The Craft

Sep 30th


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CategoryPosted in: The Big Q, The Craft, Vision Is Better

Bodies of Work


Another question from my recent Q&A on Facebook. Some of the questions needed more time and space to answer, this is one of those:

How do develop from taking random images to working on projects? What makes a good project? When is it finished?

First, I think it’s important to recognize that there are no rules on any of this. The big question is this: what do you want to create? In the case of projects, what I will call a body of work, I think what transforms random individual images into a body of work is cohesion – they work together in some way. How they work together is where you need to get creative. Perhaps that cohesion is created by visual cues – like a similar treatment in post-production, and perhaps that cohesion comes from a concept or an idea that will get expressed in different ways. Or maybe it’s both. This is purely my own opinion, but I think the more those images work together, complementing each other but filling in different parts of the larger picture, the stronger the project will be. So for me that means – like a photo essay – a variety of compositions – from very wide to very intimate. Those can provide a rhythm that I think is important in our experience of the larger body of work.

Does that mean I am aware of the body of work while I’m making photographs? Well, yes and no. I generally get a sense of things the further they progress, and the more photographs I make the more I know the direction that it’s taking, and I know this because it’s what feels right to me. So much of what I photograph is a reaction to a place and I never know what that reaction will be, so it’s progressive. It also means it takes time, and it takes play. I need to experiment, especially at the beginning, with different ways of expression. Is this a black and white series or colour? Does it share a colour palette, or is the visual unity accomplished in some other way – perhaps all the images are horizontal 16:9 frames, or vertical 4:5 frames. And some of that too, will depend on how I plan to show this work. Will it be framed, or will it be a book?  Or is it both? None of these questions have right answers, it’s more about possibilities, following my curiosity, and knowing it when I see it.

What makes a good project, for me, is a definable scope or idea. Right now I’m working on an idea for a book about my experience of Canada, particularly the wilder parts of this country. Knowing what will be in the book, and what will not is helpful to me. So in this case, it’s Canada at the edges, the parts that really draw me. It’s Yukon colours and bears and coastal scenes, not the Prairies, which are certainly part of Canada, but don’t have a place in this particular body of work. Constraints help me. And in this case, the book will a body of work comprised of multiple smaller bodies, so the challenge will be creating smaller projects with a visual unity, that can also be woven into a larger whole, the differences between those projects are what will give the book its rhythm and help me avoid homogeny.

As for when it’s finished, well that is a harder one, but again, flexible constraints help me. I like deadlines. And sure, they can move – because they serve my creative process, not the other way around – but knowing it’s done when I reach my deadline, or when I meet the conditions of another constraint (for example, I will know I am done when I have 24 images that work together and feel right) is helpful to me. Of course, knowing when it feels right means at some point I just have to make a decision, isn’t always easy, but that’s part of creativity, having the courage to be done and getting it out into the world. No more second guessing, no paralysis from the desire to be perfect, just knowing that whatever about it that remains imperfected will have to find its expression in the next project.

And I think that’s also key for me, to move onto something new immediately. To start the exploration into new subjects or new ways of expression, and as quickly as I am able, to find the new project. The more time I leave between finishing one and beginning another, the less momentum I have, and the harder it is to begin.

The hardest question that remains unasked, and for which I can give no answer, is the one we’re always thinking: what should my next personal project be? That’s the hard stuff and all I can say is be aware of where your curiosity is leading you, be aware of what interests you, and of the things that get your blood pumping. Pursue those things and see how far the rabbit hole goes.

I love this community and am actively seeking ways to interact and serve. Got a question – about creativity, composition, making a living with your creativity, travel, etc.? Leave them in the comments. I can’t promise I’ll get to them all, but I’ll try – either in the comments or as a dedicated post. It helps me too, because the hardest part of writing is coming up with relevant and helpful material.  Thank you!

Jun 23rd


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CategoryPosted in: Craft & Vision, The Craft, Tutorials &Technique


If you want to really learn your craft, it’s more than buttons and dials. You need to be able to take all the technical stuff you’ve got under your belt and apply it to create particular moods and aesthetics. You’d be hard pressed to find a commercial photographer with more credibility, experience, and the desire […]

May 18th


Comments Comments 5
CategoryPosted in: Books, Craft & Vision, e-books, The Craft

New eBook: Nightscape

David Kingham and I met in person for the first time recently, but even before we met I had the strong feeling he was my kind of guy. He lives nomadically in his truck with his dog, sleeping in hotels only when he’s running one of his popular night photography workshops. He’s definitely my kind […]

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