Back-loaded workflow

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Photography projects can be broadly categorized into front- and back-loaded ones in terms of production process. The former involve elaborate setup and production prior and during the photo shoot, while the latter rely on more extensive post-processing. I believe that the back-loaded workflow has many advantages, particularly when working with amateur models.

If the photo shoot itself feel simple and not stressful, the models are more likely to act naturally in front of the camera. If possible, the majority of the taken photos could be candid portraits, perhaps with natural lighting. If such candid photo sessions are done using state-of the-art equipment (cameras and lenses), and if the photographer has solid technical skills and a sense of lighting and composition, the resulting image quality would still be quite high, particularly considering the expensive post-processing phase that would follow.

Creative post-processing is what separates professional photos from amateurish snapshots in the case of a back-loaded production. Extensive photo manipulation would go beyond cropping, exposure and colour adjustments and noise control that are typically applied globally to the entire image (or even a group of images in the case of high-volume shoots of sporting events, for example). When I do serious image manipulation, I usually end up touching every pixel with a brush tool in Photoshop at some point in the process. Incidentally, I find that using a graphics tablet for this kind of work is imperative. Working with a mouse or a trackpad would be so inconvenient that it would spoil the entire fun of making the images.

I think that a combination of a low-key photo shoot and high-end, creative processing often results in the photos that pleasantly surprise the models, particularly non-professionals. A good example of when this workflow works well is concert or performance photography. I find that the performers like seeing striking, attractive images of themselves, especially because they were not focussed on looking good at the time of the shoot, but were in their element – dancing, singing, etc. Perhaps, realizing this, conveys a message that people don’t have to try too hard to look “good” (substitute “cool”, “tough”, “sexy”, “strong” as appropriate), but that they are already seen that way from the outside.

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Old news

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Most of the content that is being generated in research, art, literature, etc. is not new, but a re-statement of old concepts. This does not mean that re-visiting old ideas is a useless exercise. In fact, calling something an “exercise” implies that the activity has some intrinsic value.

My three-year-old daughter and her friends like listening to the same stories, watch the same cartoons and play the same games day after day. Of course, their preferences change periodically, but it is still fascinating to see how much children like repetition. Naturally, this is part of their learning process. Similarly, perhaps, re-visiting old ideas helps us learn the underlying concepts and even shape the ideas themselves.

Many authors wrote about the benefits journalling or blogging. One of these benefit is the ability to formulate an idea or point of view. For example, Kevin Kelly, the author of “What Technology Wants,” among other popular books, points out that the writing process does not start with formulating the idea in one’s head and then setting on expressing them in written words. Instead, we start writing, often on the same topics that we or others have addressed before, and through this process, the old ideas become clarified and (re-)formulated.

Similarly, photographing or painting a familiar subject, such as a still life or a landscape, not only refines the technique, but opens up new dimensions of the subject. Perhaps, this is why the old works of art are sometimes entitled “studies.”

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Making plans

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I wrote earlier that my view of the planning process had been influenced by the books I read a few years ago, when starting my work as a university professor. One of them is “Advice for New Faculty Members” by Robert Boice.

In this book, Boice makes a case that planning as a process lends itself well to brief, regular sessions. In other words, I don’t have to wait for a large chunk of uninterrupted time in my schedule to begin planning something (e.g. a lecture, a photo shoot, a vacation, etc.) Not only this large segment of time might not appear for a long time, but when it does marialize, it would be better used for a more creative or “deep” activity. As far as planning, it works just fine when done in small chunks.

Working on planning in small increments accomplishes two things: (a) it allows us to start the process early, which reduces the stress as the deadline approaches, and (b) it allows us to visualize the actual event (the lecture, the photo shoot, etc.) between the planning sessions. I find the latter part particularly valuable, because without a clear vision of the outcome, the plan itself is not particularly useful. To borrow an analogy from Matt Mullenweg, a dog chasing a car might have a good plan for how to catch it, but no idea what to do if it succeeds.

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On hacking

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Recently, I have come across many discussion of hacking a certain process or system – achieving significant results in unconventional, often more efficient, ways. One of the observations about the hacker mentality that I particularly like is that “innovation” means not accepting the current norm. I like it because it seems that in the academic community, the term innovation is currently over-used, often without a clear idea of what it actually means.

The hacker approaches to problems, such as learning new skills, are often based on the Pareto principle, often referred to the 80/20 rule, which has been discussed by many authors (e.g. Tim Ferriss in his hugely popular “The 4-Hour Workweek“). The idea is that 20% of work produces 80% of the results, so in principle, one can become fairly proficient, or al least well above average, in a certain activity (e.g. speaking a foreign language, painting, taking photos, playing a musical instrument, etc.) in a relatively short amount of time.

The idea of hacking the life-long learning is appealing, but I cannot help but think that something is missing if the “hacker mentality” is taken at face value. I just saw a documentary about top sushi chefs in Japan called “Jiro Dreams of Sushi,” and I think there is no shortcut to the level of excellence comparable to that, which requires an apprentice chef to work on less important tasks for ten years before he is allowed to cook rice. It seems that the 99-th percentile is infinitely far from the Pareto’s 80-th, and the price for this part of the journey is very high, but perhaps, you do get what you pay for.

Craft

Travel itineraries

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Planning is an important stage of travel. Even though spontaneity during the trip itself is crucial for being able to unplug from the daily home routine, thoughtful planning (even if it is done in broad strokes) can make a difference between an enjoyable and a stressful experience on the road. Currently, getting into the specifics of the future summer trip to Europe begins to give it a sense of reality through anticipation.

My wife and I often combine photography-focussed trips with family vacations. Having a small child substantially changed the dynamics, so the style of the photos have adapted as well. We used to like what Rick Steves refers to  as “whirlwind tours” of a country, where we would travel by car to a new location every day or two. Now, with our daughter, our preference shifted to a one or two home bases, from which we would do day trips to explore the sites.

The latter type of itinerary also better suites my current style of travel photography. I like to focus more on people than on the sites themselves, and having more time in a same location allows me to study the local dynamics a bit deeper, to look at the place through the eyes of a local person. Even just a few days in a city or a town, allows me to makes the vicinity of the home base “my own.” It is the sense of personal preferences (things that I like and don’t like about the place) and forming micro-routines (e.g. finding the best local bakery and a market) that enable this sense of familiarity with the new place to develop.

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To do or not to do

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“No! Try not. Do, or do not. There is no try.”
– George Lucas (Yoda, “Star Wars, Episode V: The Empire Strikes Back“)

I wrote earlier about the importance of exploring new subjects and techniques for one’s development as a photographer and an overall well-rounded person. It is equally important to practice the skill of not pursuing new projects, as James Altucher explains in his book “The Power of No.” Because time, as well as energy, emotional, financial and other resources are inherently limited, there is a very real cost of pursuing new opportunities. it needs to be weighed against the potential benefits, and of course, this is the most difficult part.

Taking up a new project implies a commitment to complete it one way or another, and this aspect alone diminishes freedom to choose to do something else in the future.

Having said this, there is also an inherent risk in choosing not to do new things. In fact, a finite probability of failing at something new becomes a certainty the moment we decide not to try it. Besides, it is often difficult to fail at something completely, which can make make even a failed attempt quite valuable as many authors, who advocate thinking big point out.

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Two-stage workflow

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I like Rick Steves’ travel guides for high-level vacation planning – an overview of must-see sites in a country that can be realistically visited in a given amount of time. He often mentions, that any country is like a good novel – best enjoyed when visited for the second time. I think this two-stage approach works well for many aspects of photography – planning, shooting, processing, etc.

During the initial stage of a portrait photo shoot, for example, assuming that there would be another chance to re-visit certain aspects, explore additional angles, poses, lighting arrangements, etc. removes the stress of having to accomplish everything perfectly at the first try. This allows me to spend more time on details of the individual shots and on obtaining feedback from other people, who are involved in the shoot (photographers, models, assistants).

The second stage of the shoot, which I really takes place after a break, is where the most unexpected and interested photos are taken. Both the models and the photographers relax, knowing that the must-have images have already been captured. The resulting openness and ease in the interaction between them gives the the portraits from the follow-up session a subtle but important sense of realism and authenticity.

Neil Strauss, who interviewed many celebrities for the Rolling Stone, and is known for his book “The Game” about pickup artists, mentioned that he liked conducting the interviews in two stages, because people tend open up during the second take. I think that a two-stage interaction is not a technique to manipulate people, but simply a way to work with the fact that developing any meaningful relationship or collaboration is a process that takes time. More generally, it applies to learning, which involved developing a connection with the subject.

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Finishing projects

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Completing projects, whether it means delivering the photos to the clients or simply clearing the mental RAM by declaring the project finished, is very important for moving on to new projects. I find that it is the latter case, where there is no deliverable per se, but only some vague plans for a certain set of images, that are difficult to mentally resolve and set aside.

Currently, I am contemplating a painting (not a digital one, but actual oils on canvas) in the style of The Group of Seven, but a set of unprocessed images from a recent dance show keeps me from taking up the brush.

I only briefly looked through the dance images, and believe that some of them are quite interesting. I am really looking forward to trying some new post-processing techniques on them, so the painting would have to wait for now.

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Pre-meditated spontaneity

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On a dark and cold Saturday morning, I walked to a local cafe only to find it closed – the guy, who was supposed to open it, did not show up. While my original motivation for these Saturday morning walks was to break my usual morning routine, in other words, to deliberately have no defined pans, it turned out that looking forward to a hot cappuccino is itself a plan. Not surprisingly, unmet expectations are not fun.

It is well known that fear of not meeting one’s expectations often prevents us from trying new things. It turns out, though, that the so-called “worst case scenario,” in many cases, is not that bad in the big scheme of things. In the trivial case of the closed cafe, for example, I ended up having a (probably better) cup of coffee at home together with my wife.

Stoic philosophers like Seneca (whom, by the way, some consider to be a bit of a hypocrite, because he was a very wealthy person, despite his stoic teachings) recommended practicing coping with worst case scenarios as an effort to face one’s fears. They would pick certain days, during which they would limit themselves to the most basic food, clothes, etc. The idea is that if one learns to be content with the worst conditions, he (Romans were not politically correct, so they probably did not think that any of this applied to women) would be more confident in handling typical daily challenges.

So, if one can deliberately experience poverty or shame, can the same be done with spontaneity? I don’t see why not. I think it would be quite useful to anticipate that at some point in a project things will not go according to plan, and anticipate that it would be necessary engage intuition and creativity to the maximum. In fact, I sometimes engineer these creative or technical challenges by imposing constraints on my photography workflow. …Ok, sometimes, I just don’t plan ahead well enough, so the challenges arise naturally. Still, I’d like to think that treating the challenges as opportunities for learning is what the stoics would do.

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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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