Good Sources of Inspiration

[bojepsen1]

<p>I'd go along with the 'get out and do stuff' approach in general. Especially travelling to places near and far, which you have yet to visit. There is of course a lot of inspiration to be found, I believe, in online galleries (or indeed, off line ones). I get a lot of inspiration here on photo.net.</p>

[jtk]

<p>Where did the idea that "great photographers" are "inspired" come from?</p>

<p>My impression is that they have caused their own images, have decided to make them.</p>

[tonmestrom]

<blockquote>

<p>The "just go out and shoot" philosophy never appealed to me. I want a solid foundation in the craft.</p>

</blockquote>

<p>it isn't mutually exclusive you know. I agree with John's take on it.</p>

[JDMvW]

<blockquote>

<p>need to stop thinking and start feeling</p>

</blockquote>

<p>It is <em>thinking</em> that distinguishes us (or not) from the beasts.</p>

<p>To act without reason is the essence of Nolte's most useful definition of Fascism as being a reaction against the Enlightenment and reason. It is the touchy-feely Postmodernists as well as the brutal fascists-as-fascists.</p>

<p>Hmm, is there anyone I haven't insulted yet? I may be back.</p>

[andrew_west5]

<blockquote>

<p>Where did the idea that "great photographers" are "inspired" come from?<br>

My impression is that they have caused their own images, have decided to make them.</p>

</blockquote>

<p>What's with the scare quotes? Inspiration is a catch-all term for motivation, stimulation, a catalyst for an idea or concept, and on and on it goes. Great photographers, believe it or not, do exist and tend to be inspired, in some way, to pick up a camera and photograph. </p>

<p>It seems strange to me to take issue with the idea that photographers can be inspired. I really don't want to get into a debate about inspiration and, God forbid, the definition of art, so I'll leave it at that.</p>

 

<blockquote>

<p>it isn't mutually exclusive you know. I agree with John's take on it.</p>

</blockquote>

<p>Fair point. However, my definition of "solid foundation in the craft" includes more than just technical knowledge. While there's nothing necessarily wrong with it, if your only involvement with photography is shooting, you're missing out. There's a number of people who believe going out with a camera is the be all and end all of photography, discounting learning; from books, classroom, or wherever else, as a comparative waste of time. I'm not suggesting everyone here believes that, but my point, is that I don't.<br>

It's also probably relevant to know that I'm going to school for a degree in photography, so you can write all of this off as brainwashing if you'd like. </p>

 

<blockquote>

<p>It is <em>thinking</em> that distinguishes us (or not) from the beasts.<br>

To act without reason is the essence of Nolte's most useful definition of Fascism as being a reaction against the Enlightenment and reason. It is the touchy-feely Postmodernists as well as the brutal fascists-as-fascists.<br>

Hmm, is there anyone I haven't insulted yet? I may be back.</p>

</blockquote>

<p>I once met a postmodernist. He only spoke in the third-person. Then again, maybe he was just an ass.</p>

[steve_t.1]

<p>JDMvW-</p>

<p>Sometimes I think the beasts may have it right, and we may have it wrong. But who will ever know for sure? No offense taken.</p>

<p>The problem I too often create for myself is that I can tend to over-think things, which can lead to my watching an opportunity go right past me before I can get through the thinking stage and get on to the shutter release stage. Hence my proclamation that I need to stop thinking and start feeling. To become more instinctual and less analytical.</p>

<p>What is interesting is the variety of answers to the original question. In this case it is fair to say what works for one won't necessarily work for another, but different ideas were presented for the OP's consideration.</p>

[luis_g]

<p>The OP asked for: "What would you recommend to help get the creative juices flowing freely?"</p>

<p>Not what you thought <em>other people </em>did, or should or shouldn't, or can or can't do.</p>

<p>To inspire means, among other things, to inhale (no, not <em>that</em>). I happen to be in that mode often, which is why I have no problems with inspiration most of the time, both from within and without photography. I also have a handful of friends and acquaintances who function as Muses.</p>

<p><br /></p>

<p><br /></p>

[tonmestrom]

<blockquote>

<p>It's also probably relevant to know that I'm going to school for a degree in photography</p>

</blockquote>

<p>been there, done that which gave me, amongst other things, a great and lasting interest in photographic history. I'm into photography every single day of the week and I do mean every day. I went to an Academy of Fine Arts to study photography and when I left there after four intensive years I didn't touch a camera for about six months until at one day I picked up one of my pinhole cameras and went out to shoot. That six month period however had not so much to do with a lack of inspiration but more with the need for a break. Haven't looked back since.</p>

<p>I never think in terms of inspiration. I think a lot of people worry too much about it anyway. The notion of going out there and shoot is really simple. I like what I'm doing which is the most important reason of all to do it. Having fun out there is all that is needed. Having fun studying photographic history, visiting galleries and what not is another but only if you like doing it and not out of a notion to look for inspiration. It doesn't work that way, not really.<br /> You just need to challenge yourself time and again and for that to work having (a lot of) fun doing it.</p>

[Lou_Meluso]

<p>Sometimes when I'm feeling drained and need to recharge the creative batteries, I like to walk around a museum. Looking at art of all types seems to give me "the juice". I don't really know why. It's not only the grand masterpieces but often simple works, even children's art, can do the trick. </p>

<p>Recently, on a walk through the galleries, I was looking at some hand carved Chinese cricket cages (used to keep crickets as pets), and they were so beautiful in their functional simplicity, yet elegant in design and masterful execution, that it was just what I needed to fire me up to look deeper into the simple things all around me. I want to try and get some of that simple elegance combined with masterful execution into my work. I came away excited and inspired. </p>

[tjfuss]

<p>I like meeting with other photographers on a regular basis. We have a photo critique group that meets every Saturday at a local coffee shop and producing new work to show each week provides an ample challenge.</p>

[jtk]

<p>I wouldn't say that "going to school for a degree in photography" is "brainwashing." There was a time when that made sense. RIT had two wonderful programs, back when Rochester was a city with a future. IMO few top photographers have had degrees from photo schools other than RIT's. More from RISDI in painting and graphic design or from FIT, even.</p>

<p>I think the future has more to do with video and multimedia and writing and performing than photography (as in still photography). </p>

[andrew_west5]

<blockquote>

<p>I wouldn't say that "going to school for a degree in photography" is "brainwashing." There was a time when that made sense. RIT had two wonderful programs, back when Rochester was a city with a future. IMO few top photographers have had degrees from photo schools other than RIT's. More from RISDI in painting and graphic design or from FIT, even.<br>

I think the future has more to do with video and multimedia and writing and performing than photography (as in still photography).</p>

</blockquote>

<p>I was mostly joking, but if you think about it, you could say formal education involves a certain level of brainwashing. </p>

<p>Most top photographers, assuming we share a similar definition of "top photographer", major in something other than photography. As far as journalism goes (my ideal career path), it generally doesn't matter what you went to school for as long as you have a degree. Here in Nowhere, Indiana, it's difficult to build a solid portfolio and gain useful experience as a photographer without either a.) moving a significant distance away or b.) going to school for it. That said, I'm considering transferring to a different school, possibly a school that offers a degree in journalism. </p>

<p>As for the future of photography, I think it's a little presumptuous to make predictions like that. I say that because I've thought long and hard about the same thing, something a student considering a career in the field is apt to do. I came to the same conclusion then; that it's presumptuous to try and predict the future of a craft that has been around 150+ years and survived through the Industrial Revolution, two world wars, the Space Race, and the dawn of the Information Age. I don't see video as a replacement for still photography. If still photography was considered inferior or somehow lacking in comparison, the transition would have already happened. I do believe video and multimedia will compliment still photography more so than in the past and I'd like to embrace the new possibilities that brings. I <em>am</em> interested in the moving image, but it's a craft and art form unto itself.</p>

<p>In the end, it really doesn't matter what the future of photography is. If someone decides against a career as a photographer because they're afraid still photography is obsolete, they didn't have the resolve to make it in the first place.</p>

[jtk]

<p>Andrew W, if a person felt it was important to become a professional photographer, for some reason, he would move to a place where professional photography had more potential than "Nowhere, Indiana" (though I remember reading somewhere that Indiana folks do occasionally "get married" and "have kids" so there may be professional photo potential there).</p>

<p>I was given some beautiful photo books that depict various Nowhere places, photographers who live in those places. I'm pretty sure location isn't an issue if a person is committed to photography and doesn't need to make a living at it. </p>

<p> </p>

[jtk]

<p>Nowhere photographers: <a href="http://www.fractionmagazine.com/issue/issue-21/">http://www.fractionmagazine.com/issue/issue-21/</a></p>

<p>(see also the many earlier issues)</p>

[luis_g]

<p>Andrew, there has been a steady trickle of first-rate journalism from the 'nowheres' of the world. What you see as a negative is precisely what can be used to learn human engineering skills & put together an unusual, stand-out portfolio.</p>

<p>Look at Bill Owens' <em>Suburbia.</em> Everybody knew that was nowhere until Owens saw it.</p>

<p> If you (or anyone else) are having problems getting motivated where you are, it doesn't mean there's anything wrong with you, or that it instantly signifies you as a non-great.</p>

<p>For a PJ education, University of Missouri's school of journalism would be my first choice. 2nd, Ohio U. But that has nothing to do with your original post.</p>

<p> </p>

[scott_murphy_photography]

<p>Try going to a stock photo site like <a href="http://www.istockphoto.com/index.php">http://www.istockphoto.com/index.php</a> . Type in the kind of photographs you are interested in and just peruse the thousands of images. I use it a good bit when I am looking for ideas.</p>

[andrew_west5]

<blockquote>

<p>Andrew W, if a person felt it was important to become a professional photographer, for some reason, he would move to a place where professional photography had more potential than "Nowhere, Indiana" (though I remember reading somewhere that Indiana folks do occasionally "get married" and "have kids" so there may be professional photo potential there).<br>

I was given some beautiful photo books that depict various Nowhere places, photographers who live in those places. I'm pretty sure location isn't an issue if a person is committed to photography and doesn't need to make a living at it.</p>

</blockquote>

<p>I have no intention of spending the rest of my life here. Moving away on the income of a student, however, isn't a viable option. My interest in photography as a career is closely connected to my desire to travel. Once I'm able to do so, I will.</p>

<p>I appreciate the link to Fraction Magazine. I'd actually discovered the website awhile back, but ended up forgetting all about it. I'll have to bookmark it this time.</p>

<blockquote>

<p>Andrew, there has been a steady trickle of first-rate journalism from the 'nowheres' of the world. What you see as a negative is precisely what can be used to learn human engineering skills & put together an unusual, stand-out portfolio.<br>

Look at Bill Owens' <em>Suburbia.</em> Everybody knew that was nowhere until Owens saw it.<br>

If you (or anyone else) are having problems getting motivated where you are, it doesn't mean there's anything wrong with you, or that it instantly signifies you as a non-great.<br>

For a PJ education, University of Missouri's school of journalism would be my first choice. 2nd, Ohio U. But that has nothing to do with your original post.</p>

</blockquote>

<p>For awhile I did see my location as a negative. I suppose more and more, I've been appreciating the benefits though, much like you said. The long stretches of empty road; vast, barren landscapes stretching into the distance, and anonymous little towns frozen in various states of time can all make for a unique portfolio and the remoteness does require some creative problem solving. Maybe in the end, I'll be a better photographer for it. </p>

<p> </p>

[antoniobassiphotography]

<p>The bike thing works. Henri Cartier-Bresson said something that I believe is very true and helpful: a journalist asked him how he managed to find such beautiful subjects and situations and he replied that he lived life and situations just found him. Of course you don't need to travel the whole world the way he did in order to find occasions for inspiration but if you bring your camera with you everywhere you go and be "aware", it will help.<br>

I do it this way: instead of going out determined to get some good shots, I just have my camera always ready and use it only if I find subjects or situations that really grab my attention and stimulate my mind. Sometimes, I go out with one of my old Nikon film cameras and all I get is a real bad back pain...<br>

The point is... Don't think too much but be alert for interesting aspects of life all around us and always have your camera ready. This is the way I do it, unless I have a specific project that requires preparation and study.</p>

[dan_south]

 

<blockquote>

<p>The notion of going out there and shoot is really simple. I like what I'm doing which is the most important reason of all to do it. Having fun out there is all that is needed. Having fun studying photographic history, visiting galleries and what not is another but only if you like doing it and not out of a notion to look for inspiration.</p>

</blockquote>

<p>This is a very important point and a brilliant observation. Just put yourself in a place, any place, with a camera in your hand. You don't have to set out on a quest for inspiration. Inspiration will eventually walk by and practically tap you on the shoulder.</p>

<p> </p>

<blockquote>

<p>You just need to challenge yourself time and again and for that to work having (a lot of) fun doing it.</p>

</blockquote>

<p>Another wise observation. We respond naturally to challenges. Take a disposable camera challenge one day, a wide-angle only challenge the next, a shoot only things that are red challenge the next. Your brain will surge with new observations.</p>

<p>It also helps to organize the area by drawing a little map or a checklist of everything you see. All of these techniques tune you in to your surroundings more thoroughly than passive observation would.</p>