SCOTT BOURNE’S
ESSAYS ON INSPIRATION,
CREATIVITY & VISIO IN photography
All text and photographs by Scott Bourne
This entire publication is Copyright 2011
Bourne Media Group LLC - All Rights Reserved
For more information on this publication
please contact:
Scott Bourne Bourne Media Group LLC
1445 AMERICAN PACIFIC DR # 110-285
HENDERSON, NEVADA 89074-7402
p:702-558-3805
bournemediagroup@gmail.com
TABLE OF CONTENTS
Introduction
Essay #1 Storytelling
Essay #2 New Views to Inspiration
Essay #3 Seeing
Essay #4 Storytelling Part 2
Essay #5 Creativity
Essay #6 Clarity
Essay #7 More Inspiration
Essay #8 New
Essay #9 Creativity Part 2
Essay #10 Invisibility
Conclusion
INTRODUCTION
I got the idea for this e-book several years ago from David duChemin.He's big on
e-books and big on vision. His tagline - "Gear is Good, Vision is Better " has always stuck with me as something that every photographer needs to think more about.
It took me a while to get around to it , but I've finally done it . I've gathered some of my earlier writings on inspiration, creativity and vision in photography and compiled
them in one place. I'm offering this information as a free e-book. Think if it as a
thank you to the photo community that has supported me. I'm also hoping it will
help some of you to make better photographs.
These essays were compiled from writings
I've published over the last 3 years.
I've updated a few of them and tried to make them relevant to today. I hope you
find them helpful and if you do, please feel free to pass this free e-book on to
others.
Without further ado - here are 10 essays on inspiration, creativity & vision in
photography.
Thanks
Scott Bourne
scottbourne.com
ESSAY #1
STORYTELLING
I look at a great deal of photography. I like to look at photos for many of the same
reasons that writings like to read. It helps me get better at my craft .
I encounter lots of vision- related photography problems (and I am NOT talking
about the fact that I now need both driving AND reading glasses! )I see photos
where I am not sure what the photographer was trying to accomplish. In those
cases I like to play doctor and I have a simple prescription: Become a storyteller
rather than a photographer.
Why tell stories with your camera? Well , for one thing, people who look at pictures
will enjoy looking at a story over a snapshot any day. Telling stories with your
camera forces you to slow down and think about what you are doing. What is it
about this scene that makes you want to make a photograph? What moves you or
attracts your eye? Is there a point of view that you want to capture & preserve?
Asking these types of quest ions will almost always lead to a better photograph.
Infact, if you just want to do ONE thing THIS YEAR that will significantly improve your
photography, do this - tell stories rather than take snapshots.
If you need help getting to the point where you are a storyteller, you can use a
vision exercise that I of ten talk about called SAS - which stands for Subject ,
Attention, Simplify.
Using SAS, I approach each scene asking myself what is the SUBJECT of this
photo. There is a real temptation here to over simplify. I am not merely saying that
I can identify the object I am pointing the camera at. I am talking about the stor y
behind the image. If a photo works really well as a story, it doesn't even need a
caption.
Once I have my subject . I now have to draw ATTENTION to it . That is the "A" in
SAS. This technique can help you tell your story. It forces you to focus, literally and
figuratively, on what's important in the shot.
To draw at tention to the subject , I of ten shoot nearly wide open using a long lens.
I shot with a reasonablynar row depth of field to help blur the background. This
automatically focuses attention on the subject in the foreground. I use a long lens
because it helps me isolate the subject . This is just one example, but hopefully it
helps.
Just like every good story has a beginning, middle & an end, every good
photograph should have an obvious way to draw the viewer in, something to hold
his attention once he gets there, and somewhere to go when s/he's done.
The last par t of SAS is SIMPLIFICATION. It's the most important part of the SAS
regimen. John Shaw says the difference between a professional and an amateur
photographer is that the pro knows what not to include in the photo.
When you are composing an image, take a moment to look around the frame and
ask yourself . Is this thing necessary to tell my story? Is it part of what really
at tracted me to the image? If you see a water fall running past a boulder and the
power struggle between the boulder and the water is your story, then you don't
need to include the flowers, the sky, the grass, etc. Include only that which is
necessary to tell your story and nothing more. This will improve your photography
immensely and it won't cost you a new piece of gear to do it.
CONCLUSION
All are really want you take away from this is the fact that it's a good thing to think
like a storyteller rather than a picture taker. Everything else is secondary.
ESSAY #2
NEW VIEWS TO
INSPIRATION
If your creative vision has hit a wall or you are just bored with your photography,
consider shooting with the panoramic format.
While the panoramic camera is as old as photography itself , I was not aware of
panoramic photography until 1995. At a photo workshop, the teacher (Joe Meehan)
had images pasted on the wall that took my breath away. They were panorami c
images of nature scenes, and I couldn't stop looking at them. That was when I
decided to try panoramic photography.
Not every situation lends itself to panoramic photography. There are however, many
situation ions that scream for panoramic views. Group portraits, seascapes, grand
scenic vistas, archi tecture, stadiums, skylines, stage product ions,& cityscapes
are all popular panoramic subjects. It is important to remember that seeing a
panoramic image involves scanning from side-to-side rather than isolating one
single dominant aspect of a scene.
Recently, panoramic cameras have been f inding their way into less conventional
situations. Try photographing a sporting event with a pan camera. Or how about
doing an environmental portrait that really shows the executive in her element?
Exper imentation is the key and thankful ly, the angle of view that most panorami c
cameras offer is so different that experimentation comes easy.
When I at tend or teach workshops,join Internet discussion groups, read photo
magazines or generally just chat with other photographers, I hear people talking
about seeing the same old images. I believe that panoramic photography is a great
way to defeat this line of thinking. Rent , buy or bor row a panoramic camera next
weekend and go shoot some of your favorite locations.
You can also use digital tools to stitch together images and make them into
panoramas.
I am willing to bet that the panoramic format will change the way you see and help
you make new and exciting images of old and familiar places.
ESSAY #3
SEEING
Why does one photographer walk by an opportunity that someone else turns into a
magazine cover? How can you learn to see creatively? Your camera manual won't
answer these questions. But wi th the right tools and process, you can improve your
photographic vision.
The tools that help photographers to creatively see include patience, positive
attitude and an open mind. While most people possess these traits to some degree,
they usually lack the process that pullsit all together. On your next photo shoot ,
use these steps to improve your photographic vision.
1. Elimination. Most photographers identify their subject using a logical pattern.
They usually eliminate items from the foreground and background until something
catches their eye and they make the photograph. Unfor tunately, most shooters
eliminate things until only the most obvious choice remains. Then they fire away at
the subject without thinking about other options. Photographers who see creatively
establish routines that lead them to see other ways to frame a subject . A
photography teacher unknowingly taught me this very point when he opined, "Look
up, look down and then look all around. " He was t rying to get me to see the same
subject in many ways. To this day I practice his approach.
Example:
Laying on the ground to change perspective and using wide-open
telephoto to compress background as well as focus at tention on the foreground
allows the photographer to eliminate certain elements that a standing photographer
would have no choice but to include.
Evolution
Try raising your camera in six- inch increments from the ground to your
tripod's maximum height . Look carefully at the subject on every level . This
incremental approach to making deferent photographs of the same subject is a
perfect example of evolutionary creative seeing. Make many small refinements to
your composition for the best chance to see the best shots. This approach is
especially valuable when photographing familiar subjects.
Bbb Reinvention.
In the late 1800s, the head of the U.S. Patent Off ice advised
Congress that the Patent Off ice should be closed to save money. He decided that
everything worth inventing had already been invented! I once heard a photographer
say that he would not photograph national parks because they'd "already been
done. " This is the opposite of creative thinking. There is always a different or better
way to shoot what has been photographed before. You just have to "see" it.
Example: Use selective focus to draw the eye into the scene rather than just
generally focusing on the most obvious subject.
Revolution.
As photographers we need to approach our photographic subjects
from the inside / out perspective if we want to see creatively. Turn the problem (or
subject ) around. After the paper clip was invented, someone created the staple
gun. This lesson can be applied to photography. For instance, when you are trying
to shape light for a portrait , instead of using strobes for the usual three to one ratio
with a main and fill , try subtracting light al together with scrims. Or try making your
next landscape both horizontally & vertically. Which is better?
Synthesis.
Think of this as the multiple exposure method to seeing creatively.
Combine multiple ideas (seemingly related or not ) to make one image. Ansel Adams
did this by always trying to put an interesting object into both the foreground and
the background. Think of things like audio books, dinner theaters and drive- in
movies. These were all invented as the result of synthetic thinking. How can you
apply this form of thinking to your image making? How about putting a canoein a
field of wheat to i l lust rate "amber waves of grain?" Or juxtapose two things that
don't seemingly belong together. Try putting a uni formed basketball team in the
swimming pool for the team portrait.
Example: accentuate an object in the scene that you want to draw at tention to by
using light or shadow.
6. Starting Over. Use things that were invented for one purpose, and maybe even
discarded, for a brand new purpose. Throw out al l the rules and see what you can
see. Maybe you will photograph your next subject while lying on your back. Perhaps
i t would be a good idea to shoot sl ide f i lm in a si tuat ion that normal ly cal ls for
pr ints. This kind of thinking led to recent surges in cross-processing, select ive
focus and toning of color rather than just monotone photographs. Al l are now ver y
popular wi th the magazines but out in lef t f ield when they were f i rst appl ied. Other
possibi l i t ies include the more t radi t ional techniques l ike i terat ion, use of color as
subject, use of line, shape or form to draw the viewer's eye to the subject.
7. New Di rect ions. Try a brand-new angle, both l i teral ly and f igurat ively. Try al l your
lenses. Shoot f rom di fferent perspect ives. Change formats. Maybe your shot would
look good as a panoramic? Shoot a rectangular shot as i f i t were square. Focus
your complete at tent ion on the oppor tuni ty. Let the process take care of i tsel f .
Don' t approach your composi t ion as i f the solut ion is more impor tant than the
resul t . Use a f ish net as a di ffuser to get a nice sof t look. Go crazy and t ry new
stuff .
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ESSAY #4
STORYTELLING
PART 2
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I love working wi th new photographers. I recent ly had the honor of working wi th
several high school students. They were exci ted, energet ic, ful l of enthusiasm and
wi l l ing to learn. They also brought a f resh perspect ive to photography that amazed
me.
Talking wi th al l of them I was st ruck by the simi lar i ty of thei r quest ions - most
having to do wi th gear. What camera should I buy? How many lenses do I need?
Etc. These were followed by questions like - "What should I photograph?"
To each of these quest ions I answered in a way that I am af raid might have
f rust rated some of them. Nonetheless - I thought i t impor tant to gent ly guide them
down the right path from the start.
In each case, I responded with four little words:
"Tell me your story!"
You see ALL communicat ions and ALL media - whether they be centered around
radio, television, mot ion pictures, blogs, podcasts or photography - revolve around
story. Story is everything. If you get that, you'll be a better photographer.
Both the photographer 's story and the subject 's story impact a photograph. The
photographer 's story is impor tant because i t 's about what they have to say. Great
photographers NEED to tel l thei r story or someone else's story. And the story of
your subject is what makes people care about your images.
So remember. . . .don' t focus on gear, or technique - focus on storytel l ing. The rest
will take care of itself.
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ESSAY #5
CREATIVITY
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Creat ivi ty is a big concept . As photographers, e spend so much t ime f ight ing
upgrade fat igue, learning new sof tware, working out new techniques that we of ten
have very l i t t le t ime for creat ivi ty. But just taking note that we need to think about
creativity isn't enough. How do we go about it?
Everyone goes about being creat ive di fferent ly. What works for me might not wor k
for you, but I 'm going to just share these thoughts on creat ivi ty wi th the hope they
wi l l help you concent rate on something other than the next lens you think you want
to buy.
For me, creativity is about removing artificial limits. And I think most limits are selfimposed.
More precisely, these l imi ts are di rect ly t ied to low sel f -esteem. Now I
know you might be thinking, what 's that have to do wi th creat ivi ty? In my
experience lots.
We put boxes around ourselves and make decisions that hamper our growth
because of ten, as ar t ists, we don' t real ly bel ieve in ourselves. How many t imes
have you thought you were just faking i t? Or have you ever just assumed that you
weren' t good enough? These thoughts murder your creat ive spi r i t and you get
started on a more creative path when you stop that behavior.
The creat ive process can star t to open up once you just t rust yoursel f . I f you
empower yoursel f to t ry something di fferent and give yoursel f permission to fai l , you
become more creat ive. Don' t make the met r ics of success or fai lure the guidel ines
by which you proceed. Instead make exper imentat ion, expression and joy the
metrics.
The second big point of contact for me is authent ici ty in my work. I f you can star t
to look at authent ici ty, rather than or iginal i ty, you wi l l become more creat ive. I
learned this concept best by l istening to John Paul Caponigro. He was talking
about other ar t forms and ment ioned that in Asia for instance, ar t ists don' t wor r y
about coming up wi th something new, they work wi thin an exist ing form and t ry to
expand i t . When I read the photographic forums, the younger photographers seem
to beat thei r chests the loudest and proclaim thei r creat ivi ty simply because they
did something "new. " Usual ly what they did wasn' t new at al l , but rather new to
them. But i t doesn' t mat ter. Wor rying about doing something new ends up stunt ing
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creat ive growth. Being creat ive does NOT requi re doing something new. I t requi res
doing something that is authent ical ly your real personal and t rue vision. I f you take
away anything from this blog post, I hope it's that.
Last ly, creat ivi ty is about choices. The choices can of ten be based on a few
dynamics l ike tension, juxtaposi t ion, conf l ict and resolut ion. These are good tool s
in a creat ive envi ronment . But somet imes, you learn most of your creat ive ideas
f rom pure exper imentat ion. Free- form music - cal led jamming of ten lets musicians
come up wi th thei r best sounds. Wr i ters use f ree-associat ion and brainstorming to
come up wi th thei r best words. Why shouldn' t photographers use thei r own brand
of visual experimentation to find their own visual creativity?
To sum up - i f you want to be more creat ive, star t loving yoursel f enough to give
yoursel f permission to fai l . In fact , bet ter yet , don' t even wor ry about winning or
losing. Just DO.
Don' t focus on NEW - focus on authent ic. Being or iginal isn' t being new - i t 's being
you.
And r i ff . Go out there and jam. Try this and that and then inver t i t al l . Go crazy. Do
something you've never tried.
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ESSAY #6
CLARITY
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I judge many photo contests. I also cr i t ique photos on a regular basis. When a
photographer stands in f ront of me and feels the need to explain thei r photo, I
know I'm in trouble.
You see, i f you have t rue photographic vision, you have clar i ty and i f you have
clarity, you don't need to explain or defend your images.
Clar i ty is about what emot ions or feel ings the image is t rying to evoke, not the fact s
behind the image.
Photographic clar i ty is about passion of purpose. I t 's about a single-minded desi re
to protect a memory. I t 's about story tel l ing wi th a camera that 's so power ful , no
words are necessary.
Photographic clar i ty is about the f reedom to express YOUR vision wi th a camera in
a way that moves others.
So don' t just think about making a picture that the pixel peepers down at the
camera club wi l l note as sharp. Make one that moves people everywhere to
understand your vision.
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ESSAY #7
MORE
INSPIRATION
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To be a professional photographer, you have to be able to be inspi red. Guts and
toughing i t out won' t be enough. You wi l l cont inual ly need to be inspi red. Where
you draw your inspi rat ion f rom is a personal choice. I decided to share some of the
things that have inspi red me over the years in the hope that you wi l l f ind something
on the list that inspires you.
1. Watch a movie
Yes this is one of those rare t imes when you are al lowed to kick back! Watch a
movie. Study i t or just exper ience i t . There's always the chance something wi l l
catch your eye.
2. Read a book
Grab something l ight and funny or deep and thought provoking. But read. I l ike to
suggest The Ar t ist 's Way. I f want to be inspi red as an ar t ist by reading, check out
The Artist Way. It will do the trick.
3. Learn a new goofy hobby
Take your mind off the wor ld and learn a new hobby. The ext ra space this creates in
your brain could lead to big- t ime inspi rat ion. Suggest ions? Here's a zany one.
Learn how to use a Yo-Yo. Yeah i t looks easy, but to do i t wel l takes some luck,
aff ini ty and ski l l . Bel ieve me, photography wi l l seem easy af ter t rying to master the
Yo-Yo.
4. Study and ask why
Look at photographs f rom photographers who you admi re. But instead of the usual
"Oh that 's cool " react ion - st r ive to know why. Ask yoursel f "Why did they make thi s
image? Why does i t resonate wi th me? Why is that visual ly inspi r ing or ar rest ing or
impor tant?" WHY is one of the most impor tant inspi rat ional tools out there. Peopl e
will do crazy things if the WHY is good enough.
5. Watch trash television
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Okay I admi t this one is on the edge, but i t works for me. One of the things that
stops many of us f rom being inspi red is being down or depressed. Al l you have to
do is watch 10 minutes of Jer ry Spr inger or some simi lar show to real ize how good
you have i t . I guarantee you that you' l l feel bet ter about your l i fe af terwards and i f
you go out with your camera right away, you'll see a smile in your photos.
These are just a few of the ways I inspire myself. Try them and see if they help you.
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ESSAY #8
NEW
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I am di s t u rbed a t t h e re l e n t l e s s pu r s u i t of some t h i ng " n ew" by you nge r
photographers. Don' t get me wrong. I love innovat ion. I 've proven i t . Nobody stays
up with changing communications and camera technologies any more than I do.
But when I hear new photographers say things l ike, "Ah that 's old and t i red. I want
to t ry something new…" I am concerned. I am wonder ing i f in the pursui t of new,
they forget the most impor tant par t of being a creat ive. To be cool you don' t need
to be new - you need to be YOU!
I t 's simply in-authent ic to do something JUST BECAUSE i t 's new - i f you don' t feel
i t in your hear t . I saw a beaut i ful por t rai t at this year 's WPPI hanging in the pr int
compet i t ion. Whi le the younger folks might have cal led i t "old fashioned" I cal led i t
"classic. " I t scored very wel l and should have. I am sure the maker was proud of i t .
I am sure the subject of the por t rai t and her fami ly loved i t . But yet , I heard one
young woman laughing at the photo because i t used a painted musl in background.
She was having a f ield day at tacking both the image and the image maker because
that was such a "cl iche?" Real ly? Sor t of l ike her blue hai r was a cl iche. Ser iously.
Just because you make a spectacle of yoursel f ala Lady Gaga or Par is Hi l ton, that
doesn' t make you cool or new. I t 's the talent underneath al l the tat toos, l ip r ings,
dresses made of meat , hai r colors that are off the RGB spect rum, etc. that mat ter. I
understand the need to set yoursel f apar t . And I don' t real ly care what color your
hai r is or how many tat toos you have. What I do care about is whether or not your
photographs represent your t rue vision. I care about the ar t ist underneath al l the
t rappings. I f you expect me to be impressed wi th your out rageous at t i re or at t i tude,
forget it. That's boring by now.
I want you to use your camera to tel l a story so moving that your images ar rest me.
I want to see that you poured your hear t and soul into a picture. I want to see that
you tried to use your camera to communicate with SOMEBODY.
Don' t be fooled into thinking that you' re actual ly doing something "new" anyway.
Because most of the t ime you aren' t . I t might be new to you, but i t 's almost
cer tainly been done before by someone else, somewhere else, maybe even long
before your time.
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I remember when the out of focus por t rai ts were al l the rage. Then i t was r ing
l ight ing. Then i t was spl i t tones. Then i t was cross processing. I t doesn' t mat ter
what gimmick you use. Most of the people that used these techniques when they
were l i t t le known, had no idea they weren' t new. The technique and gimmick can
sometimes get in the way of the image.
What mat ters, al l that mat ters, is the photographs you create. The images are what
mat ter. They are what last . They are memory protectors. They are history for
peoples of the future. 500 years f rom now when you' re dead and gone. Nobody wi l l
know how out rageous you were or how edgy you were or how cool you were. They
will simply judge you by your work.
You may not l ike "old- fashioned" photography. That 's your r ight . But make sure you
aren' t just t rying to be new for new's sake. Faux out rage, faux drama, faux at t i tude
may score you points somewhere - but not here. Not in the wor ld where the
photograph lives.
I f you want to use a painted musl in background or a bale of hey to shoot against ,
go for i t . Just be sure that i t 's YOUR idea - that i t 's YOU behind i t al l , not a vain
at tempt to be out rageous or di fferent or new for new's sake. Your images wi l l be
much more power ful and the respect people have for both you and your work much
greater.
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ESSAY #9
CREATIVITY
PART 2
- 38 -
I 've been having some deep discussions wi th other photographers lately about the
need for shooters to develop good technique. In the midst of these discussions
though I remembered something f rom my one and only ar t class in col lege - There
is no technique without expression.
My ar t teacher bel ieved that pret ty much anyone who real ly wanted to could lear n
the technique requi red to provide decent del iverables in any ar t ist ic endeavor. I
have seen this mysel f . When teaching brand new photographers, they very quickl y
run up the ladder f rom rungs one through nine. They acqui re decent technique i f
they apply themselves. But going f rom rung nine to 10 - wel l that 's a di fferent
animal all together.
Technique leads to craf tsmanship i f you' re real ly talented and real ly apply yoursel f .
And in the eyes of my ar t teacher, the next step is expression. My teacher said you
need to learn technique not in and of i tsel f , but as a means of expression. I t was at
this moment that I f i rst star ted developing my long-held theory that the creat ive
photographer is real ly a storytel ler. This is where that idea was born for me. I t ' s
very ethereal . Some of you may be rol l ing your eyes at me r ight now saying "Not
another post about storytel l ing! " But I do think this is impor tant . I also think i t ' s
very hard to describe let alone teach. Hence, the reason for today's post.
My charge to you is simple. Don' t just learn camera or photo technique. Learn i t as
par t of a means to an end. Learn i t so that you can more ful ly express your own
inner, authent ic vision. See what you need to see. Pract ice in your medium.
Develop technique and THEN think about what is impor tant to you. The next step i s
developing craf tsmanship and THEN you' l l be on your way to t ruly, honest ly and
openly expressing yourself as a photographer.
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ESSAY #10
INVISIBILITY
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Jonathan Swift said...
“Vision is the art of seeing what is invisible to others.”
This quote inspi res me dai ly as a photographer. As I walk by a grove of t rees, I see
things di fferent ly than my non-photographer f r iends. They see a clump of t rees. I
see the grass beneath the t rees, the l ight st reaming through the leaves, the bi rds in
thei r nests on the branches, the int r icate pat tern in the bark, the st rength of the
t runk, the outgrowth of the roots, the di fferent colors and tonal i ty in the leaves, the
way the shadows fal l across the wood, the angle of the l ight as i t hi ts the canopy,
the shadow the t ree makes on the r iver below, the l ine the branch fol lows f rom the
tree trunk, etc.
When photographers look at the wor ld, they look at i t through a special lens - pun
intended. I t 's a f i l ter of sor ts that si f ts the impor tance of one thing or another. Thi s
abi l i ty to si f t and sor t , to include and exclude, to dr i l l down into the meat of the
scene, that 's what compr ises the photographer 's vision. I l ike to think that we can
all use more of that.
Exercise...
Here's a vision exercise for you that doesn' t requi re a camera. Try to descr ibe
something ( l ike a t ree) as i f you were descr ibing i t to a bl ind person who had never
received the gi f t of sight . Then go photograph as i f that picture would be the onl y
one ever seen of a tree.
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CONCLUSION
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I hope you’ve enjoyed this f ree e-book. I f I ’ve done my job, you’ re now star t ing to
think about things that go beyond camera and lens combinations.
Vision, creat ivi ty and inspi rat ion are much harder to come by than cameras. I t takes
patience and practice to be able to respond to any or all three.
My hope is that you wi l l go looking for each the next t ime you set out to make
pictures, not just take pictures.
Scott Bourne
June, 2011
Las Vegas, Nevada
Special thanks to all of my sponsors:
Adorama
MACGroup
Animoto
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Epoca US
BorrowLenses.com
Bay Photo
Dynalite
Nik Software
SmugMug
Kubota Imaging Tools
Asuka Book
ADDITIONAL THANKS
Animoto.com for hosting this e-book giveaway
For more of my work visit:
Photofocus.com
GoingPro2011.com
3exposure.com
Carloves.com
Follow me on Twitter - @ScottBourne
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VISION
Vision, creativity and inspiration. . .
These are things you can’t buy in a camera store. These are things
every photographer needs to be successful.
Award-winning, professional photographer Scot t Bourne shares 10
essays on vision, creat ivi ty and inspi rat ion in this new e-book. I f you
enjoy this work, pass i t around f reely to your f r iends. There’s never
enough vision...
S c o t t B o u r n e
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