A problem I have been trying to overcome...now coming to head emotionally

[Wouter Willemse]

<blockquote>

<p>...crippling indecision is a direct result of creative fear. Fear that you aren't reaching your potential, a vague, unsettling feeling that you can't satisfy your own vision of what the work should be saying or what it should look and feel like ... as a reflection of your own emotional reactions and creative sense. Of course this frustration isn't uncommon, nor does it ever fully go away. Yet, it need not freeze one in suspended animation. The very thing that is creating the indecision, that vague "emotional reaction and creative sense" is the source of its solution ... you just need to identify it more clearly.</p>

</blockquote>

<p>That's about as good (and beautiful) a description as I ever read. Thanks Marc for a very insightful post, that's worth rereading a few times.<br>

With still the same caveat of being just an amateur... I hate getting stuck creatively. It makes me miss photography and the reflection is gives me. I feel I produce nonsens with no added value for nobody (only possibly my camera maker will benefit as it may cause me to buy stuff I do not need). The one thing that usually helps me is continuing to shoot. Keep trying. Keep piling up disappointing photos... and then suddenly, one day it all falls back together in place. But - a bit better than before, sharper, clearer.<br>

Clearing the roadblocks is a way up the mountain, not just a road ahead. It's growth. It's very much worth it, even if it's not always fun.<br>

___<br>

Marc's post is also why I prefer the use of "voice" over style. Style, for many photographers I know (pro and non-pro) is a fixed selection of edits in Photoshop to reach a consistent look. High-key washed out portraits with lots of blur, harshly-sharpened low-key black and white... It's looks, it's fashion, and it passes. A voice is about personality, it's a lot bigger.</p>

<p>Just a thought from another angle there....As a customer, I would be very hesitant to choose that for wedding photos - classic, solid photos of a competent creative pro are still a gold standard, in my view. Those photos are great today, and they will be tomorrow. Those pre-fab styles... in 5 years, you'll be apologising it was fashion at the time.<br>

There are notable cultural differences in what people expect in this respect, so I cannot judge for all markets (nor am I in any market in that sense), but I always feel there is plenty place for this more 'classic' approach. Good quality photos first and foremost, and a lot less focus on applying a specific look onto them.<br>

___</p>

<blockquote>

<p>Learning isn't just for newbies: it's for everybody who cares about what they're doing.</p>

</blockquote>

<p>This should be the header of the Beginner's Forum :-) Love reading this phrase.<br>

Now, forgive me if i step on toes, but many in this thread state their years of experience, and even up to the point where a specific experience with film would make one more qualified (I have only ~10 years of experience and 99% digital, so there you go...). I value experience, but experience is a 2-edged sword.</p>

<p>Experience for 50 years could be 50 years of doing the same thing. If you never wondered, never hit a creative block like Tammy dared to describe, then your experience might well be repeating what you've always done. If you do not creatively challenge yourself and push yourself into new territories, then your experience with swapping out rolls of film does not push the emotional content of photos much further. Experience is knowledge, but it's how you apply that knowledge that'll eventually make the difference.<br>

Realising I speak as a young dog, but William's phrase on continuous learning is a nice reminder that experience might be the most valuable skill you have -if your knowledge enables you better to try new things - or the most invalidating skill you have - if your knowledge is a recipe you repeat.</p>

[lindsay_dobson]

<p>Marc said:<br>

<strong>"Just because I can do something, doesn't mean I should or will. If you leave your brand definition up to the public, it'll end up a dog's breakfast of eclectic mimicry ... with a resulting body of work that's even more confusing and inconsistent.</strong><br>

<strong>This isn't to say do not listen to your immediate client, that ship may have sailed because it may have not been clear why they hired you. However, it is a clear directional cue as to the need to define that more clearly so you can counter off brand requests in a positive and pro-active manner."</strong></p>

<p>This. 100%. <br>

And Tammy, how did you learn photography? I imagine you worked your way through the technical basics which enabled you to begin experimenting, perhaps recreating work you admire, and ultimately developing the beginnings of your own photographic style. Well, post-production is the same, and it can take as long to master as photography itself. I would therefore advise taking the same route - getting a handle on the basic tools and simply applying sound basic techniques until you eventually reach a point where you have identified the processes which best represent how you wish your product to be defined. And remember it is you who ultimately defines your brand, nobody else. Work with like-minded clients, those who "get" what you do.</p>

[tammy_mckindle]

<p>Marc - you hit the nail on the head! I have already come to the conclusion of 2 separate websites, I don't want to be seen of a 'jack of all trades'. <br /><br />Very inspiring words here :), and I am definitely taking the advice upon the 'current fashions statements I don't want my photos to die a short lived - knowing that helps me to take a step forward in my style, knowing which route I want to take and which ones I don't. <br>

Lindsay - I learnt the basics of photography in college and much more in-depth technically and theoretically in University...I don't have a problem with using any tools available to me, it's just finding the right balance in my post-production work that I am happy with. <br /><br />I'm going to go off an test on a previous wedding and have a gander. :)</p>

[lindsay_dobson]

<p>I think you misunderstood my message Tammy, my question was partly rhetorical. My point was that since you appear to be struggling to identify or decide upon a consistent personal style within your post-production then it makes sense to simply return to first principles and stick with a basic process until you find the conclusion you're seeking. I presume that would be the same kind of coherent path you followed through college and university whilst developing and progressing your photography skills. </p>

[tammy_mckindle]

<p>Ahh right I get you. Thanks you</p>

[dave_wilson1]

To add to some of the above. If you as an artist are not furthering your journey every time you make a series of shots,

continuing to learn and improve, you're done. The timer has beeped, the little white stick in the turkey has popped out,

and you have pooped out. Time to stop, regroup and set new goals for yourself. I don't see how a personal style or voice

can be rushed. It's the same with a musician. It develops in time after many life experiences. But, having clear concise

goals and points of yes or no is very important. In other words, look at 100 shots, decide which ones are closest to your

personal voice or expression. That's the yes or no. Then take the yes and grow.

[ejder]

<p>Just make them look pretty and establish a consistent pattern for color, contrast, and styles. If it involves old style stuff like heavy blurring (blur-glow that makes it look dreamy and superfake) and selective color...don't do that if you want to stay modern.</p>

[ellery_chua___singapore]

<p>Okay this come out of digesting day 2 of Yervant's workshop running at Creative Live. He mentioned that he creates for his clients aka the bride as good a piece of art as he can for around 30 plus images out of the 100/120 that the client selects. What he does is guided by the consultancy meeting where he sorts out what the client likes and more importantly wants - the work done is broadly defined by that. It is not a blind all out attempt to create the biggest piece of artwork per image - from experience this can be time draining to try to irk out every last iota of possibilities after a point only you would spot the slight differences you'd probably lost the client some ways back. Of course if you showed before and afters they most probably could see what you mean. <br>

As for the look, there is a good and bad to this. If your look depends heavily of a post processed setting, you are at the mercy of being copied by countless others as soon as this becomes popular, or it could be so generic that any one using the same preset or program will achieve this. Yes I agree there is a strong need to do some degree of post processing just to differentiate one from the hoards of new wanna bees, who may will post process better than you (see that they have low job volume and need to post to cover fundamental flaws) the dangers are too much post makes an image become too unreal - badly done HDR images come mind and the toll on time; a pro's most valuable resource. I think you may need to take time to clear your head, you appear too close to the work now; step back take time to recreate yourself. Take inspiration at the other photographers who shoot in a manner similar to yourself and produce work that makes you go wow. Not all big names will produce work that makes you go wow, even then the same work say 2 years down the road may seem so mundane. It happens as your vision grows that which entrances you changes. Then come back to the work. Perhaps a good starting points for clients is the best each images you deliver could be with dramatic super unrealistic post production, what we call good photography with a light touch of the magical extra. (even this takes time - am editing a recent wedding in light of what Yervant said - it is shaping up to be one for the best job done category. I am applying what I say to you here there).<br>

Okay I do not know how you shoot or what you produce, is there any one you assisted who would spare you an hour or two to look thru what you have done. Being there at the same job, those would be the best people who would know what could have been gotten from the shot. Out of curiosity how long and how many jobs you have assisted on ? </p>

[simon_hickie1]

<p>Tammy, I'm a little late to the thread and I'm not a pro, but I'm delighted you felt able to voice your anxiety.</p>

<p>I was at a wedding a few weeks ago. The official photograper had an engagement shoot with the couple as well as working through what worked for the couple and what didn't. He then tailored the wedding shoot to what they were looking for. Now his 'style' isn't mine, but it would seen it's what they wanted. Therefore, focusing on client needs and expectations is the key issue.</p>

<p>Beware of offering the client too many choices though. <em>The Paradox of Choice - Why More Is Less</em> (2004) by Barry Schwartz argues that reducing the number of choices for consumers reduces their anxiety when making a decision. Too many choices leads to the danger of 'paralysis by analysis'. If you over analyse, you end up doing nothing. I think this applies to professional photographers too!</p>

<p>I echo the strategy of 'getting it right in camera' in terms of composition, lighting and exposure. I hate fiddling about in post processing trying to fix things I shouldn't have got wrong when I took the picture. My approach for post processing is as follows:</p>

<p>Use a consistent workflow for RAW processing to give good solid TIFF files with appropriate noise, shadow and highlight treatment (e.g. for Nikon RAW files I use Capture NX, protect highlights and shadows, and apply noise reductionn and output 16 bit TIFF files)</p>

<p>Then I simply straighten and crop if needed and apply any relevant filters (e.g. a bit of glamour glow or dynamic skin softening in Nik Efex). It's also a relatively trivial process to batch process all the colour TIFFS to produce a set of B&W images. I have my own saved presets in Nik Silver Efex for the toning and borders I like.</p>

<p>Finally, feel free to critique my Wedding Gallery here on Pnet (I can take the criticism!!). I can guarantee you are a better photographer than me and more creative with your outputs. However, the people I took these images for were happy, and ultimately that's what matters.</p>

[lightcraftsman]

<p>Tammy, you've received some excellent advice about the creative and technical aspects of photography here. I'm going to give a different perspective.</p>

<p>I took an organizational change class this spring (yes, I'm old enough to be a grandfather and just getting around to finishing my degree). You are going through the same thing everyone goes through during a transition. Your frustration is normal and healthy. The way to overcome it is to create a change management plan. Decide where you want to go, then think of ways to get there. Perhaps devoting one hour per day to working on a specific photograph will help. Make time to take photos for yourself and develop your style. Get a copy of the book <em>Managing Transitions </em>by William Bridges. That was our text for the class and it is an excellent introduction to the subject.</p>

<p>Most of all, don't be paralyzed by change. Concentrate on the small steps in the process and you will get through this and be a more confident person and photographer.</p>

<p>Like many others here I've been at photography for a long time. I've done a lot of different types of photography over the years, but it wasn't until I was 57 years old that I decided what I want to be when I grow up. I'm in the midst of that career change right now; concentrating on fine art landscape photography, working on a business plan and, yes, refining my personal style and developing my brand. Geez, I hope that doesn't discourage you.</p>

[savagesax]

It's been a long time since so many posted on this site! I guess we hit something to get deeply involved. Safe weekend folks.

[savagesax]

Virginia John Mybusiness -

 

Thats just too cool to be a photographer for 60 years. I guess you are past the beginning stage! just fantastic. I took a peak at your images. Hope you've written a few books. I enjoyed looking.