My idea to push back sameness: Im going to start a regular film swap with a friend who currently lives abroad - we've done it once in the past and it's a great way to push ourselves to think differently, knowing that what we shoot is just half of the final picture. It forces us to be generous, taking shots that will ease the task for one another, and forces us to be thoughtful, as the time it takes to shoot our roll, wait for both of us to be in the same country, then switch and shoot again, makes it feel more valuable and unique. Plus, the random results give us inspiration to elevate our own individual photography practice.
To fight against that impending sense of sameness in my work this upcoming season, I'm just reminding myself that I really do want to continue editing my images as if each image existed in its own right way. I sometimes fall into the trap of making choices for images based on some clearer sense of cohesion for the sake of creating a strong gallery from a client shoot. But I really do appreciate in my own work, and from a gazillion other artists, when images just rely on their own magic. Batch filters and default editing choices are right out. I'm just going to keep trusting my instincts and assume that when I just make each image the best that I can, my vision and body of work will continue to evolve in the most sincere way I can muster. I don't want to be recognized for a predictable style, niche down, or create a brand aesthetic. I want to be always taking stronger images in camera and trust my instincts in post.
You have touched too many relatable points for everyone doing creative work. And things like the human aspect, meeting people, the part of feeling uncomfortable and challenged, is def some of the most important aspects of me being a creative, and it's awesome. Thanks Wesley ☀️
Really enjoy this week’s read! We don’t talk about this as often as we should.
“ Over-polished photography kills its soul. We’re here for the messy, the imperfect, and the intuitive. ” a very good advice for every photographer at every level.
This is a nice roundup of how I’ve been feeling as of late. Truest the getting physical part has been important. There’s something about writing lists, printing photos, and making tangible objects that feels needed right now.
This fits in with what I’ve been doing/thinking/feeling. I’ve been working on breaking away from taking landscape photos that look like all the other landscape photos and find what really makes my soul sing. Along with learning film photography, using a Pinsta pinhole camera and returning to writing the zero draft of fiction stories by hand.
Love this, Wesley. Aligns a lot with how I’ve been thinking about things this year. I’ve always been someone that loves and embraces the digital since having computers in our house at an early age (at a time many others didn’t!), but lately I’ve been feeling the call to analog, to writing by hand in a physical book rather than just typing on a glass screen.
That's fantastic, Jesse! I am also all in on physical note book. I get so much more out of it for meeting notes and creative brainstorms. I have started using my note book as a work scrap book as well, sticking in museum tickets or other related things. The switch to fountain pen was the moment it clicked for me.
What’s one way I can push back against sameness this year? I bought a working Canon Elan film camera at an antique store to spend some time shooting for fun and creativity instead just work all the time. It’s challenging me to go back to when I first fell in love with photography in high school and re-learn how to shoot without the instant feedback of the digital camera, to slow down and really see - to be more intentional with my shots - to wait for prints and actually start printing my images again ( excited for this nostalgia) - and for me, it’s like starting all over again. To be a beginner again, because I have no idea if what Im shooting will turn out at all. This is a wonderful thing, because it was when I was new and just playing with cameras that I feel like I got some of my most-loved images, “happy accidents” that happen when you’re just playing and learning. Images that I loved - not because they looked like something someone else made or even something that was technically good or where I was able to achieve a vision I had for the shot, but images I loved because they were unique and beautiful all by themselves, specific to the moment that they were shot. Then to bring that same mindset back to my digital work and find playfulness in photography again. This is my challenge for myself this year.
Having folks you trust to share feedback with must be such a great experience. I miss that part of being in a creative writing program in college, the critiques helped me clarify my vision so much more quickly. Are your colleagues through your job, a photography group, something similar? I've been thinking of how to actually work towards building or joining this type of community but I'm not sure where to start in my super rural community.
I try really hard to maintain real life relationships with other photographers in my area (Maine, but not exactly the rural part) and I keep in contact with art school friends across the country. Online crits are still fun! I’m trying to organize an online crit group this winter, so stay in touch!
There is a beautiful quote by my favorite filmmaker Denis Villeneuve from a Vanity Fair video in which he talks about a scene from the movie:
“I did this movie for a single audience member which is me.”
This is how I decided to approach the projects I'm doing. Whenever I'm thinking something like "I don't know if I should do this cause nobody else does it" I vowed myself to double down on that feeling and explore exactly these ideas because at the end they are probably what will make my project standout.
An example: For my recent photo book that I've created together with my best friend, we've implemented 10 written stories and added some selfies accordingly, even if that is something we haven't seen other people doing and they of course stand out a little bit among our curated photography. But we wanted to create context, show other people who we are. What makes your project YOUR project? That's a question I always want to ask myself going forward.
Greetings from Germany, love your work, Wesley! I hope I've still mangaged to enter the giveaway, 4 minutes till deadline :D
Love the manifesto! Much of it resonates especially collaboration and getting physical. Regarding what I plan to do to push again sameness in my work: I'm doing the following: 1) See with intention to discover - I tend to get very journalistic in my approach to photography and miss the nuances or fail to see from a new perspective - A daily reminder every time I pick up my camera (an R5 :)) to stop, look, and see. 2) Immerse myself in the works of others - I love looking at the work of other photographers, but rarely take the time to try to analyze their work - how did they see the light? What may have been their intent? - that's my first step at battling sameness, but I suspect more will come as we move on :)
My idea to push back sameness: Im going to start a regular film swap with a friend who currently lives abroad - we've done it once in the past and it's a great way to push ourselves to think differently, knowing that what we shoot is just half of the final picture. It forces us to be generous, taking shots that will ease the task for one another, and forces us to be thoughtful, as the time it takes to shoot our roll, wait for both of us to be in the same country, then switch and shoot again, makes it feel more valuable and unique. Plus, the random results give us inspiration to elevate our own individual photography practice.
That is such a fun idea!
To fight against that impending sense of sameness in my work this upcoming season, I'm just reminding myself that I really do want to continue editing my images as if each image existed in its own right way. I sometimes fall into the trap of making choices for images based on some clearer sense of cohesion for the sake of creating a strong gallery from a client shoot. But I really do appreciate in my own work, and from a gazillion other artists, when images just rely on their own magic. Batch filters and default editing choices are right out. I'm just going to keep trusting my instincts and assume that when I just make each image the best that I can, my vision and body of work will continue to evolve in the most sincere way I can muster. I don't want to be recognized for a predictable style, niche down, or create a brand aesthetic. I want to be always taking stronger images in camera and trust my instincts in post.
trust those instincts kate! thank you for sharing!
Love your words here Kate. Thanks for sharing.
Suzi! Thanks for being so kind. ♥️
You have touched too many relatable points for everyone doing creative work. And things like the human aspect, meeting people, the part of feeling uncomfortable and challenged, is def some of the most important aspects of me being a creative, and it's awesome. Thanks Wesley ☀️
thanks so much for seeing that boris!
I'll add a rule of my own to the already great manifesto:
You do you. Resist the urge to compare your work to the work of others.
yes!
Really enjoy this week’s read! We don’t talk about this as often as we should.
“ Over-polished photography kills its soul. We’re here for the messy, the imperfect, and the intuitive. ” a very good advice for every photographer at every level.
Looking forward to the next week’s reading!
Thank you Arshya!
Absolutely love this, Wesley. I think most of us and any creative soul will relate.
So glad to hear Xavi!
This is a nice roundup of how I’ve been feeling as of late. Truest the getting physical part has been important. There’s something about writing lists, printing photos, and making tangible objects that feels needed right now.
100%!
This is pure gold.
Every creative should read this and take it to heart.
Having had a year of feeling like I was marking time, I have begun a daily challenge to do something creative to completion.
A photograph, a story, a design... every day.
Also started my long overdue journaling again.
Dusted off the Deardorff, loaded some paper negs up, and out the door to do some work in the desert.
Thanks for this kick in the pants, Wesley.
Every creative person should thank you.
Don, thank you for those kind words. It inspired a big smile and a warm heart. Really glad!
Excellent! We should hang this near our desk to keep it is a constant reminder!
Thank you Susanne! So glad youre feeling it!
I think I can fully identify with this manifesto.
thanks so much Marcel! and for sharing!
This fits in with what I’ve been doing/thinking/feeling. I’ve been working on breaking away from taking landscape photos that look like all the other landscape photos and find what really makes my soul sing. Along with learning film photography, using a Pinsta pinhole camera and returning to writing the zero draft of fiction stories by hand.
love hearing this Delisa!!
Love this, Wesley. Aligns a lot with how I’ve been thinking about things this year. I’ve always been someone that loves and embraces the digital since having computers in our house at an early age (at a time many others didn’t!), but lately I’ve been feeling the call to analog, to writing by hand in a physical book rather than just typing on a glass screen.
That's fantastic, Jesse! I am also all in on physical note book. I get so much more out of it for meeting notes and creative brainstorms. I have started using my note book as a work scrap book as well, sticking in museum tickets or other related things. The switch to fountain pen was the moment it clicked for me.
What’s one way I can push back against sameness this year? I bought a working Canon Elan film camera at an antique store to spend some time shooting for fun and creativity instead just work all the time. It’s challenging me to go back to when I first fell in love with photography in high school and re-learn how to shoot without the instant feedback of the digital camera, to slow down and really see - to be more intentional with my shots - to wait for prints and actually start printing my images again ( excited for this nostalgia) - and for me, it’s like starting all over again. To be a beginner again, because I have no idea if what Im shooting will turn out at all. This is a wonderful thing, because it was when I was new and just playing with cameras that I feel like I got some of my most-loved images, “happy accidents” that happen when you’re just playing and learning. Images that I loved - not because they looked like something someone else made or even something that was technically good or where I was able to achieve a vision I had for the shot, but images I loved because they were unique and beautiful all by themselves, specific to the moment that they were shot. Then to bring that same mindset back to my digital work and find playfulness in photography again. This is my challenge for myself this year.
Wonderful challenge! Curious to hear how it goes!
Me too Wesley! We shall see ☺️
My plan is to do something like group critiques with my colleagues. They will have no problem letting me know if I’m just hitting the same notes.
That's a fantastic idea!
Having folks you trust to share feedback with must be such a great experience. I miss that part of being in a creative writing program in college, the critiques helped me clarify my vision so much more quickly. Are your colleagues through your job, a photography group, something similar? I've been thinking of how to actually work towards building or joining this type of community but I'm not sure where to start in my super rural community.
I try really hard to maintain real life relationships with other photographers in my area (Maine, but not exactly the rural part) and I keep in contact with art school friends across the country. Online crits are still fun! I’m trying to organize an online crit group this winter, so stay in touch!
There is a beautiful quote by my favorite filmmaker Denis Villeneuve from a Vanity Fair video in which he talks about a scene from the movie:
“I did this movie for a single audience member which is me.”
This is how I decided to approach the projects I'm doing. Whenever I'm thinking something like "I don't know if I should do this cause nobody else does it" I vowed myself to double down on that feeling and explore exactly these ideas because at the end they are probably what will make my project standout.
An example: For my recent photo book that I've created together with my best friend, we've implemented 10 written stories and added some selfies accordingly, even if that is something we haven't seen other people doing and they of course stand out a little bit among our curated photography. But we wanted to create context, show other people who we are. What makes your project YOUR project? That's a question I always want to ask myself going forward.
Greetings from Germany, love your work, Wesley! I hope I've still mangaged to enter the giveaway, 4 minutes till deadline :D
haha just in time! and thank you for sharing!
Love the manifesto! Much of it resonates especially collaboration and getting physical. Regarding what I plan to do to push again sameness in my work: I'm doing the following: 1) See with intention to discover - I tend to get very journalistic in my approach to photography and miss the nuances or fail to see from a new perspective - A daily reminder every time I pick up my camera (an R5 :)) to stop, look, and see. 2) Immerse myself in the works of others - I love looking at the work of other photographers, but rarely take the time to try to analyze their work - how did they see the light? What may have been their intent? - that's my first step at battling sameness, but I suspect more will come as we move on :)
love this Chuck!!