The Perceptive Photographer

Thoughts on naming photos

 

In the process of moving to a new studio, I have started to think about the name I want to give the studio. The name should reflect who I am as an artist, what the new  space should feel like and what I hope to accomplish. As I have been painting and trying to come up with that name, I have gotten to think about how we create and name our photographs for a photo series. Naming photos is an important part of the creative process and can really make a difference in the creation of a body of work.

There are a number of ways that we can name a photograph. Two of the more common ways to title photographs are figurative and literal. Literal titles are just what the object is. Figurative are more narrative or story based. Depending on the work, either title can push the work forward, but the risk is that we create titles that are a distraction from the image.

Regardless of how you title your images, the titles should play a supportive role and strengthen the work. If you find the titles a distraction when you show the work or that they don't help the view understand the work, that might be a single to consider for retitling an image.

If you are trying to figure out how to title images go back to your language you use to talk about your work and see how you can use those words as a starting point. In the end remember that the image is the most important thing that we want the viewer to remember not the title.

If you subscribe to the Perceptive Photographer up on in iTunes and have you take a few minutes to do a quick review, it can help others learn about the show.

In this Episode

In part three of this three-part series about how to take an idea to concept to photo series to completion, we take a look at some of the key steps to think about once you have your photo series developed as you think about how to display and finalize your project. There are some key areas to consider when you are completing a project.

First, it is important to realize that this process is an evolution. What might start as one thing can quickly change. You may think you are working on a book but realize that it is something else. It is ok to respond to those changes. Following the flow of energy is important. Don't try to figure out the project too soon, let it develop naturally to what it needs to become.

A number of aspects can impact the final work. You need to consider not just your own vision, but also things like budget, size, distribution and how people will experience the final project.

It is also important to think about who you will be collaborating with on your project. Will you be working with designers, authors, art directors, or other photographers. Building those relationships takes time, and you will want to plan accordingly.

In many ways finishing a project might be one of the hardest parts of the process, but focusing on the plan, timeline, resources and remaining flexible can go a long way to your success.

If you subscribe to the Perceptive Photographer up on in iTunes and have you take a few minutes to do a quick review, it can help others learn about the show.

In this Episode

In part three of this three-part series about how to take an idea to concept to photo series to completion, we take a look at some of the key steps to think about once you have your photo series developed as you think about how to display and finalize your project. There are some key areas to consider when you are completing a project.

First, it is important to realize that this process is an evolution. What might start as one thing can quickly change. You may think you are working on a book but realize that it is something else. It is ok to respond to those changes. Following the flow of energy is important. Don't try to figure out the project too soon, let it develop naturally to what it needs to become.

A number of aspects can impact the final work. You need to consider not just your own vision, but also things like budget, size, distribution and how people will experience the final project.

It is also important to think about who you will be collaborating with on your project. Will you be working with designers, authors, art directors, or other photographers. Building those relationships takes time, and you will want to plan accordingly.

In many ways finishing a project might be one of the hardest parts of the process, but focusing on the plan, timeline, resources and remaining flexible can go a long way to your success.

If you subscribe to the Perceptive Photographer up on in iTunes and have you take a few minutes to do a quick review, it can help others learn about the show.

In this Episode

In this second of a three-part series of podcasts about how to take an idea to concept to execution, we take a look at how to move from a concept and develop that into a photo series. We focus on ways that we can move from these more abstract ideas and notions to a solid and concrete set of images.  In part three of the podcast, we'll look at some of the considerations for a final production of a photo series.

There are a number of ways to deal with developing concepts. I feel that if you have some process that works for you and how you create images, then you should work with that process. Too many times we try to fix things that might not be broken. I don't think that it is uncommon for people to have a variety of ways that they create their work. Sometimes concepts are concrete and other times they are more exploratory. I also think that a lot of projects can start off out of a purpose based belief. Something that you have a passion for that you want to explore.

Once you have your concepts that you want to explore you should spend a lot of time talking about your work with anyone who will listen and write about it in a journal. This process of talking and writing will help you gain clarity in the work. Second, you should shoot and create a ton of work. I think a lot of photographers don't shoot enough when they are working on a project. They see a few great images and think they are done. You need to work to make sure that have enough images created so that you can tell the story you want to tell.

Finally, you need to make sure that you look at where the story is missing elements and know that you might need to work the project over and over again. You need to figure out what aspects of your life matter and how you can relate those into the final series.

If you subscribe to the Perceptive Photographer up on in iTunes and have you take a few minutes to do a quick review, it can help others learn about the show.

In this Episode

In this second of a three-part series of podcasts about how to take an idea to concept to execution, we take a look at how to move from a concept and develop that into a photo series. We focus on ways that we can move from these more abstract ideas and notions to a solid and concrete set of images.  In part three of the podcast, we'll look at some of the considerations for a final production of a photo series.

There are a number of ways to deal with developing concepts. I feel that if you have some process that works for you and how you create images, then you should work with that process. Too many times we try to fix things that might not be broken. I don't think that it is uncommon for people to have a variety of ways that they create their work. Sometimes concepts are concrete and other times they are more exploratory. I also think that a lot of projects can start off out of a purpose based belief. Something that you have a passion for that you want to explore.

Once you have your concepts that you want to explore you should spend a lot of time talking about your work with anyone who will listen and write about it in a journal. This process of talking and writing will help you gain clarity in the work. Second, you should shoot and create a ton of work. I think a lot of photographers don't shoot enough when they are working on a project. They see a few great images and think they are done. You need to work to make sure that have enough images created so that you can tell the story you want to tell.

Finally, you need to make sure that you look at where the story is missing elements and know that you might need to work the project over and over again. You need to figure out what aspects of your life matter and how you can relate those into the final series.

If you subscribe to the Perceptive Photographer up on in iTunes and have you take a few minutes to do a quick review, it can help others learn about the show.

In this Episode

In this first of a three-part series of podcasts about how to take an idea to concept to execution, we take a look at where ideas originate, how to capture those ideas, and how they evolve into concepts. In Part two we will be looking at how to move from concept to photo series. Part three concludes with taking the series to completed execution.

One of the greatest parts of living a creative life is how we are always being inspired by the world around us. From the food we eat to the shows we watch to the books we read, there is nothing that doesn't influence and shape our ideas. One of the common threads that I see in most creative people is that they seek out new experiences and combine those experiences into inspiration. I feel that most of us have a root source for our ideas.

For some, it might be the written word. For others, it might be conversations and for others, it might be visual. When you find yourself stuck, you can always return to those root sources and find ways to be inspired. Once you have an idea, it is important to capture those thoughts. It doesn't matter how you capture them, as long as you write it down, record it, or put it on post-it notes. The key is not to forget those ideas.

Eventually, you can group those ideas into concepts. These concepts start to combine various aspect and ideas into a single element or series of items. I think this is the beginning of the storytelling process or the creation of rough drafts and outlines. The key here is not to get stuck in just ideation but to make sure that you move to the execution of a concept. We will talk more about that implementation process in the next podcast.

For me, I like to write things down in a journal and use Evernote to capture and group ideas, but like I said you have to find what works for you and stick with it. Getting those ideas and finding new combinations is an amazing way to spend your creative energy.

Once you have given your feedback, you need to continue to find ways to extend the empathy. How has the feedback landed? Have you given them a chance to respond? What does it look like when you let them have the time and space to listen, process and respond. Even more important, what does it look like when you offer yourself the same level of empathy when looking at your work?

If you subscribe to the Perceptive Photographer up on in iTunes and have you take a few minutes to do a quick review, it can help others learn about the show.

In this Episode

In this first of a three-part series of podcasts about how to take an idea to concept to execution, we take a look at where ideas originate, how to capture those ideas, and how they evolve into concepts. In Part two we will be looking at how to move from concept to photo series. Part three concludes with taking the series to completed execution.

One of the greatest parts of living a creative life is how we are always being inspired by the world around us. From the food we eat to the shows we watch to the books we read, there is nothing that doesn't influence and shape our ideas. One of the common threads that I see in most creative people is that they seek out new experiences and combine those experiences into inspiration. I feel that most of us have a root source for our ideas.

For some, it might be the written word. For others, it might be conversations and for others, it might be visual. When you find yourself stuck, you can always return to those root sources and find ways to be inspired. Once you have an idea, it is important to capture those thoughts. It doesn't matter how you capture them, as long as you write it down, record it, or put it on post-it notes. The key is not to forget those ideas.

Eventually, you can group those ideas into concepts. These concepts start to combine various aspect and ideas into a single element or series of items. I think this is the beginning of the storytelling process or the creation of rough drafts and outlines. The key here is not to get stuck in just ideation but to make sure that you move to the execution of a concept. We will talk more about that implementation process in the next podcast.

For me, I like to write things down in a journal and use Evernote to capture and group ideas, but like I said you have to find what works for you and stick with it. Getting those ideas and finding new combinations is an amazing way to spend your creative energy.

Once you have given your feedback, you need to continue to find ways to extend the empathy. How has the feedback landed? Have you given them a chance to respond? What does it look like when you let them have the time and space to listen, process and respond. Even more important, what does it look like when you offer yourself the same level of empathy when looking at your work?

If you subscribe to the Perceptive Photographer up on in iTunes and have you take a few minutes to do a quick review, it can help others learn about the show.

In this Episode

We have often talked about the role for criticism in photography. In this podcast, we focus more on understanding the types of feedback that you might give when you look at your own work as well at the work of others. Feedback, which is distinct from criticism, is something that also requires some specific skills. I personally feel that the most important is empathy to the person whose work you are looking at. You need to understand where they are with their work and what type of feedback they might need to be successful. Do they need feedback that is more inspirational or technical? Do they need something that is focused on the edges of insights or more about the accuracy of their vision? Depending on what type of information they need, you can tailor your feedback to make it more meaningful and stcky.

Once you have given your feedback, you need to continue to find ways to extend the empathy. How has the feedback landed? Have you given them a chance to respond? What does it look like when you let them have the time and space to listen, process and respond. Even more important, what does it look like when you offer yourself the same level of empathy when looking at your own work?

If you subscribe to the Perceptive Photographer up on in iTunes and have you take a few minutes to do a quick review, it can help others learn about the show.

In this Episode

We have often talked about the role for criticism in photography. In this podcast, we focus more on understanding the types of feedback that you might give when you look at your own work as well at the work of others. Feedback, which is distinct from criticism, is something that also requires some specific skills. I personally feel that the most important is empathy to the person whose work you are looking at. You need to understand where they are with their work and what type of feedback they might need to be successful. Do they need feedback that is more inspirational or technical? Do they need something that is focused on the edges of insights or more about the accuracy of their vision? Depending on what type of information they need, you can tailor your feedback to make it more meaningful and stcky.

Once you have given your feedback, you need to continue to find ways to extend the empathy. How has the feedback landed? Have you given them a chance to respond? What does it look like when you let them have the time and space to listen, process and respond. Even more important, what does it look like when you offer yourself the same level of empathy when looking at your own work?

If you subscribe to the Perceptive Photographer up on in iTunes and have you take a few minutes to do a quick review, it can help others learn about the show.

In this Episode

After last week's topic, I got to thinking about a book from Atul  Gawande called the Checklist Manifesto (affiliate link). If you haven't had a chance to read it yet, the book deals with how a checklist can be used to make sure that we are more successful in accomplishing our task. The checklist is more than a to-do list; it is really about making sure we can do all the thing necessary to mitigate risk and increase our effectiveness. In Atul's research, he found a couple of interesting things. The first is that we have two types of information. Things we don't know and the things that we know, but just don't do. The checklist is all about dealing with what we do know and just don't do. He also found that people don't want to do checklist because they think they are too smart for a checklist, what they do is too complex or that the checklist makes the work too ridged.

Over the years I got to making some checklist for my photography. They provide great structure to help me with everything from packing to printing. In this podcast, we take a look at how using checklist can help you not just stay organized but also how they might be able to help you have the freedom to unlock your creative energy.

If you subscribe to the Perceptive Photographer up on in iTunes and have you take a few minutes to do a quick review, it can help others learn about the show.