Not Pleased with Final Outcome..Print?

From Another Forum..My Response:

I was sent a personal message by a very fine photographer on this forum. He/She told me that they were frustrated with the outcome of their images. They were not coming out in the manner they were imagining they could. I wish to only share my response, as it may aid those in understanding how to get over some creative log jams...perhaps.

Hello;

As a photographer with about 27 years behind me, I make it my practice NOT to critique other "Humans" expression captured in Imagery, Music, Painting etc. You are in your own way unique in the way in which you capture the moment that you have decided to capsulate. It is that moment of "Commitment" that says "This is my view of reality, this is 'Me.'" Now if the "This is me" is not content with the outcome of that "Commitment" to capture that image at that moment in time, because the outcome did not satisfy what you really imagined what the outcome could have been, that is a technical issue. It could imply your understanding of the importance of Post Production is underestimated. It could be that you have not been honest with yourself and hesitated, not allowing yourself the intimacy required to capture "That" photo. It could be a certain handicap in basic rules of balance between light and dark or the "Yin Yang" principal. That being understand what Balance means to you. Post Prod is very much a part of the final image being realized. My images are what they are, because the final outcome was desired. That does not mean that there is no room for experimentation. It means that in my planning process I always allow that the "Accident" element be a vital part of that process. I am always trying to push the envelope and surprise myself with something new. Perhaps it has more to do with my own perception of myself and getting bored too easily, or to a greater degree, a lack of confidence in myself. I am working on that issue every day and is a work in progress. Technique in my opinion should only be considered as a response to a specific desired outcome and not the means to the end.

Prior to building the house, you need to first do a briefing of what those requirements are. Do a conceptual plan and follow up with working drawings. That could be considered the story board. Construction of the house could be considered the technical tools, i.e. lighting framing, realization of the "theme-subject" and the post production to the final outcome the "House" built, photo concretized or the print.

If you feel that your goal has not been accomplished, find the tools that will assist in realizing that outcome. Sometimes as a result of a lack of vocabulary, we do not even realize what tools exist and worse than that, we lack the vocabulary to even know that certain questions exist. You must garner a vocabulary to enlighten yourself to the possibilities. In doing so, you will learn how to be discerning and your outcome will be even richer in my opinion.

It is a known fact that those people with a large vocabulary, lead a richer and more fulfilling life than those who have a limited one.

Experiment, make mistakes, catalogue those mistakes and make them your own style. Enjoy the experience and share that experience with others so they may benefit by your insight.

To be continued...

I will post this for others to view, in the hope that it may just add a slightly different perspective on their mind set to get them over the hurdles they confront creatively.

Best Wishes
Ben

The title of your message "Not Pleased with Final Outcome..Print?" suggests that the problem was not one of conception, but of execution.

It is interesting, Ben, that comments on your work, on this forum, have tended to praise your execution more than your various conceptions. I have myself, I think, refrained from commenting on your work so far, but personally I rather like your style.

You did mention the possibility of a class in technique at some point. Has anything come of that? As you say, a person's artistic vision is his own affair, something perhaps to be stimulated, but certainly not taught. Execution, on the other hand, things like how to use light, and post-processing tips, CAN be taught, and there is an eager audience.

G

How might we go about doing so logistically?

Ben

Easy enough.
You hop a flight, over to Winterpeg Manitoba, Canada.
I'll set up a multi person Aim/Ichat conference call with a handful of Pentaxians from this forum, which We'll record as a podcast.
People can ask questions, and we'll pick a bunch of those and also from the forum, to set up some demonstrations.
I'll videotape them, combine them with the podcast and the transcripts to create a Book and DVD, podcast, combo on better photography.
You me and Pentax can market the product and split the profits.

wait, that's not easy at all..
javascript:emoticon('')
But whoever said having fun had to be easy?

One word, Podcast.

Since this is a UK group, I think a short trip to the UK would be required. However, as I am not in the UK myself, and would be unlikely to be able to attend, despite wanting to, I am not the best person to push such an event forward.

But if I were still in London, I would find a talk on advanced studio lighting to be very interesting and useful.

G

John Riley offered a studio course I remember , in the Pentax magazine and got NO takers! I have studio lights like benjikan ( Multiblitz, Bowens etc ) BUT I do not have the 'team' of make-up artists, clothes stylists and handymen to make the props ( or the studio space - I have to move the furniture in my lounge here ) . Terence Donovan came to a camera club meeting and said the average amateur or local 'Professional' will never get the results as they do not have professional make-up for the models- using the 'girl next door just home from work in the office after a stuffy trip on the London Underground' cannot compete!

Why not pop along to the local hair/beauty salons and ask for some help
with makeup and hair, I did There are a lot of nice looking young
ladies and gents out there willing to have the full treatment in return for
some nice free photo's to show their mates, mothers etc and keep for
long time memory's.

Hopefully I will see if I can put into practice what I think I know in the
next few weeks Probably the bigest problem is studio space, that was
a big reason why I joined the local camera club, as you can see (pic) it
has a fully equiped studio (not too big but big enough) and hire to
members for the extortionate cost of £7.00/day



And no, I'm not in the pic

Pete, Try reading up on cosmetology, and makeup for film and video.
Take what you learn there and apply it to what you can learn from sites like layers, and retouchpro, and BAM! you can apply makeup with photoshop!
Takes more time, costs less money!
seriously, give it a try!

Just a personal thought to the original post by Ben...

It's an interesting thing being able to "visualise" what you want. You know I can do this with my work in designing and writing firmware. I can look at a problem, think of several solutions, whittle it down to one or two and draught out a design. Over the process of writing the code I can keep the "whole" in my mind and adjust the design... to this day I don't know how what processes I go through, it just happens intuitively.

But... but, when it comes to imaging I am aware of a huge gap between the execution and final result. It's like trying to jump a chasm. So, I just go "by eye" and "go with the flow" trying to capture images that make me feel something. Then I work on them and hope that this process produces something

There have only been a few cases where I have thought of the end result before producing the image and so have had a clear vision:
http://www.ephotozine.com/u16488/gallery/302173
http://www.ephotozine.com/u16488/gallery/101235
http://www.ephotozine.com/u16488/gallery/52994
(Make sure you put your coffee cups down before viewing )

The rest have been a case of just capturing what I've seen... and maybe having an inkling of what I want to produce while I'm at the scene.


Some tutorial on bridging this gap would be great

Does that make sense??
Matt

You can do this two ways round. Maybe by taking images and thinking "I'll be able to use that" without yet knowing on what and how.

And the other way is to say "I want to create this image that makes this statement" and then going out to shoot the individual components.

Creativity can come from both processes and it takes practice and technical skill, but also some sense of vision from whence comes the creativity. This is ephemeral and I think it can be developed, but if the spark isn't there it won't happen. It also won't happen if we are stressed, hurried, thinking of other things...

Perhaps the start is learning to see

I do my best work when I can sit down and meditate.

I get out infront of my fish pond, or my aquarium, or just put on some music, and clear my mind.
I use my little distractions as a focal point to keep my mind off everyday things, and when they're gone, I close my eyes and tune everthing out.

Eventually the mind wants to create and I'll get ideas.
I'll build on the idea to create an image in my mind, and then I'll tear it appart and break it down to the technical details, the light, the props, the models, what equipment to use to achieve the image.

I may file it away for future reference, or, start setting things up and do it.

As you pointed out Matt, manys ways to create great images.
sometimes you find the light, and look for a subject, other times you find a subject and look for the light.

often you go with what ever leads you.

But when you set up a shot, that started in your mind, and are looking at an image you created from nowhere but your imagination, you really feel accomplished.

Thanks John & Don
Stressed I am Maybe that's 90% of the problem
Matt

I love your "Pied Rouge" wonderful image Matt!!

Ben