to offer you.

Second, note where you do and don’t do it.

Do you like quiet places to work without distractions or do you prefer a lot of external stimulation to get your juices flowing? Do you like clean orderly spaces to foster calm efficiency or do you like to spread out and use chaos creatively? Do you need a space away from home or work or do the other people and activities that take place there feed your creativity? Maybe your answer will change depending on a given project or a particular stage of any project you’re in. If you don’t know, mix it up and find out.

Third, note when you do and don’t do it.

Are you a morning person or an evening person? Are there times of the day you find it easier to be creative because you have fewer commitments? Do you work in bursts or do you prefer to do a little bit at a time? Do some things require bigger blocks of time to do? Can some other things be done in smaller chunks of time? Answering these questions will help you make the most of the time you have as well as plan to make the time you need.

Fourth, note how you do it and don’t do it.

It’s likely that you have a choice to do the same thing in many different ways. You may be used to doing things in certain ways, without realizing it. Maybe you’ve made a few assumptions based on what other people do. Are those assumptions helping you? Maybe you’ve developed habits. Which good habits help you get consistent results efficiently? Which bad habits prevent you from getting the results you want? Are you taking shortcuts? Sometimes what works in one situation doesn’t work in another. Do your habits serve or hinder you when things change? Take stock of your habits and you’ll find areas for improvement but don’t forget to give yourself credit for everything you do that works well along the way. You’ve worked long and hard, you deserve it. Keep going.

Fifth, ask why you do what you do.

Behind every action, there’s a goal. You eat, drink, breathe, sleep to stay alive. You photograph to … ? Your most basic motivations may be fairly simple. Some of your other motivations may be much more complex – and it’s likely you do many things for unconsciously for reasons that your conscious mind has a lot to learn about. Realizing this can often be the key to finding out what is most authentic about and fulfilling in your creative life. If you really want to get to the core motivations behind the things you do it can be helpful to ask “Why?” five times in a row. Ask the first question. Then ask “Why?” Respond to that answer with “Why?” and repeat this a few more times. Often our deepest motivations don’t reveal themselves until the third, fourth, or fifth time you ask “Why?” If you find asking “Why?” is getting in the way of your observations while you’re practicing your process, ask it when you’ve finished and while you’re reviewing your notes.

Watch your process. It seems simple. It is. But like meditation, it’s not easy. We quickly fall back into our habits, which is exactly what we’re trying to notice more carefully – and potentially change (whether a little or a lot or sometimes or always).

There are many more benefits to taking notes about your process. Because I write …

I constantly generate new ideas.
I’m rarely blocked.
I’m more productive.
I’ve streamlined my systems.
My technique is better.
I recognize the ideas and practices I’ve inherited from others.
I’m aware of what’s influencing me, when, for how long, and why.
I’m clearer about what works and what doesn’t, for me.
I’m aware of my self-talk.
I’ve identified my goals.
I understand more about the personal reasons behind the things I do and the ways I do them.
My work has more purpose.
I enjoy my process more.

I find I write the same things down time and time again. This has lead me to create a master process list, which I can add to or subtract. (I keep it in the Notes app on my iPhone. I make a lot of notes there about a lot of different things.) Because I’m so curious I rarely get bored. I find there are always new things to observe. Are there new things because I noticed more? Why? Are there new things because I’m in a new environment? Why? Are there new things because I decided to try something new? Why? Are there new things because I’m more emotionally receptive? Why? These are important questions that can unlock new ways of looking, thinking, and working, now and in the future. Keep asking them. Ask a lot of questions!

Watching your process is really a matter of becoming aware of your choices (what you choose to do and not to do) and what you may have missed. With greater awareness, you can choose to do the same things or make other choices. With more choices available to you, you can make better choices. Better according to who? You! Be mindful of your creative process. Make this a habit and you’ll transform your life.

I could write a book about the many benefits watching your process brings. But don’t take my word for it. Try it!

Read my Mindfulness resources here.
Read more in my Writing Resources.
Learn more in my Creativity Workshops.

How To Control The Proportion Of Your Images’ Frames Expressively

Composition  Comment
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The proportion of an image’s frame (or aspect ratio) is a fundamental part of the statement it makes. Aspect ratio influences the way both the photographer and their audiences see images. Many photographers choose particular camera formats (35mm, 645, 2¼, 6x17, 4x5) because they reinforce particular ways of seeing. For instance, square formats emphasize neither vertical nor horizontal motions and reinforce the geometries framed within them, while panoramic formats encourage the eye to sweep across images in long strokes, typically but not exclusively horizontally.

Of course, all images can be cropped. Through elimination, an image’s aspect ratio is modified. Reasons for cropping an image can vary; one reason is to eliminate unessential image areas; another reason is to change the proportion of the frame.

There are photographers who prefer to standardize the aspect ratio of their images. Many documentary photographers crop none of their images to indicate the objective stance they attempt to approach their subjects with, signaling a host of other related practices, and above all that they have intervened in and interpreted the events their images portrayed as little as possible. Other photographers standardize the aspect ratio of their images to draw attention away from the proportion of the frame to other aspects of their images. Repetition typically deflects attention from an image element, while variation draws attention to itself. Still, other photographers standardize the proportion of their images to make matting and framing easier and more economical. Some do it simply out of habit. No matter what type of photographer you are and what your standard practice is, I recommend you explore your options. (To gain the maximum benefit from your explorations, draw some conclusions from the results of your experiments.) Careful cropping can make your images stronger.

There’s an art to cropping; it can clarify and energize a majority of images and even substantially modify the content of a few. At one time or another, most photographers adopt this practice – some elevate it to an art.

With Lightroom, Adobe Camera Raw, and Photoshop you can non-destructively crop your images so that pixels are hidden rather than eliminated. This is now the default behavior of these softwares. Later, if you wish to change the crop of an image you can reuse the Crop tool to reclaim these hidden pixels and make modifications without having to reprocess the original Raw file they were derived from.

Few photographers explore distorting their images to change aspect ratio. In large part, this is because distortion is a practice so new that not enough time has elapsed for it to become a habitual part of our tradition. In some cases, the practice of distortion is discouraged; it is not appropriate for the creation of forensic or documentary images. In a few cases, it is encouraged; many portrait photographers squeeze their images horizontally making their subjects look thinner, a transformation as little as 5-10% is often undetectable to the casual observer but nonetheless highly flattering to the subject, some think it takes off the ten pounds the camera adds on. Whether you are influenced by the force of habit or respect for tradition, remember that both lead to learned behaviors, which can be modified. Distortion offers extraordinary expressive opportunities. You owe it to yourself and your images to explore this option. Whether you choose to do this often or infrequently, a little or a lot, is something only you and time can tell.


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4 Ways To Divide Your Images’ Frames Expressively

Composition  Comment
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Dividing The Frame

The four most important lines of any image are the ones that are often least recognized consciously – the frame.  Second only to these are the lines that divide the frame, creating frames within the frame. Becoming more aware of how the frame can be used and how it can be divided will help you make more successful compositions.

There are many ways the frame can be divided. You can divide the frame horizontally, vertically, or diagonally; in each case the layers included define the virtual space presented. Different areas in an image can be divided differently. You can divide the frame (or a frame within the frame) multiple times; the more times the frame is divided the more packed and dynamic it becomes, progressively growing more design-oriented and finally being reduced to pure texture. Each operation has significant consequences.

One of the most significant results of dividing the frame is the creation of specific proportions. (The combination of the individual aspect ratios of each element creates a new unified aspect ratio.) Much has been made of the ‘rule of thirds’. Dividing the frame into three parts (left/center/right or up/middle/down) is a simple and often useful strategy for making images more directed, by prioritizing one element over another, and dynamic, through imbalance. Too little has been made of other ratios. What of fourths, fifths, sixths, sevenths, or eighths? No musician would be content to only divide an octave into halves and thirds. Every proportion produces particular effects, which are further modified by placement (high/low or left/right) and content. Rather than a rule to be adhered to, proportion is a force to be explored expressively.

When it comes to controlling the division of the frame in your images, you have more options available to you than you might think. You can crop, distort, retouch, or composite.

Before and after cropping

Crop

Cropping, either through placing the frame during exposure or by eliminating framed information during post-processing, which changes the aspect ratio, has been the most traditional way of dividing the frame.

Before and after distortion


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Photographer Jay Maisel Shares Insights From A Lifetime Of Working With Color

Photographers - Video  Comment
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Master photographer Jay Maisel shares insights from a lifetime of pursuing his passion for color.
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Turn Your Inner Critic Into An Ally

Creativity - Writing  Comment
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Your inner critic can be a terrible adversary or a powerful ally. Which one it becomes depends on how you relate to and use it. Like any animal, proper care and feeding can work wonders while neglect and abuse can produce monstrous results.

The inner critic’s powers of analysis and forethought are truly exceptional. Your inner critic is a protective mechanism. Its job is to help you avoid potential dangers. It’s excellent at identifying weaknesses or shortcomings that if left uncorrected and allowed to continue unchecked may have adverse effects. It can quickly identify potential areas for improvement. It can provide all sorts of extremely valuable feedback.
But, the inner critic has its limitations. The inner critic speaks from a point of fear. It motivates with fear too. It’s a pessimist. It’s often accurate, but never infallible. Because of this, it isn’t good at being supportive but instead may create doubt and insecurity. Its criticism may not be constructive if its feedback isn’t placed in a useful context. If it goes too far astray, its effects can produce negative results and even lead to paralysis.
So how can you turn this powerful voice from enemy into ally?

First, consider the inner critic a trusted ally – one with limitations. Whenever you hear the voice of the inner critic, ask if what it has to offer is helpful. If it is, use its feedback to improve your results. If it’s not, calmly acknowledge it, tell it you value it as an ally both in the past and in the future, and clearly state the reason(s) you’ve decided to make the choice you’re making. Tell it you will continue to consult with it in the future.  Your inner critic will believe you if you make a regular habit of consulting it – and even respect you for doing it. You might even give your inner critic an alternate project to work on in the background while you’re busy with other things. Stay calm; your inner critic can feed on negative emotions. Once you’ve made your decision, be firm. Remember, like a child having a tantrum, there may be times it needs to be silenced. But don’t silence it for too long. Many of the things it has to say can be extremely useful if you remember its strengths and limitations.

Read more in my Creativity Resources.
Learn more in my Creativity Workshops.

Coach Yourself

Creativity - Writing  Comment
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A voice inside my head was grousing, “There’s nothing here. It’s not good enough. You’re not good enough. Someone else has done this before. You’ve done this before. You’re uncomfortable. You’ll have better luck next time.” I’d heard it all before. So I changed my inner dialog, “There’s something here; you just have to find it. You know how much you like the surprise when you do. You have a unique sensibility. You’ll bring something new to the situation. You can do it. It will be great. You’re enjoying this.” If I hadn’t shifted the tone of my self-talk I would have given up before I got started, instead, I stuck with it, for hours, and succeeded, many times. Refraction LX was just one of that morning’s successes.

You’ve heard it all before too. “You’re just like … you always … you never … you’ll never … why try …” As Carla Gordon said, “If someone in your life talked to you the way you talk to yourself, you would have left them long ago.” We’re told that to improve and reach our full potential that we have to be our own worst critics. It’s true that there is a time and a place for this – but it’s limited. Don’t make it a full-time occupation. If you do, you may never get where you need or want to go.

Professional athletes and performing artists have coaches and directors who not only train them but also encourage and inspire them as well. So do many CEOs and salesmen. So do many people from many walks of life at different times in their lives and stages in their careers. They may even engage different types of coaches at different times for different needs. When was the last time someone coached you? When was the last time you coached yourself?  Even if you’re lucky enough to find the right creative coach who can help guide you to perfect practice, they can’t do all the work for you; you have to do the work too; after all, in the end, they’re training you to do it yourself. You can’t afford to wait and find your perfect creative coach. Instead, become that person.

Energize yourself. Affirm your abilities. Take note of your previous accomplishments. Set tangible goals for the future. Chart your progress along the way. Provide yourself incentives. Reward yourself. Celebrate your accomplishments – both verbally and visually, privately and publicly. Be specific using precise language. Give yourself pep talks. Frequently use positive affirmations. Don’t think you can do it? Tell yourself you can. And then do it. Watch your self-talk – and change it for the better. It’s a mindset. If you want better results create a better mindset.

When you talk about yourself or your work, do you use positive or negative words? The words we use can be very revealing about our orientations, attitudes, and beliefs. Many times, when we speak about ourselves, if we speak about ourselves, we downplay our abilities and accomplishments. It’s true that no one likes a raving egomaniac. But, there’s a real difference between arrogance and confidence. Confidence is attractive and inspiring; arrogance isn’t; neither is insecurity. Don’t let your insecurities get the best of you. Be careful not to talk yourself down, cut yourself off short, or fall completely silent. Instead, learn to speak simply and directly about yourself and your work and above all share your enthusiasm. Not feeling it? Act as if you do. With just a little practice you will begin to feel it. It’s true we should all beware of overconfidence. And, critical feedback, the right kind and the right amount, is useful for improving performance too. Peak performance and growth take the right balance of positive and negative feedback. But ask yourself, “How balanced are you?” If you’re like most people, you’re not very balanced at all. Change this and you’ll tip the scales in your favor. This takes constant monitoring and recalibration but you’ll soon see substantial changes that make it not just worthwhile but invaluable.

How important is this? Consider how much money is spent every year on motivational resources like books, videos, lectures, workshops, and more. The figures are enormous. That’s how important it is to other people. Ask yourself, “What’s the price of not doing it?” That’s far greater. Don’t pay it. Just do it.

Questions

What is the state of your current self-talk?
How many ways can you improve your self-talk?
How many ways can you make your self-talk more energized?
How many ways can you make your self-talk more meaningful?
How many ways can you measure the results of improved self-talk?

Read more in my Creativity Resources.
Learn more in my Creativity Workshops.

The Big Differences Between Vision & Style – And How They’re Related

Creativity - Storytelling  Comment
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Many people think vision and style are the same. They’re not. What’s the difference?

Vision is what you have to say; style is how you say it.

Confusing one for the other or focusing on one and not the other can be disastrous.

Just because your images look different doesn’t mean you’ve said anything or said it well. No matter how dazzling something may look, when style becomes a substitute for vision ultimately the viewer leaves unsatisfied – though they don’t always know why. If you confuse style for vision it confuses your viewers. And when you use a style that’s inappropriate for your vision it distorts the way your work is seen and it’s likely that you’ll be misunderstood. A style without a vision is a gimmick; visual cleverness. A style that supports a vision is a vessel for deep authentic expression.

You don’t have to make your images look different to say meaningful things and say them in your own authentic way. Sometimes less is more. Less style, more vision. Stronger styles make the viewer work harder to see past the surface of an image and find the deeper meaning within it. Strong styles work only if they complement a vision – then both become stronger.

Vision and style are related. Hopefully, vision drives style. Vision gives style meaning and purpose. When style reflects purpose it deepens the whole experience, making statements more deeply felt. Style can create meaningful connections between the subject and the way an image looks and even between multiple images. Subtle shifts in style throughout a body of work and even an artist’s lifetime have the potential to communicate even more meaning.

Style is easy to identify because all you need to do is make formal statements about what you see. You simply describe how the things in an image look. When describing style you focus less on the things you see and more on how they look. You state what your eyes actually see, the visual building blocks of an image not the content those elements are used to represent. To do this well, you need to learn a little vocabulary to formally describe images in ways that others will understand, but there’s an added benefit, learning that vocabulary will help you look more carefully and see more things and relationships between them. Each one of those relationships is a creative opportunity. Line, shape, volume, color, texture, scale, proportion, range, and compositional patterns are the fundamentals – and you can make finer distinctions in each of these categories. Some aspects of style describe relationships that are visible between multiple images such as the number of images used, their sequence, its pace and rhythm. Style can be extended to anything you do in a particular way, not your actual practice (she used a camera) but the way you practice it (she always moved in close). The ways you do things communicate the kinds of connections you like to make and the relationships you like to cultivate and so they imbue what you make with meaning.

Vision is harder to identify than style. Vision is the mystery you (and your viewers) are trying to solve; style offers the clues to figuring it out. It takes some guess work and repeated confirmation to figure out where your images are going. But vision is where you move beyond taking pictures of things (subjects) and start making pictures about things (themes). It’s part plot; your subject, events that happen to it, actions it takes, reactions, and consequences. It’s part theme. The theme is the big (or main) idea and subthemes are smaller (or subordinate) related ideas. It’s what the work says about a subject. It’s the overall message and the underlying messages. This is the least literal often least visible aspect of work and it’s often where the most soul can be found.

It’s part you … the patterns you see and create, your relationship to your subject and the images you create of and possibly about it, all the associations and connections you make between it and other things, the things you choose to show and not to show, your emotional reactions to things and events and even their appearances, the reasons why you care and why we should care. All these things say a lot about you, so vision is also about self-discovery and expression.

If the style of your images is appropriate it will help us see your vision … in a very particular meaningful way.

You don’t have to figure out your vision or your style before you start making meaningful images. Whether you start with no idea or a good idea, it’s likely that you won’t know the full meaning of your work until you make it. An essential part of the process of creating images is figuring things out. Show your process, not all of it, just the interesting parts, the ones you decide are meaningful. What you finally make doesn’t have to be perfect, finished, or even fully resolved; you just have to do it well enough to create a compelling experience. And to do that, you have to figure out a few things, perhaps only the most important things, about your vision (what you have to say) and style (how you say it). Then make more images and figure out a little more. Keep repeating this process enough times and you’ll find your way, your vision and your style, If you hold nothing back and give it everything you’ve got, you will be amazed by what you discover.

 

Read more in my Storytelling resources.

Learn more in my Creativity & Photography workshops.

Exhibit – Worldwide – Cove Street Arts – Portland, Maine

Event - Exhibit  Comment
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After a year of staying close to home, travel around the world through the photography of twenty-three Maine artists. Curated by Bruce Brown, this exhibition features stunning photographs from every continent but our own. From natural vistas to manmade wonders to intimate glimpses into diverse cultures, the scope of this show is truly Worldwide.

Judith Allen-Efstathiou, Linda Alschuler, Roberta Baumann, Brendan Bullock, John Paul Caponigro, David Clough, Christian T. Farnsworth, Barbara Goodbody, Ella Hudson, Knapp Hudson, Carl Austin Hyatt, Nanci Kahn, Michael Kolster, Dennis Landis, Olga Merrill, K. Min, Munira Naqui, Robert Pennington, Damir Porobic, Ni Rong, Jan Pieter Van Voorst Van Beest, David Wade, and Katarina Weslien

See the exhibit in person at Cove Street Arts in Portland, Maine.

Preview the exhibition here.