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Sometimes we choose to focus on a particular aspect of photography. “I do black and white” ... “I take photos of people”... “I’m into macro.” After all, photography covers a very broad territory. People like to carve out their niche, specialize in a particular type of photography, and hone their skills in that area, rather than become a jack-of-all-trades and master-of-none. They want to develop their individual style and establish their unique identity within the vast territory of people doing photography. In some cases, people are purists about sticking to what they do. They’re sure their type of photography is the real thing.
We also slip into certain habits without even realizing it. Maybe you’re always shooting outdoors, or from a standing position, or using a high contrast method of post-processing. Usually they’re methods that produced good results in the past, so you keep using them. If it ain’t broke, then why fix it, right?
I’d like to suggest that these routine behaviors might limit our skills and visions as photographers, whether we’ve deliberately chosen these areas of focus, and especially if we’ve slipped into habitual patterns without even realizing it.
Stated simply, it’s good to try something new. Not many people are going to argue with that suggestion, unless they’re hardcore purists, stubbornly elitist, narrow-minded, or afraid to try something different for fear of failing.
The more important issue is this: how do you go about trying something different?
The first step is to identify your habits and style. It will be relatively easy to make a list of the subjects and methods that you’ve chosen consciously, deliberately. The harder task is pinpointing your routine behaviors that have developed without your realizing it. You might ask your colleagues for feedback. They often can see the habitual patterns in your work that you don’t. If you also look at the photography of other people, you’ll discover subjects and techniques that are very different than your own. Make a note of how their work is different than yours, even if you don’t like what you see.
Then you could start experimenting, in whatever way strikes you as interesting. Do something that’s different than what you typically do. If you’re using other people’s photos as a guide, you’ll be tempted to emulate the photos that you like. But don’t limit yourself that way. Also try to recreate the images that you didn’t fancy.
That last point is important, because it leads to the idea that I’d like to emphasize in this article: REVERSALS. When you identify a particular way that you’re doing photography, reverse it. If you always shoot color, try black and white. If you prefer portraits of people, start shooting non-human subjects. If all your photos maintain horizontal lines, try shooting with diagonal tilts.
There are interesting psychological as well as philosophical reasons why I’m suggesting reversals – reasons why it might be a better method than simply experimenting on a whim. Our mind operates based on polarities. We understand color because we know what black-and-white is. We recognize sharpness because we've seen blur. If you don't understand and appreciate one, it's hard to fully understand and appreciate the other.
The dynamic relationship between opposites runs deeper than these mechanisms of perception. Consciously, we dislike and avoid something, but on an unconscious level, there’s often something about it that entices us, or that we need, even though we might not think so. If you're always creating peaceful, soft-focus photos of nature, might there be something about sharp conflict situations that you need to understand and embrace? If you've always insisted on shooting black and white, what is it about color that you might be overlooking, that might benefit you? Eastern philosophies like Taoism, as well as some western psychological thinkers like Carl Jung, talk about how a healthy personality embraces the interaction and balancing of its internal opposing forces, like love and hate, strength and submission, happiness and sadness. We become stagnant, locked up, and limited in how we think, feel, and perceive when we repress one side of the dynamic polarity. Allowing ourselves to open up to the expression of opposing forces results in fresh insights and a wider field of view. Dialectical philosophy would describe it as challenging a premise with a counter-premise in order to arrive a higher truth that synthesizes the best insights of these opposing views.
So identify the ways you usually do photography, then try reversing them. You might reverse your shooting techniques, your post-processing methods, or your subject matter. Reverse one element at a time, or several at a time.
Figuring out a reversal can be a challenging and instructive process unto itself. For example, what’s the opposite of doing sports photography? Shooting people who are cooperating rather than competing, or perhaps people who are engaged in some quiet, relaxed, solitary activity? Often there will be more than one way to create a reversal. Try them all. If you usually use sepia tones, try different color tints, black-and-white, or full-spectrum color. If you like nature photography, try shooting buildings, machines, and people. By identifying different ways to reverse what you usually do, you will be exercising your artistic, technical, and conceptual muscles by activating the polarities of your photography mind.
Tackling the conceptual reversal will be particularly rewarding in understanding what your photography means to you. If you specialize in portraits of children, the obvious reversal would be shots of adults. But consider what “child” means to you. Youth, innocence, play, a need for love, protection, or nurturance? Reversing those ideas will enrich your understanding of why and how you do your usual type of photography.
As a result of your experimentations, you might decide to continue exploring these other styles of photography. Or you might not necessarily like the photos that emerge from your reversals. In fact, some people who know your photography won't like them, even if you do, because they expect certain types of images from you. Try not to let that discourage you from experimenting. If you do decide to go back to your familiar way of doing things, that’s OK. You nevertheless will learn from the reversal process. No longer a slave to your old habits, you will expand your range of seeing, shooting, processing, and understanding. You will find that you’re bringing new insights and skills that will enrich your old way of doing things. Allowing the polarities of your photography mind to engage each other will teach you not just about your work, but about yourself and why you’re a photographer.
* This image and essay are part of a book on Photographic Psychology that I’m writing within Flickr. Another more easy to navigate version of the book is located at this web site
Creativity in the woods. Rock-pile art. Unfortunately, it didn't last. It wasn't around the second time I went by.
Hundreds of young activists joined an inspiring Youth Climate Strike in Santa Rosa, to demand action on climate change.
This North Bay strike was organized by young climate activists Lucy London and Kelley Tillman, along with their peers at the Novato High Earth Club. They gave speeches, sang together, made posters, marched on City Hall and created a beautiful mosaic to honor mother earth.
Over a million students around the world skipped school this Friday to protest government inaction on climate change, with thousands of rallies in 125 countries, making it the largest youth climate action in history.
Their peaceful demonstration in Santa Rosa was very moving: these young people are sweet, smart, articulate, dedicated and they share an amazing creative energy and love for the earth. I want to be like them when I grow up!
Our Green Change team supported their youth action by providing a sound system, a large earth globe, and shooting videos and photos of their uprising. Thanks to our crew members Sarah Acker and Marilyn Price for their invaluable support of this important cause. :)
In coming weeks, I will create a special video story featuring Lucy, Kelley and their friends for Climate Heroes, our new series on the new leaders of the green revolution.
Even though this was a youth-led event, they welcomed the help of adult allies like us. It was a pleasure to join forces with these young leaders to fight for climate action together, across generations!
View more photos in our ‘Youth Climate Strike - North Bay’ album:
www.flickr.com/photos/fabola/sets/72157690416032923
Learn about the North Bay Youth Climate Strike: www.facebook.com/events/613996295740500/?active_tab=discu...
Learn about other Youth Climate Strikes around the world:
www.theguardian.com/environment/live/2019/mar/15/climate-...
Learn about Fridays for Future, organizers of this worldwide strike:
Learn about Green Change, our climate action network:
Sign up for updates about our videos and events:
#climateaction #climatechange #ClimateStrike #FridaysForFuture #schoolstrike4climate #youth
The charger I have in here is a Qi charger from Anker. It is rather slim (about the height of a standard thick Lego brick), rather cheap, and works rather well for phones and other small devices.
I've used a fairly lengthy micro-USB cable to make sure I have enough length. This cable happens to be one that came with a mouse of mine for charging, so it can't be used for data. That's fine, you can't use data through wireless induction chargers anyway.
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Istanbul Istanbul, a novel by Burhan Sönmez and translated from Turkish by Ümit Hussein, has won a new international literature prize launched by the European Bank for Reconstruction and Development (EBRD).
The prize, awarded at a ceremony at the Bank’s headquarters in London on 10 April, was created last year by the EBRD, in partnership with the British Council and the London Book Fair (LBF).
The €20,000 prize will be split between the author and translator.
The EBRD Literature Prize champions the literary richness of its regions of operations, which include almost 40 countries from Morocco to Mongolia, Estonia to Egypt. It was also created to illustrate the importance of literary translation and to introduce the depth and variety of the voices and creativity from these regions to a wider global audience.
Set after a military coup, the winning novel is a love song to Istanbul inspired by the author’s own experiences. Below the ancient streets of Istanbul, four prisoners sit, awaiting their turn at the hands of their interrogators. When they are not being subjected to unimaginable violence, the condemned tell one another stories about the city, shaded with love and humour, to pass the time. In a style that resembles Giovanni Boccaccio’s 14th-century classic The Decameron, the prisoners’ narratives slowly turn into a story of the city itself, increasingly blurring the line between life above and below ground.
Rosie Goldsmith, chair of the judging panel, said: “Istanbul Istanbul is a life-affirming novel of profound humanity and exquisite writing. And Burhan Sönmez is a major writer, a highly deserving winner of this major new prize. Yes, the novel is set in a prison cell, yes, it’s set in Turkey, but at no point does it condemn or take a position: it’s our story too. The four protagonists are on a quest to find kindness and beauty in a world of cruelty. They are fully rounded, real characters with flaws and oddities, gripping us not with accounts of violence and torture but through their humour and conversation. Burhan Sönmez wears his immense learning lightly and together with his literary companion Ümit Hussein, his outstanding translator, they have created a prize-winning novel of great passion and poetry.”
Suma Chakrabarti, President of the EBRD, said: “Through the EBRD Literature Prize, we recognise the work of scores of authors across the nearly 40 countries where the Bank works – most of whose voices would have remained unheard had it not been for the translators and publishers who bring these works to the English-speaking world. But our prize is meant to go beyond recognition. It is meant to promote the wealth, depth and variety of culture and history in the countries where the EBRD invests.”
Burhan Sönmez is an internationally prize-winning novelist who worked as a human rights lawyer in Istanbul and was a founder of the social-activist culture organisation TAKSAV (Foundation for Social Research, Culture and Art). Sönmez is a member of Turkish PEN and English PEN. He is a founding member of the 'Writers Circle' at PEN International and currently lectures in Literature and Novel at the Middle East Technical University in Ankara.
Ümit Hussein is a British translator and interpreter of Turkish Cypriot origin. She has translated the work of Nevin Halıcı, Mehmet Yashin and Ahmet Altan, among others.
The two runner-up titles received €2,000, also split between author and translator. These were All the World’s a Stage by Boris Akunin, translated from Russian by Andrew Bromfield, and Belladonna by Daša Drndic, translated from Croatian by Celia Hawkesworth. All were present at the award ceremony, where the three finalist authors and translators discussed their books and the art of translation.
These titles were chosen from the original longlist of 12 titles by the judges.
A special event will also be held at the London Book Fair at 11.30 on 11 April 2018. Entitled ‘Whose Prize is it Anyway?’, featuring the prize winners and the judges, the panel will be discussing the benefit of literary prizes, the need to read more literature in translation and the role the EBRD Literature Prize plays in the current international cultural arena. This year the LBF market focus is on the Baltic states, one of the EBRD regions of operations.
See all information/announcements of the EBRD Literature Prize.
About the EBRD Literature Prize:
The prize provides a unique opportunity to reflect the culture and creativity of almost 40 economies where the Bank invests, from Morocco to Mongolia, Estonia to Egypt. The prize is awarded to the best work of literary fiction translated from the original language into English and published by a UK publisher in the 18 months prior to 15 November 2017. Divided equally between author and translator, it champions the art of translation as well as the extraordinary richness, depth and variety of arts and history in the countries in the Bank’s region. The EBRD Literature Prize is a project of the Bank’s Community Initiative.
About the EBRD:
The EBRD was set up in 1991 after the fall of the Berlin Wall to meet the challenge of an extraordinary moment in Europe’s history: the collapse of communism. It is a multilateral bank with almost 70 shareholders which promotes the development of the private sector and entrepreneurial initiatives in 37 economies across three continents.
About the judges:
Peter Frankopan is Professor of Global History at Oxford University. His most recent book, The Silk Roads: A New History of the World, was an international number 1 bestseller.
Gabriel Gbadamosi is a poet, playwright, essayist and broadcaster. He was a Judith E. Wilson Fellow for creative writing at Cambridge University. His London novel Vauxhall won the 2011 Tibor Jones Pageturner Prize.
Lucy Hannah is a writer and producer who founded Commonwealth Writers in 2011. She has worked for a range of organisations on communication for development projects, mostly in areas of conflict and post-conflict, including South Sudan, Chechnya and Afghanistan.
Rosie Goldsmith, chair of the judging panel, is an award-winning journalist specialising in arts and current affairs in the UK and abroad, and a champion of international literature. She is Founder and Director of the European Literature Network.
london depticted in typography is fantastic. nb studio used an a to z for the street names and cretaed landmarks in topographic locations.
see more here: wordasimage.ning.com/
How 3M built a self-directed interdependent, collaborative, learning community within the corporate environment with semi-permeable flow through to the open DS106 community, thus allowing IP to remain private but ideas to nourish creativity and allow innovation to flourish. Rochelle Lockridge, the patroness link between the two communities believes chaos with vision and accountability is the key, allowing a sort of structured serendipity. Staff who sign up for this professional development opportunity make use of the McKnight principle, where 15% of employee time is spent on personal interest projects.
Creativity
As a reminder, keep in mind that this picture is available only for non-commercial use and that visible attribution is required. If you'd like to use this photo outside these terms, please contact me ahead of time to arrange for a paid license.
I created this in a class on how to do stump work. This is a scan of the finished piece. The image is life size. The acorns are 1 cm high. It took a week to complete, as the acorns, acorn leaf and the wings of the butterfly are all free standing. The tuft of the thistle also stands up from the background. I love doing this project.
I'll be having a little Splotch Monster art show at King Street Coffee in Leesburg, Virginia in February, 2012! I used a piece as part of a promo postcard design. Looking forward to it!
1. groovy tree, 2. linen & felt pillow, 3. signature tag, 4. flower pillow, 5. felt stem detail, 6. abstract pillow, 7. gocco christmas card, 8. gocco christmas card, 9. beautiful gocco inks, 10. typecase drawer, 11. typecase drawer, 12. typecase drawer, 13. typecase drawer14. Not available15. Not available16. Not available
Created with fd's Flickr Toys.
The center aisle of The First Church of Christ, Scientist designed and built in 1910 by noted American architect, Bernard Ralph Maybeck (1862-1957) in Berkeley, California. Maybeck was an early pioneer of the Arts and Crafts Movement of the early 20th century. Maybeck had moved to Berkeley in 1892 and became a professor of engineering drawing at University of California, Berkeley. He later became mentor to an entire generation of other California architects and was awarded the Gold Medal of the American Institute of Architects (AIA) in 1951.
The First Church of Christ, Scientist was one of Maybecks finest works. Considered to be a masterpiece of American architecture the building still stands and has been designated a National Historic Landmark. Many have remarked that it is one of the Bay Area’s greatest architectural monuments, a monument of inner beauty and strength, an inspiration for unique formulations of space, light, and texture and perhaps simply one of the great buildings of the world.