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Creativity, Flow, & Resilience workshop with Paula Kampf of SOMO Leadership Labs, Saturday August 16, 2014
I was always bewitched by the concept of creativity. I flew through drawing, 3D animation, even building a room-sized Lego city – my childhood was a series of sequential obsessions getting out of my mind. When I settled on words and photos, it was pulling back the curtain for a stage set to the rest of my life. Writing was simply instinctual. I never worried beyond scrawling and typing my thoughts, and finding my voice was just time and practice. But the fascination in photography was the machine between me and an image, the rules presented to an early learner, and which I'd choose to break.
Endless possibility was a hindrance to my perspective. Sculptors and painters leave a fingerprint with their handiwork and brushstrokes, but what comes from a camera could be from anyone. So I decided to do less – a lot less. I didn't want to be limited by subject matter, but rather, recognized at a glance. So I chose one camera and one lens to be my companions for life. The first camera that clicked was the Canon 5d Mk II, for its lovely relationship with colour and light, and full-frame sensor fully utilizing the lens. I went with 50mm, because it's the distance your eye sees at. No wide angle or telephoto, a natural vision true as eyesight.
But my final limitation has caused fellow photographers some consternation. I locked my lens permanently wide-open to f1.4 – the maximum aperture. If you're unfamiliar with photography, that's comparable to an eye fully dilated in darkness, letting in all possible light. The obvious side-effect in bright conditions is that photos get blindingly overexposed without using your fastest shutter speeds. It also produces a narrow depth of field and gentle glow to every image. Fortunately, I'm deeply in love with those qualities. They've all helped to form the fingerprint of my photography. For you as a viewer, and for me, like the children I'll never have.
As a visual artist or musician, what have you chosen to do the "wrong way"? I want to hear how you've learned, or unlearned your process in creating your particular brand of art.
February 11, 2025
Delaps Cove, Nova Scotia
Year 18, Day 6302 of my daily journal.
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Psychokinesis & Creativity *" Horse Head" Drawing by Leonardo da Vinci Topic for the psychokinesis PK.creation in clouds...- negative n°2
A coin purse made by me recycling beach accessories of the 70s.
Un portamonete (che all'occorrenza diventa portachiavi) fatto da me riciclando accessori da mare originali anni '70.
Recently made some attempts to photograph the damselflies that have been hanging around our pond. They're beautiful and fascinating, but also so small, so quick, so skittish — but with distance, a long lens an immoderate amount of cropping, I think I got a few worth considering.
I am, by nature, somewhat averse to employing a lot of photographic and post-processing tricks; I'm most interested in good, well composed, insightful shots as they come out of the camera. But I also confess to being drawn to play with some of those tricks more and more. (I try to reassure myself that there must be _some_ artistry or creativity in choosing _when_ to push those buttons that meaningfully alter a photograph...)
When I looked at the first shot in this series, I thought it might be worth a try converting it to b&w. It didn't really work that well on its own — but the attempt spurred me to try some other art filters, and I really liked the effect that the "Key Line I" filter had. For reasons I cannot clearly identify, there's something of a Japanese feel about it, for me. And then it occurred to me to try b&w combined with the Key Line effect — and Bingo! I confess I really like these; the blue version is an attempt to skew the monochrome toward the idea of the pond below, and likewise has appeal.
Curious if it works for others...
Students at PVCC in Charlottesville, Virginia taking my creative challenge to make 15 things in 30 minutes.
Cazcarra Image Group ha celebrado la tercera edición de la Gala Creativity. La sala barcelonesa Sutton se ha llenado para disfrutar de un espectáculo sin igual en el que los estudiantes Cazcarra han hecho alarde de su talento y profesionalidad.
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