Rachel Foster
New member
I expect most people who become enamored with photography feel the same way I do: We want it all and we want it now. Some of us are willing to work for it, and work hard. However that doesn’t mean we can be as patient as would be ideal. Then there are those of us who are not patient at all.
When something consumes one, as photography has me, there are multilayered reasons why. Of course, the desire to create beauty is a common reason. Me, for example: I’ve wanted to create something of beauty as long as I can remember. Lacking any talent, I accepted that I would never be able to do so (other than the children I brought into the world, that is). The longing, though, never abated.
I suppose for some, there is the desire to create something that will be admired. This, believe it or not, does not strictly apply to me. Sure, I like praise, too, but I want to create things I find beautiful. However, I also know that as I learn, what is beautiful to me changes, becomes more refined, and I become more discriminating. The lesson here is that beautiful is not simply beautiful. There are levels and layers of beauty. I want to create something truly beautiful and that takes time, effort, and persistence, along with the ability to see what is beautiful. This is where feedback becomes important. One learns from feedback. The more detailed the criticism the better. But along with this must be encouragement so one doesn’t begin to feel hopeless and helpless. Unfortunately, that can easily happen.
The beginning photographer likely does not know what is good versus great. I know when I see a photograph that takes my breath away that it is great. But there are some that garner praise and approbation that my eye passes right over. There are also those I like that leave “those in the know” cold.
All of this is what I call the problem of the Undeveloped Eye. On other fora I’ve read bitter complaints about people posting snap shots of their kids and/or pets. Well, ok, but those folks likely don’t realize they’re posting snapshots! It’s the problem of the dreaded Undeveloped Eye rearing its ugly head (sorry, I’m rather fond of mixing metaphors).
Other problems include a lack of understanding of depth of knowledge required. Photography? Pick up a camera and press a button, right? Wrong. The technical knowledge body feels overwhelming. The beginner may find him/herself suddenly in the deep end of the pool without ever before been in the water. “I just want to make pretty pictures, not learn all this stuff!” It doesn’t work that way and it may be a rude awakening for said beginner.
The next problem is uncertainty. After a bit of exposure, we may know we don’t know a lot, and not know that we know what we do know. Uncertainty is both plus and minus. The plus is that it opens one to guidance and feedback. The minus is that it gets in the way of knowledge acquisition.
The learning schedule is idiosyncratic. Every person has a learning style unique to him/her. While the seasoned pro may see clearly the path the neophyte should follow, it simply may not work. What seems logical to the pro may not take into consideration “within-subject variables.” In my case, I was (and am) so ignorant of many basics that it never occurs to pros that anyone this clueless would be out there trying to shoot. So, learning schedule and learning styles are idiosyncratic.
Photography serves many needs for many people and no two people will be the same. I recently realized that while two major reasons I became involved in photography was to distract and (in a way) hide, photography has been the most self-revelatory endeavor I’ve ever engaged in. As my experience with photography has grown, my motivations have changed.
I imagine all of this must seem alien to the seasoned pro. I teach statistics and what seems so simple, so straightforward, so easy to me seems like an impossible mass of details and cognitive noise to some students. I cannot remember what those early days felt like, nor can I understand the “buzzing blooming confusion” (phrase stolen from philosopher William James) the statistics neophyte experiences.
The people at OPF are generous with their time and encouragement. Most are also spectacularly talented and knowledgeable. However, in order for them to feel the effort they put into helping beginners develop is not wasted, there must be a sense that the beginner is listening, willing to work, and are serious about their efforts. The neophyte may be doing just that (seriously listening and working) but the pro may be baffled by the neophytes inability to do what the pros so clearly suggested. I think part of this communication breakdown may be due to the some of what I’ve mentioned here.
The purpose of this essay is to attempt to bridge the neophyte/pro gap in communication. I hope I’ve been able to do that just a little bit.
Asher, if this essay is out of place or undesired, please delete at will.
When something consumes one, as photography has me, there are multilayered reasons why. Of course, the desire to create beauty is a common reason. Me, for example: I’ve wanted to create something of beauty as long as I can remember. Lacking any talent, I accepted that I would never be able to do so (other than the children I brought into the world, that is). The longing, though, never abated.
I suppose for some, there is the desire to create something that will be admired. This, believe it or not, does not strictly apply to me. Sure, I like praise, too, but I want to create things I find beautiful. However, I also know that as I learn, what is beautiful to me changes, becomes more refined, and I become more discriminating. The lesson here is that beautiful is not simply beautiful. There are levels and layers of beauty. I want to create something truly beautiful and that takes time, effort, and persistence, along with the ability to see what is beautiful. This is where feedback becomes important. One learns from feedback. The more detailed the criticism the better. But along with this must be encouragement so one doesn’t begin to feel hopeless and helpless. Unfortunately, that can easily happen.
The beginning photographer likely does not know what is good versus great. I know when I see a photograph that takes my breath away that it is great. But there are some that garner praise and approbation that my eye passes right over. There are also those I like that leave “those in the know” cold.
All of this is what I call the problem of the Undeveloped Eye. On other fora I’ve read bitter complaints about people posting snap shots of their kids and/or pets. Well, ok, but those folks likely don’t realize they’re posting snapshots! It’s the problem of the dreaded Undeveloped Eye rearing its ugly head (sorry, I’m rather fond of mixing metaphors).
Other problems include a lack of understanding of depth of knowledge required. Photography? Pick up a camera and press a button, right? Wrong. The technical knowledge body feels overwhelming. The beginner may find him/herself suddenly in the deep end of the pool without ever before been in the water. “I just want to make pretty pictures, not learn all this stuff!” It doesn’t work that way and it may be a rude awakening for said beginner.
The next problem is uncertainty. After a bit of exposure, we may know we don’t know a lot, and not know that we know what we do know. Uncertainty is both plus and minus. The plus is that it opens one to guidance and feedback. The minus is that it gets in the way of knowledge acquisition.
The learning schedule is idiosyncratic. Every person has a learning style unique to him/her. While the seasoned pro may see clearly the path the neophyte should follow, it simply may not work. What seems logical to the pro may not take into consideration “within-subject variables.” In my case, I was (and am) so ignorant of many basics that it never occurs to pros that anyone this clueless would be out there trying to shoot. So, learning schedule and learning styles are idiosyncratic.
Photography serves many needs for many people and no two people will be the same. I recently realized that while two major reasons I became involved in photography was to distract and (in a way) hide, photography has been the most self-revelatory endeavor I’ve ever engaged in. As my experience with photography has grown, my motivations have changed.
I imagine all of this must seem alien to the seasoned pro. I teach statistics and what seems so simple, so straightforward, so easy to me seems like an impossible mass of details and cognitive noise to some students. I cannot remember what those early days felt like, nor can I understand the “buzzing blooming confusion” (phrase stolen from philosopher William James) the statistics neophyte experiences.
The people at OPF are generous with their time and encouragement. Most are also spectacularly talented and knowledgeable. However, in order for them to feel the effort they put into helping beginners develop is not wasted, there must be a sense that the beginner is listening, willing to work, and are serious about their efforts. The neophyte may be doing just that (seriously listening and working) but the pro may be baffled by the neophytes inability to do what the pros so clearly suggested. I think part of this communication breakdown may be due to the some of what I’ve mentioned here.
The purpose of this essay is to attempt to bridge the neophyte/pro gap in communication. I hope I’ve been able to do that just a little bit.
Asher, if this essay is out of place or undesired, please delete at will.
