Holly

Model: Holly, www.ivoryflame.co.uk

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Fear of completion

Finishing something is scary despite it being what we are working towards. When something is finished there is no more room to hide, there are no “in work” excuses for any shortcomings and we must face what we have produced straight on. It’s scary because there is a risk that for all our efforts we may not produce something that matches our hopes and expectations so it’s easy to leave work ‘almost there’ and find excuses to pursue other things leaving an ever greater quantity unfinished.

It is often difficult to look at our finished work and we can never see it like others can. We agonise over whether that picture was the strongest or best one to express what we wanted, how we composed it and what we did or didn’t include, whether we should crop tighter or even whether it was worthy idea to pursue to start with. Other people will never know nor experience these feelings when looking at our work and so perhaps it is only them that can truly enjoy it.

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Big ideas

It’s great to think big and be ambitious letting our imagination and creativity run riot without restriction but when it comes to realising these, things can get difficult. Usually the best creative concepts are not easy, they are not something that’s been done before and won’t make ‘sense’ to do to many people when there are easier alternatives, a great example is photographer Sam Abell who had an inspiring year-long quest to find the perfect image for his story.

A lot stems from having to be the ideas person and also the practical person making it a reality. In many industries there are often conflicts between creatives and the engineers who have to make it work but as a photographer we usually have to both these roles so the inner conflict can be a significant source of anguish and this is important to recognise. It’s easy to say “I can’t” when things get difficult and start scaling an idea back rather than taking it further or diluting it to be easily achievable but the result can be a half hearted attempt at a good idea – a dissatisfying compromise. Conversely, the difficulties can be overwhelming and we stall getting disheartened never creating anything. Both these situations are undesirable and these are the dangers that come with big ideas long before the shutter is pressed; it’s a balancing act of recognising what really isn’t possible, letting it go or making concessions and just taking the easy way out never being true to our idea. It’s a difficult middle ground and there is often no way of knowing if we have it right as we a torn in two directions.

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Permission to fail

I have ideas and things I have wanted want to try, some more developed than others with all sorts of inspiration gathered together from various sources but have gone no further because I’ve been afraid to and for a long time I have had no idea why, I’d just switch to developing a different idea instead as avoidance. Giving ourselves permission to fail, to make a mess of things and have it be less than what we wanted won’t kill the idea. Whenever we are overly invested in something’s success we can become terrified of it’s failure making us paralysed in inaction. Be scared but don’t let it stifle you.

When the pressure is on shooting for a client we sensibly stick to what we are comfortable with (at least until we know we have ‘it’) and this comfort zone never expands without hard work and practice outside of this critical arena. Our personal work is not a grand performance where we only get one go or one chance to make it work, some circumstances may change but our idea and development is all still there ready for us to learn and try again. What will change is our passion and enthusiasm may not always be there as time moves on and the creative side of us will become frustrated as the things we are driven to create are never realised.

Perhaps it is important to realise that there is probably no ‘eureka’ moment where we suddenly discover something and can forge ahead with all we dreamed try, what holds us back is often not our skills and there will probably never be a ‘right’ time when we are not fearful or insecure if we are pushing ourselves. We will probably always be unsure and feeling our way and this is how we know we are pushing yourselves and in doing so we will trip up once in a while and should allow ourselves to accept it when we do. If we are pretty good, we are already better than the people waiting to be perfect.

If we do our best, that’s all we can really ask of ourselves and this doesn’t mean we won’t have made mistakes or that we haven’t learned a lot or even that we won’t do things differently next time, it just means that we did everything we could for this particular shoot. Be happy with that.

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Holly

Model: Holly, www.ivorywlame.co.uk

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Dots and spaces

If I was a writer I’d only have concepts and outlines because I’d lose interest writing a book
it’s lucky I’m a guy with a camera instead
I just need a set of pictures, sometimes only just one picture
and never need to actually spell things out
just some dots for other people to connect and fill in
I find I am drawn to books and film that have less of a story and more just moments/scenes that I’m drawn to
I don’t have to have a beginning and middle and an end
with music too: I like songs that are a journey with different places
no verse, chorus
just point A to point D via points B and C
an impression, a feeling not a carefully crafted out story – and it doesn’t have to make sense

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The risk of trying

To become accomplished at something takes hard work and practice, but issues of time and motivation aside, there is another problem: people only ever want to experience the finished result and an accomplished one at that. People may have passing intrigue into a scene that did not have made the grade in their favourite film or some early B-sides from their favourite band but no one is interested in hearing an aspiring musician struggle over the same bars in a piece of music time after time, piece after piece and so this usually stays behind closed doors. The people close to us can often be rather dismissive and sometimes thoughtless in their comments and jokes when discussing our ‘hobbies’ perhaps without any idea how important they are to us.

There is a big difference between having a try at something just for fun where any success at all is unexpected and the transition to taking something seriously where there is an expected level of performance by us personally or by others whether it is direct, implicit or even imagined. A big part of it, at least for me, is embarrassment and possible humiliation; music can be unfortunate in that it is usually very public to those who live with us but it happens with most if not all creative outlets since inevitably people are intrigued to see the results of what we have spent so much time on. Having others see or listen to what you produce KNOWING the amount of effort you have put in is really an act of faith especially since it takes so much time and effort to achieve a basic level of competence. I had someone once introduce me to her friends as “This is Mark, he’s a great photographer” which is quite a compliment in reality but I was cringing on the inside.

Others are also not likely to look at our results in the same way as we do. There are many many occasions where the photograph I take might itself be terrible but the lighting I was trying to get to work finally came off and I know I have figured it out to be able to use in the future or a concept shows great potential even though the execution was far from what is required. For me this would be a breakthrough while to someone else it may make little sense. Another example might be a musician mastering a particularly difficult piece made so by the time signatures that may not sound at all impressive to an average listener.

Lingering in my mind is often “but what happens if after all the time, learning, effort, money what I produce is rubbish?” Some people feel compelled to desperately try and explain the difficulties in capturing a photograph to try and mitigate possible criticism; we all seem to deal with this fear it in different ways.

Given all this, is it any wonder why for so many of us, certainly at the outset, our creative interests are so solitary and private or so many people are afraid to try?

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How to Feel Miserable as an Artist

A list by Keri Smith

1. Constantly compare yourself to other artists

2. Talk to your family about what you do and expect them to cheer you on

3. Base the success of your entire career on one project

4. Stick with what you know

5. Undervalue your expertise

6. Let money dictate what you do

7. Bow down to societal pressures

8. Only do work that your family would love

9. Do whatever the client/customer/gallery owner/patron/investor asks

10. Set unachievable/overwhelming goals to be accomplished by tomorrow

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Emma

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Unconscious and conscious

When I started photography and was learning the basics I shot only landscapes. I was striving for a level of competence and never really thought about much beyond making what I though was a ‘good’ picture. I read vague things about self expression, artistic vision, what a picture is saying and mostly ignored it all; I thought that that most photographers in the situation would probably have shot the same thing as I did and never really thought about it, I was consumed with grad filters, developing times and metering.

Eventually, as I improved people would comment “ooh that is a nice picture” and it was nice to have people enjoy the photographs I had worked hard to get. I started think more about it: is all I am going to do going to be creating pretty pictures? Is this *really* what drives me to photograph?

I’ve discussed before my reasons to starting street photography, curiosity and a bit of rebellion against the careful composition, waiting and planning for landscape photography. Sometimes I just wanted to take pictures without all this hassle and sometimes I felt a desire to shoot when the weather wasn’t perfect. I started looking at people’s street photographs and many I didn’t ‘get’ and one person’s good shot seemed to be another person’s common snapshot destined for the bin; this really didn’t have the same broad appeal of pretty or dramatic landscapes. I’ve shot all my street photographs on Oxford St in London, it’s chaotic and there is no time to meter or focus and only just about time to frame loosely, often I had no real idea what had made me take a photograph I just did. After reviewing my pictures many of which I hardly remembered taking I thought it was interesting that it was likely that my conscious mind had little part to play in the pictures. I found these pictures were far more personal than anything I had shot before.

Thinking can help creativity, but that is only one aspect of it. Another aspect is to not think, and instead to act impulsively. This reaction is based on your immediate reactions.

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