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Posts tagged with "creativity"

On taste

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There are many ways of how to define creativity and its finest results. It probably depends on how you look at it, but I like the idea that each creative output is a product of motivation, skill and taste. Motivation keeps you going, it makes you (wanna) do stuff and it is pretty clear that without the motivation any creativity is nonexistent. Then you must have skills. You must know your devices as well as you possibly can. Despite the obvious talent, it would be impossible for Elton John to compose a song without mastering the piano. Or Michelangelo to sculpt something like David without being really good with stone. This is why every art form calls for constant and fanatic practice.

A lot of people are motivated. They desperately want to do art or science. Some of them learn the skills. But very few have the taste to know in which direction aim their creativity. Taste can be understood as a set of values that guide you trough the process of creation. Even in most trivial of situations you can spot the lack of taste immediately. There are many people who clearly have enough clothes, but they combine them in the wrong way. It is not the lack of clothes that makes them look like clowns, it is the lack of taste. It is the lack of taste to blame that many technically good painters never go beyond what it is sold on the beaches or postcards. It is the same for photography. They are motivated, they have the technical skill, but they don't know what is really good so they aim too low.

So how to acquire a good taste? In my experience this happens with constant criticism. You must put your work under the scrutiny of yourself and others. You might get hurt, but that is a good thing. Bad feelings fade away, the lesson remains. You must also see and judge as many other works as you possibly can (this doesn't necessarily involve informing your peer about the opinion). If you are an architect you should devote at least some part of your every day to review other architects' work. When I was a freshman, a very dear very professor said: "A day without looking at an architectural magazine is a lost day." Today I know how right he was. By looking at magazines you develop a clear taste of what is good and what is not. You later apply that taste to your own work. Without the taste your motivation and skills are simply misguided into wrong directions. And this goes not just for design or arts, it is true for every activity. Because of that many good works of art are very simple and resourceful. You don't need a huge budget to create something original. You don't need many resources. But you need a good taste for it. :wink:

Amateur contribution II

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On top on what I wrote here, lets see is what it is already happening now. Press agencies are often taking local photographers instead of sending their top guys on an assignment. Equipment and knowledge got a lot more accessible, so you can have a photographer on the place who is good enough and you don't need to send an American or German photographer there (to Africa, for example). This is of course a lot cheaper.

I think this will go one step further. Not only that the local photographers will contribute more, amateurs will too. I don't mean just amateur photographers who buy fancy cameras and make their own little exhibitions, I mean people who don't have a clue about photography. People like my dad who has a camera in his cell phone. These people are all around and they carry cameras along with them. They can record material that was never recorded before, simply because they are there when it happens and some PRO photographer wasn't. So why not submit that to the press? Just for the fun of it.

And just to be clear; every broken window in a local shop doesn't have to be photographed by a professional. Most of trivial news can be easily visualized by random folks who just happened to be there. But when something big happens, well, then you need the top guys. You can't send an amateur to cover the Olympics, can you? Or Obama's inauguration. Perhaps if press saves some money on trivial events with the amateur contributions, PRO's can be payed better on big stuff. That would probably call for less photo journalists.

Some other photographers took a different path. They make really good stories on their own (as freelancers) and then they try to sell it or get a grant. In Perpignan there were quite many who work this way. Ed Ou, for example, made a story about victims of radiation in Kazahstan. But I think that this model doesn't really create incentives for people to join this profession unless the rewards are great (which they aren't).

Every crysis ends up with something new invented. The old model not being fit for the circumstances anymore is the reason we got into trouble in the first place. Sometimes it takes a generation to change, but often we don't have that much time. We'll see how this turns out. :wink:

Amateur contribution

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In every field of human creativity you usually have two separate domains of creation; professional and the amateur. In many cases the amateurs are inspired by the professionals but pro's don't care much about the amateurs. In many cases. But not in all cases.

Especially in music many professional composers and musicians study native and folk music for inspiration. In painting something similar happened in late 19th century with Paul Gauguin who studied "primitive art" and childish drawings in order to connect with the primal instincts of our painting skills.

But there better examples. In astronomy pro's and amateurs work hand in hand. Ever since the equipment (telescopes, ccd chips, etc) became ever-more available, amateurs take a huge part in collecting all sorts of data that is impossible for the professionals to handle. Amateurs may not have the largest telescopes at their hand (quite frankly, oftentimes you don't need large telescopes), but they have lots and lots of time, and more importantly, they are in great number, so their contribution sums up. For the last 20 years a lot of asteroids and other small bodies within our solar system were discovered by the amateurs. Simply put; you just have to continuously photograph small portions of the sky and search for "stars" that move in relation to the others. Whatever moved may be a candidate for an asteroid or a comet. Detection of such things takes a lot of time which is something that you just might not have if you work on a large professional telescope (there are "better" things to do there). This kind of research is ideal for the amateurs, and professional community benefits greatly from the work of committed hobbyists.

Until recently professional photography and filmography didn't bother much for the amateurs. And many of the old time pro's still look down upon the amateur creativity. But I think we should be more careful. Amateurs of today can have almost the same kind of equipment as professionals and in these terms there is almost no distinction left. Sometimes you will see a bunch of amateurs with Canon EOS 1DS mkIII . Dedicated amateurs are no longer different in that respect.

But they do different things. Since they don't have responsibility towards the client, they can try and do so much more. The digital revolution lowered the price of failure to almost zero, so people try really absurd things and many times the results are surprising.
Just take a look at this:


Can you imagine somebody spending 500 EUR worth of film for this? You know, just to have some fun with a rotten apple? Of course not. We had "better" things to do with film. The price of failure was high and people didn't dare to try out these crazy ideas so nothing original was never produced. When the price of failure is high you stick to the old and well tested methods, of course you perfect them, but you don't innovate. If you see the collection of what we did on film, you may see a lot of perfection but not much innovation.

Things now changed and if one looks at Flickr, one may find the craziest things possible. People just experiment as they never did before. And I believe that professionals can learn from them. To often pro's don't have the time or energy to do this sorts of tests, but amateurs do. And pro's can learn from them a lot. There is no reason to look down upon them. We'd be all better of working hand in hand.

Photojournalism is dead

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Last week I was in Perpignan (France) for the world's largest festival of photojournalism, Visa pour l'image 09. Many world class photographers came (Steve McCurry, Eugene Richards or Stanley Greene to name just a few). And the whole time there was a perpetuating theme; photojournalism is dead.

I can tell you from my experience, that most news papers in Slovenia have ever-smaller budget for photography. Especially for the high-end journalistic photos (which are not to be mistaken for snapshots). They just don't pay! I for one covered Elton John in Croatia entirely pro bono and perhaps for my own amusement and prestige. This happens all the time.

There are many reasons why. I am not experienced enough for a deep analysis, but I can give you a few.

Of course there is financial crisis, but that might just as well be an excuse.

Then there is the availability of the tools; photo cameras. Anyone can buy a decent SLR and that creates an illusion that anyone can make photos... Well, we can all buy a basketball, but can we play like Jordan???
This fact has two major consequences; I greet the first and despise the second.

Firstly we have an abundant creativity of the amateurs. You can see that on Flickr. Millions of photos are uploaded every day. With such a low cost of failure, people experiment more and we found ways of expression that were unimaginable just a decade ago. I watch Flickr and Vimeo very closely, and I continue to be amazed every day. This is great, but it creates a pressure for the professionals not only to become even better and better, but also to grasp the new digital paradigm of creativity. It is difficult for an 50 year old pro (who shot prohibitively expensive Fuji Velvia for most of his life) to start thinking like a 15 year old kid who has nothing to loose. Especially the older generation has many problems now and most of them are paradigmatic. Their skill is not in question, but they have to change the way they think if they want to survive. I believe that is good in the long term. Every revolution has its sacrifices.

But secondly, every journalist (writing journalist) can now have a small camera and press the shutter while not taking notes. And that is profoundly WRONG! These people have NO TRAINING and in general even no talent for visual communication. They are great with words, but they don't know a diddly-squat about visual narrative. As a consequence, newspapers are full of snapshots in the worst possible meaning of that word. In the best case, photos published by some more local daily papers are average, but more often they are terrible.

I get it. Papers have to make cuts. But papers must also realize, that VISUALS SELL (not only photography, but also design)! Editors (again, most of them trained with words) have very high standards and respect for verbal part of the media. They consider it underestimating to publish a crapy text with grammar errors. And that is right, we must have high standards for the written word, but we also must have high standards for the imagery. Pictures can be compelling beyond explanation and together with words they can create a story that is a lot more powerful than words or pictures alone. What bothers me is not just the low quality of visuals, it is the imbalance of those two.

So for now we are in a state of crisis. The old model is still around, the new one is not quite invented yet. How to make it in the future? Will photographers all have to go freelance? I have no idea.

My clients often ask me how much do I charge for a picture. Sometimes they even ask me how much I charge for an hour of work. I can hardly give them an answer to that. Pictures are worthless in physical terms. Once you buy a camera and disk storage it costs exactly nothing to produce a picture. My hour of work might be difficult to calculate because there is a difference if I work in studio or outside in rain where bullets fly around.
But I do know what my quality is. I know how much I invested in my knowledge, AND THAT IS WHAT I CHARGE. "But how many photos will you take at our wedding," they ask. "As much as I have to," i reply. How many hours will I spend in post-production? As many as I have to in order to guarantee a good result!

So the paradigm has to change, some will die, some will rise, but that's life, isn't it? :wink:

Moon River

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This is from the last day of our UMMI Camp this year.

CLAP

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CLAP is a video we did in our Multimedia workshop at a youth summer camp during the last 7 days. Our inspiration was the morning rehearsal of the UMMI orchestra (with Vlado Batista as a conductor). The most fun thing about that orchestra is that we all participated, no matter our previous experience in music or sound.

This is how our playing looked and sounded like on the first day:


Of course we got a lot better ofer time and our final concert was really cool (videos and sounds will follow).

But our job (Multimedia workshop) was to visualize those sounds. We took a short piece from the second rehearsal and after 6 days of brainstorming and hard labour, this is what we have to offer to the world. Enjoy!




The sounds were recorded with Olympus LS-10, photos and video with Canon EOS 5D mkII.

My "Lessig" talk

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Two days ago I had a talk here in Ankaran about the Internet, Creativity, Copyrights and how it is all connected. The talk is very much inspired by Lawrence Lessig, in the terms of the content and also execution. Unfortunatelly I have had a little bit of a cold, so my voice is not what it should be... Hopefully you will understand my English :wink:

Many thank to Joe Nicolosi for letting me use his awesome video :wink:

What I miss about EOS 5d mk II

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I'm having this camera for almost two moths now. It brought me a lot of joy when working in extremely low light conditions, but it also drives me mad everywhere else. Sometimes my spoiled self wants to slam it onto the ground. Most of my anger is adressed at disastrously slow and inacurate autofocus. It's really a crap even with the best of Canon's L lenses.

So, after some consideration, here is a list of what I miss about this model (beside a decent autofocus). I believe most of these features are already supported by the existing hardware, it would just take a minute or two to write a better firmware... (any voluntears???). Here it goes:

- 720p HD video
It has VGA (640x480) and full 1080p HD. Why not something inbetween, like 720p???

- Timed shooting
How great would it be to have automated shooting for timelapses (Nikon has it!)? With Canon it is possible only with ultra expensive remote controler.

- In-camera RAW-to-JPG conversion
Let's say you're on a long trip and you need to save some space on your card, so you convert less important shots from raw to jpg, possibly with some minor editing... It is still an amateur camera and this is more or less an amateurish request, right?

- In-camera flagging, rating, etc...
Again, you are on a long trip. You made several thousand photos (probably Over 9000!!1!). It is painful enough to think how much time would it take to make a selection of all the material you did, not to mention how painful it is actually to do it. Why not flag a few photos on a train??? I think pros would also apreciate this function...

- Sound recording
Why not record sound only? It has the mic, right? It could serve for taking notes (works well on pro cameras) or just to record some ambient sound to go along with the slides.


So, anyone there to write a couple of lines of code for that?

The next level

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So it has been a while... again.

When I photograph people, many of them find me annoying. Really. And I can't really blame them; I am not happy with just one or two photos. I must take them at least 50. :wink: But there are profound reasons why.

First of all; I wanna make sure that the person looks good on my photograph. In order to achieve that two things must happen; the person must be adopted on my shooting (for that I must be there a while) so that he or more often she is relaxed enough to look natural. And a larger amount of photos must be taken in order to statistically ensure a technically good photograph (in terms of eye blinking, expression, and also focus, sharpness, composition, etc).

But there is a deeper reason and it lies in the way I think about photography. Usually, when I'm in the zone, I'm not even thinking about the object of my shooting. I am literally making the photograph, not taking it. I am thinking in 2D. I am producing a 2-dimensional pattern of our visual communication. At least I try to. The people or objects are just grand means to achieve that. So even if I did 20 photos with you, I might have a new message to deliver or a new emotion to visualize. And that has nothing (or little at best) to do with documenting your physical appearance. For that, one or two photos would surely be enough. But for producing items of visual communication, I could work with a singe model for years... I try to find the next level of portraiture where models are actually actors (very much like in movies) who co-author my story. That story can be also be documentary, but not necessarily. And this is also why I started to systematically study other fields of art like painting, movie-making, sculpting... I am especially interested in works of Asian artists who are supposed to have a bit different way of thinking than us, Europeans. I read and heard a lot about that from many neurological sources, it is a bit too complex to go into it rihgt now, but there are great things there to discover!

Creativity in schools; problem(s) and solution(s)

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This is my latest lecture from the conference in Rogaška Slatina, where we discussed the problems with the development of creativity in schools. My lecture was done in collaboration with dr. Mojca Juriševič. The deal was that I present some more practical problems and solutions and she backs them up with research data from the psychological department. This formula worked really well and I hope we'll do that again sometime :wink:

Unfortunately this is in Slovenian again... This lecture is shorter so I might find some time to translate it, but since it is licensed with CC license (by-nc), you can download it and add subtitles :wink:

Disposable stop motion

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Hello again! I try to be as bussy as possible (living is expensive these days). Last week I was on a workshop in Dragonja with my multimedia class from Koper primary school (the team that produced this). We spent 3 days in forest near the Dragonja river and tried to make something out of it.



The idea was to use disposable film cameras. I figured that with complicated cameras a lot of time is lost to actually manage the camera and not much is left for creativity and content issues. With disposable cameras you don't have to worry about the settings, you just take pictures! They are amazing tools!

So this is what we made. The story is told trough the eyes of a frog which for once in its life wishes to see the home pond not from the "frogs perspective", but from the "birds eye view". The frog swims trough the pond, escapes the hands of a hunter, climbs on a rock, takes the view and jumps back down. But the jump was miscalculated. :frown:

Read more...

I'm on a Tour

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I decided to hit the road and go on a tour around high-schools in western Slovenia to promote UMMI summer camps and in doing so speak about issues with creativity and giftedness. My main points are:

- giftedness is a property of mind which has to be carefully nurtured, otherwise skills will diminish to average at best,
- creativity is not a property of mind, it is a way of thinking. It is seeing each thing afresh and approaching problems with playfulness, courage and bravery,
- creative and gifted people are often misunderstood, hence they feel alone,
- but they are not!



I am recording every lecture and I shall publish the best version ASAP. After each lecture I try to encourage debate about this issues to get some feedback. It is a great experience and there is still 5 places to go! :wink:
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