shooting for gold

by julie posted January 22, 2008

Would we be doing things any differently if we were to view our current work as some sort of practice? Like Zen in the Art of Archery – where as much painstaking attention is paid to breathing and holding the bow, as actually trying to hit the target – in fact the target is inconsequential to the learning process! Could we be applying that same concept to our photography?

I wonder how it would translate though. Something as simple as exposure: reading the light, knowing what depth of field you get at certain apertures on your favourite lens, or is it less technical and more about how to approach subjects, or certain kinds of composition? I’ve noticed that since I did that goldfish shot, I’m paying more attention to water and how it changes our view of what’s underneath – then I notice reflections, and how they interact with what you see through them, and then became fascinated by the effects of shooting through glass, with similar qualities. Now that I’m conscious of that, and starting to notice opportunities to explore it when I’m out wandering with my camera, am I practicing how to approach that subject so that when the fantastic image comes along that incorporates that, I’ll be able to react instinctively to it? Am I building skills to be used as part of a toolset? Does it make any sense to view it as such just now? I just wondered, after reading this:

When you’re betting for tiles in an archery contest, you shoot with skill. When you’re betting for fancy belt buckles, you worry about your aim. And when you’re betting for real gold, you’re a nervous wreck. Your skill is the same in all three cases – but because one prize means more to you than another you let outside considerations weigh on your mind. He who looks too hard at the outside gets clumsy on the inside.

(The Tao of Photography: Seeing Beyond Seeing, p. 23)

Would it take off a whole load of pressure if we didn’t shoot like we’re competing for gold? And would that actually allow us to work more instinctively? It seems almost contradictory, the two concepts of going on instinct and consciously practicing techniques. But I’m sure there’s a way to combine them, so that we can progress further and develop our instincts/skill.

I know it probably seems like I’m re-hashing what I talked about before with exercises in composition etc, but in that case, I was thinking about the exercises as being taken as separate from your other shooting. I think there’s something to be said for this slightly alternative approach. I’m not totally sure how you put it into practice though, since it’s less of a physical activity and more of a mindset. Need to have a think about that one – and read more of the “Tao of Photography” book!

12 Responses to shooting for gold

  1. re: thinking about DoF and all that other technical stuff.

    it’s amazing what you can get from a polaroid or holga when all those options are taken away from you. yes, they can be used creatively, but instinct is sooooo important. and so zen, too : )

  2. re: thinking about DoF and all that other technical stuff.

    it’s amazing what you can get from a polaroid or holga when all those options are taken away from you. yes, they can be used creatively, but instinct is sooooo important. and so zen, too : )

  3. But when the options are taken away from you, are you conscious of that when you’re shooting with them, and using it to your advantage?

    Uh oh, I’ve just started another post in my head…

  4. But when the options are taken away from you, are you conscious of that when you’re shooting with them, and using it to your advantage?

    Uh oh, I’ve just started another post in my head…

  5. I do think that pressure is of when not ‘shooting for gold’. At that point, you’re shooting for the love it. Then, you’ve disengaged your ego and can get in touch with your intuition. The self-doubt, inner critic, and judge are gone. You’ve nothing to lose. You’ve nothing to gain. You are just enjoying and relishing the moment. It’s pure fun.

    When you start to compete and to be judged, then the ego takes over and you start to ‘squeeze’, as I say. That is you get nervous and start thinking rather than feeling.

    Sometimes, I like to take a few minutes to enjoy my surroundings, feel the breeze, listen to the water, watch the light, and then start shooting whatever calls to me.

  6. I do think that pressure is of when not ‘shooting for gold’. At that point, you’re shooting for the love it. Then, you’ve disengaged your ego and can get in touch with your intuition. The self-doubt, inner critic, and judge are gone. You’ve nothing to lose. You’ve nothing to gain. You are just enjoying and relishing the moment. It’s pure fun.

    When you start to compete and to be judged, then the ego takes over and you start to ‘squeeze’, as I say. That is you get nervous and start thinking rather than feeling.

    Sometimes, I like to take a few minutes to enjoy my surroundings, feel the breeze, listen to the water, watch the light, and then start shooting whatever calls to me.

  7. ……. thinking ……..

    on reflection, i think that the more you are constrained, the more you let go of all that control stuff. i become less conscious and more subconscious.

    and the corollary is this: the more control options you have, the more you try to control the image.

  8. ……. thinking ……..

    on reflection, i think that the more you are constrained, the more you let go of all that control stuff. i become less conscious and more subconscious.

    and the corollary is this: the more control options you have, the more you try to control the image.

  9. So there are two threads coming from this: one is relinquishing (/reducing?) control in order to tune in to your intuition, and the other is letting go of your imaginary audience, both of which should theoretically leave you with images made with feeling, rather than effort…

  10. So there are two threads coming from this: one is relinquishing (/reducing?) control in order to tune in to your intuition, and the other is letting go of your imaginary audience, both of which should theoretically leave you with images made with feeling, rather than effort…

  11. what paul says reminds me of how harry callahan worked. he’d go down to the beach with his camera and just walk for half an hour… just to relax, to let go of the everyday stresses. *then* he’d start thinking about making a picture. your frame of mind is very important.

  12. what paul says reminds me of how harry callahan worked. he’d go down to the beach with his camera and just walk for half an hour… just to relax, to let go of the everyday stresses. *then* he’d start thinking about making a picture. your frame of mind is very important.

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