Seeing the big picture

Aerial view of the Niagara Falls. Ontario.Canada. June 7, 2012.

“You should not have a favorite weapon. To become over−familiar with one weapon is as much a fault as not knowing it sufficiently well.”

– Miyamoto Musashi, “The Book of Five Rings

In my academic research, I am often faced with a choice of exploring a new subject or focussing deeper on my core area of expertise. It is the well-known dilemma of specializing versus generalizing. Professional photographers face the same question when they decide to niche down on a specific subject or remain generalists.

Tim Ferriss, who wrote a very popular book about learning called “The 4-Hour Chef,” made compelling arguments for being a generalist. Specifically, being proficient in many areas allows one to see the big picture, recognize and explore connections and similarities between these areas. Aspiring to be the “jack of all trades and master of many”, as Ferris puts it, is also inherently more fun, and thus more conducive to happiness in daily life than forcing yourself to niche down for the sake of rapidly diminishing returns on your investment of effort in one specific activity.

I think that being a professional photographer, but not investing your entire identity into it, paradoxically, makes you a better photographer in the long term. This is somewhat similar to budo, the way of the martial arts, following which on a certain (high) level requires exploring other human activities, learning about human nature  and applying this knowledge to one’s core area of expertise. In fact, Minamoto Musashi,  who stated the principles for following the Way of Strategy in his “Book of Five Rings” (Go Rin no Sho), instructs: “Become aquatinted with every art.” and “Develop intuitive judgement and understanding for everything.”

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The skill of observation

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“The world is full of obvious things”

–  Sir Arthur Conan Doyle, “The Hound of the Baskervilles

I noticed a while ago, that many of my colleague in academia (most of them engineers or scientists) have strong personal interests in creative activities like art, photography, writing, etc. I have been wondering what aspects are common between the creative process and knowledge work, such as academic research. This question comes up every now and then in the discussions of whether artistic training is meaningful for people of other professions (I think there is an implicit assumption that is different parts of the rain are responsible for intuitive and logical thought processes, the two ways of thinking are not generally applicable to the same problems).

I think the common skill that is important to both artists and scientists is the skill of observation. Learning to observe one’s environment and people within it is the core of the artistic training. There is a book by Alexandra Horowitz called “On Looking: A Walker’s Guide to the Art of Observation,” which explores how thoughtful observation of trivial details reveals the world as seen through other people’s eyes.

Of course, observation alone is not sufficient. The process of creating an object of art also involves communicating the information crystallized through observation to the audience. The skills of observation, processing of information (identifying key elements) and communicating it to others easily translate to academic work, or most other activities, for that matter. So I would like to think that my taking photos or practicing kendo indirectly benefits my research. This seems to work for many prominent colleagues, so I am sticking with it.

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Developing a unique style

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Technical proficiency is a foundation of any activity, including all genres of photography, but it is deviations from the conventional standards that constitutes a unique, personal style. That is, until other people start to imitate them. Then, the style becomes popular and eventually turns into a new mainstream.

I came across a very insightful interview with Dan Carlin, who publishes a fascinating podcast called “Hardcore History.” I learned about Carlin by listening to “Wrath of the Khans” – a refreshing alternative to revisionist descriptions of the Mongol invasions (e.g. “Genghis Khan and the Making of the Modern World.”) In the interview, Carlin talkes about “copyrighting your shortcomings” (not an exact quote), making them part of the personal brand. In other words, our unique ways of doing things are the essence of our personal styles. In a similar spirit, tea bowls used in Japanese tea ceremony are sometimes deliberately cracked or chipped to give them unique appearance and character. Therefore, in the spirit of turning weaknesses into strengths, it is advisable to work on developing a personal style, rather that trying to imitate someone else.

This argument perfectly translates to photography. Often, deviation from conventional “rules” of composition, lighting, colour management and exposure results in interesting images. Initially, this habits by chance, but by critically analyzing why a particular image “works” (or not) and attempting to reproduce or enhance the same effect in later photographs, we can develop a unique, personal style.

I believe that the difference between the interesting photos that are results of blind luck (and often lack of the technical skill) and the ones that are an expression of a unique style of the artist is that the latter are created deliberately. This concept is similar to kendo, where a strike is considered “valid” (yuko datotsu) when it is executed with intention.

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Ignoring advice

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“It is just this ability to stand alone, and not feel guilty or harassed about it, of which the average person is incapable.”

– Henry Miller, “Wisdom of the Heart

In photography and knowledge work, such as academic research, as well as in  martial arts, feedback from others (mentors and teachers, friends and family, peers, training partners, models, audience) can be tremendously useful and can save enormous amounts of trial and error, which ultimately translates to time. However, if the goal is excellence, the actions must, at some point diverge from the those of the majority of other people. This not being different for the sake of being different, although there is some value in that too, especially for artists. Instead, it is a function of confidence that is earned through humble practice.

I come across this concept of balance between receiving advice and ignoring it all the time, often through my work on the editorial board of a scientific journal. Recently, the same idea came up in an interview that I listened to during random fragments of time last week. Dr. Peter Diamandis, who has been named one of “the world’s 50 greatest leaders” by Fortune Magazine and who wrote several influential books, including “Bold: How to Go Big, Create Wealth and Impact the World,” commented on the common traits of the illustrious modern entrepreneurs that he had an opportunity to work with, such as Elon Musk, Richard Branson, Jeff Bezos and Larry Page. He pointed out, that despite their very different backgrounds and personalities, these people have a common tendency to “think on their own.” They built their successes by being themselves rather than emulating someone else.

I am wondering if this self-confidence is a inherent trait or a product of environment and practice. In other words, can nurture help nature in developing this ability to think and act truly independently of the opinion of the majority? If the answer is positive, as I suspect it is, an even more interesting question would be whether the majority (or indeed, everyone) has the ability or should practice this skill. Wouldn’t it re-define what “majority” is, if everyone becomes an exception?

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Morning routine

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There is a ton of literature and online resources that teach about effectiveness of consistent morning routines. Many authors, including Tim Ferriss, who wrote “The 4-Hour Body“, point out that it is just as important to break the routines up from time to time to avoid burnout. For example, Tim said that the exercise done for results (strength, endurance, flexibility) is most effective when done consistently, i.e. without much change day-to-day, but recreational activities a best (read: more fun) when they are varied.

I have been incorporating walking into my morning exercise. A couple of weeks ago, I took a decidedly un-urban route to the top of the Mt. Doug. Today, in the spirit of changing things up, I took a short walk through our neighborhood and am typing these words on my phone in a local Starbucks. (No, it is not in Paris, despite the photo above…)

I think that mixing things up every now and then is ultimately good for any activity (I am thinking research and photography in particular). It is allowing myself to do it without potentially sacrificing efficiency in the short term that is challenging.

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Need for self-expression

Dance

Many writers commented of the benefits of writing a journal and otherwise making writing a part of their daily routine. Besides increasing their productivity, developing writing skills and other obvious benefits, regular self-expression has a deeper underlying reason. As Kevin Kelly, an amazingly prolific author on the subject of technology, explained in an interview that I heard recently, it is not that we have something to say, and then we write about it. We write in order to find out what we have to say. In other words, we formulate our thoughts by writing them down.

A good example for this is academic research, where communicating the results through published articles is an integral part of the process. When I work with graduate students on a new project, we start outlining a future journal paper before starting the experiments that would eventually form its core. Doing so helps us define the focus as we work.

In a similar way, photography helps me appreciate the subject, whether it is a location, a building, a person or an event. Often, I do not have a particularly clear idea of what it was that attracted me to the subject to begin with, but by photographing it, I am able to find out its unique features. Just as writing (whether creative or technical), photography is a way of expressing our understanding of the subject. This very process crystallizes the intuitive aspects of understanding, ultimately deepening our knowledge. I think that more often than not, the author benefits from the process more than the audience does from the resulting work.

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Meaning of life

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Recently, I came upon an interview with Kevin Kelly, a co-founder of Wired magazine, who wrote, among other books, “Cool Tools“, a review of the best or unique tools for nearly any kind of job. In the interview, he shared some interesting thoughts about the dilemma between choosing a niche for your activities to optimize performance, and being a generalist, i.e. exploring a wide range of activities. By the way, this appears to be true dilemma, as there is no correct choice.

In photography, as in other activities, e.g. academic research, specializing on an area of strength has many advantages. However, if your personal domain of activity is limited, narrow specialization potentially gets you stuck on a local maximum of performance. Achieving a global maximum requires one to go down on the performance curve. In other words, we need to become beginners in order to ultimately become better in something new.

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Kelly talks about a concept of finding not just what you are good at, but what only you are good at. Searching for this global maximum of performance is very difficult as it necessarily involves ups and downs of performance. In fact, it can take an entire lifetime. Perhaps, this process of figuring out is the purpose of life.

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On leadership

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Recently, I have been listening to a podcast about military strategy and tactics of Mongols during the Genghis Khan’s campaigns. It is interesting that the Mongols valued leadership abilities of their commanders very highly. For example, there is a quote sometimes attributed to Genghis Khan (although it is more likely a variation of a quote of Alexander the Great or the Socrates) that “an army of donkeys led by a lion is better an army of lions led by a donkey.”

The basic principles of leadership certainly transcend military applications and apply to many aspects of life. After all, most of what we do day-to-day is communicate with other people. There is a vast amount of literature written about it, perhaps, Sun Tzu’s “The Art Of War” being the best known example of military strategy guidelines becoming a famous reference for business people.

For me personally, working with a research group of colleagues and graduate students, teaching a course or taking photos of people – all these activities involve leading or directing others. There are many details of leadership that are specific to a particular activity, but some key aspects are common. Here they are, taking a typical portrait photo shoot as an example:

  • Planning. This is foundation of a successful project. I need to have a clear idea of what I want to accomplish, what gear I would need, how much time the shoot would take, etc. However, there is a point of diminishing returns in planing, so at some point, it is important to just start doing things.
  • Flexibility. It is likely that things would not go exactly according to the plan. When that happens, I try to trust my experience and intuition and not over-think the choice of lens or camera settings, for example.
  • Confidence. I believe that planning and experience are the foundation of confidence, and flexibility is the result of it. Perhaps, it depends on the type of personality, but I think confidence should come naturally, not as a result of artificial effort. After all, it is really impossible to convincingly fake it, and also, there is a fine line between confidence and arrogance.
  • Communication. It is a two-way process, and when I am in a leading role, I control how the communication occurs. As a photographer, I need be aware of how the photo shoot as it progresses and make sure that everyone knows the general plan, but has sufficient autonomy to make adjustments without waiting for specific directions. This usually happens naturally with models, assistants  and other photographers, as we establish a relaxed, fun atmosphere. Also, as I wrote earlier, asking others for feedback during the shoot is a great way of establishing a connection and avoiding mistakes.

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Practice, failure and unlearning

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Developing a skill requires consistent practice. This is common knowledge in martial arts, but it is definitely true in other areas of life. It is simply not enough to absorb new information; it is also necessary in internalize it by repeatedly tying the new skill. The role of failure in this trial process is debatable. Most people fail many times before succeeding, so it is comfortable to think that we learn from our failures. Also, it is clear that training has to be challenging to be effective. However, some argue that failure is over-rated. For example, Peter Thiel, the author of “Zero to One“, said that in the case of startup companies (which fail often), failures occur not because of a single reason, but  because of a combination of multiple factors. This makes these failures difficult to analyze and to learn from. As he puts it, a failed business is always a tragedy.

Although practice is crucial for learning, at some point in the creative process, it is necessary to “unlearn” – to put aside one’s arsenal of learned techniques and allow the intuition to take over. During photo shoots, for example, there is often no time to think through the composition, the lighting, the posing, etc. as the action unfolds. At such times, I work on trusting my experience in selecting the appropriate combination of parameters without thinking about the details. In fact, it is practice that enables this to happen – I have seen and shot similar situations enough times that I know which techniques, gear and camera settings do and to not work. In fact, knowing what does not work is particularly important for spontaneous, intuitive shooting. That knowledge, in a sense, is a product of prior failures.

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Avoiding mental attachments

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“…sometimes good things fall apart so better things can fall together.”

– Marilyn Monroe

Although planning is a crucial part of a photo production, things often do not go according to the plan during the actual photo shoot. This is not always a bad thing (some believe that anything that happens, happens for a reason), but it is important to mentally flexible if such situation occurs.

Recently, I came across some interviews and writings of Josh Waitzkin, who had a very successful career as an international-level chess player and is also an accomplished material artist (he trained in Brazilian jiu-jitsu under the instruction of the phenomenal Marcelo Garcia). Josh talks about mental attachment to past decision and how to avoid it.

To explain a mental attachment using a chess example, assume that I looked at a position on the board and decided to implement a certain combination. As the game unfolds, the opponent tries to implement his/her own plan, which changes the situation – what used to be a good plan, becomes not so good, because the objective situation has changed. (This is what makes chess and martial arts so much like real life.) If I stay mentally attached to the original plan of action, my own actions would make the situation worse, because they would be out-of-touch with the objective reality. In martial arts also, one of the fundamental concepts is to be present in the moment, “read” the opponent and not to be absorbed by one’s own thoughts and fears.

I believe that like any fundamental skill, mental flexibility in the face of unexpected changes requires practice. In photography, for example, if my arsenal of shooting and lighting techniques is fairly diverse, I would be able to adjust my shooting if the location, models or props do not work the way it was planned.

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