Anyone who has been to oopoomoo seminars or workshops will be familiar with one of the most common compositional flaws in photography – the dreaded pokie.
What is a pokie? No, it’s not a friend of Gumby but rather it’s:
Little objects that stick into the edge of your frame accidentally.
Pokies are not purposeful parts of the composition. Instead they sneak into the frame like unwelcome guests and ruin the party by drawing attention to themselves. In short, they weaken your images. In the image below, can you spot the pokie?
Pretty obvious, eh? That little spruce branch in the upper right corner of the frame just screams out, “Look at me!”
Sometimes we are so fixated on our subjects while shooting that we don’t notice pokies until later when we look at the images on the computer screen. But once you are aware of pokies you’ll start to notice them all the time and you’ll learn to adjust your composition right away to get rid of those pesky buggers.
In some cases you can clone or crop out the offending pokies but sometimes you can’t. Rather than fix compositional errors in post, you’ll be a better photographer and you’ll save time at the computer later if you learn to spot and eliminate pokies in the field.
Show us your best pokie shot and win a spot in one of our January 2017 Resolve: Discover Your Creative Self eCourses. Post your image or images to our oopoomoo Facebook group or email us your entry (info at oopoomoo.com) before midnight MDT November 16, 2017. Below are some ideas of the kinds of images to enter.
- The Annoying Pokie – Show us a great shot that you made that was ruined or marred by an uninvited pokie.
- The Pokie Eliminator – Show us how you zapped away a pokie by changing your composition while shooting (we’ll need to see a before picture showing the nasty pokie, and then the fixed, pokie-free photo). No Photoshop fixes please!
- A Famous Pokie – Show us an annoying pokie in an iconic photograph from a famous photographer (yes, pokies have learned how to be published!). Be sure to credit the photographer and provide a website link to where you found the photo (comment and criticism on published pieces are allowed as fair use). Note: we can only award the pokie prize to a photographer who submits their original work so this last category is more for fun, education and discussion than for prize consideration.
Be sure to tag your images with #thepokieawards to ensure we consider your entry.
In our last blog post, Samantha talked about recent ‘mini-mentorship’ projects that we gave each other. Sam’s project was about personalized tree portraits, mine was about discovering artful design in nature and capturing that design in-camera. For me, the mentorship was incredibly valuable because it helped me recognize and articulate where I was and where I wanted to go as an artist. Once that was clear, the world opened up to infinite possible further project ideas. One of the main reasons that many photographers get in a visual rut and are not inspired is because they simply do not know who they are creatively. Knowing what your inner voice wants to say frees you from external constraints that hold you back.
As a mentor I learned to see the biases and expectations and self-doubt on the part of the mentee. Making assignments that addressed these issues forced the mentee to face the roadblocks to her creativity. Through teaching another you learn just as much about yourself and your own creative roadblocks. For both of us we emerged from the small mentored project with stronger artistic voices and renewed creative drive. Plus, we liked the results of our fun little projects! And now we just want to do more, both as mentors and as mentored artists.
With more and more people getting into photography, we at oopoomoo think it’s timely to open a discussion about ethical behaviour and field etiquette. It’s also about time we post a code of ethics here on oopoomoo.com. Here’s our first kick at this; we might modify the code from time to time based on your input and changing cultural values.
Let’s start with an underlying assumption: most people get into photography because they love to take pictures of people, places or creatures – and not to destroy them. Sounds reasonable! So this means that any harm caused when people take pictures is probably incidental either through carelessness or ignorance. So that’s why it’s a good idea to revisit the concept of ethical shooting from time to time – and especially as the digital revolution has brought the joy of photography to more and more of us.
First, we need a guiding principle. This is going to be the yardstick against which we measure all our actions. “Do I or don’t I?” should be easily answerable if we get this main idea right. An obvious starting point is that old idea ‘do no harm’ which is something most of us understand even if we’re not doctors taking the Hippocratic Oath. We learn this one early on, usually because when we hurt someone else, something bad happened to us. I hit a kid in the sandbox, he punches me back, or the teacher gives me a time-out. We just don’t seem to get far ahead if we go around harming things!
But is it enough? It’s morally neutral, at least. The status of people, plants and animals is unchanged. If you think about it, causing no harm is actually really hard to do and is almost impossible to measure! Just by stepping out our door we crush insects underfoot, trample grass and compress microorganisms in the soil. And let’s not even talk about the effects on pollution we produce when we travel somewhere to take pictures!
Maybe it’s impossible to do no harm in its most literal sense. We might as well stay home in bed with hot chocolate and Pride and Prejudice for the rest of our lives (which might even harm our health and sense of reality). In any case, do as little harm as possible also seems apathetic and vague. Who decides what is ‘as little as possible’? Does this change day-to-day, place-to-place and person-to-person? And how do we meaningfully measure harm? Such a moving target is not going to be a good guiding principle.
Perhaps then we should take things up a notch. Perhaps we should take a moral stance. Perhaps we should promote the well-being of things as our guiding idea, leaving them better off than before we took our picture. This at least might help mitigate any unintentional harmful effects our mere presence might cause! Our guiding principle would then be: “If I do x, will I leave my subject matter better off?” If the answer is “no”, then we should not do x; if the answer is “yes, I think so”, well then fire away!
Now, we could get hung up on the same problems as with the ‘do no harm’ idea: how do we measure ‘better off’? There really is no way to be absolutely sure, so part of being an ethical photographer must involve some amount of educated judgment. Note the term educated. Part of a code of ethics has to involve some obligation to inform ourselves and a commitment to doing our best. These at least move us in the right direction and keep us from being crippled on the couch with carby snacks and historical romances.
So we have our guiding principle: promote the well-being of the things we photograph. This necessarily includes doing our best at not harming things, and it also puts a positive obligation on us to engage with our subject matter in a way that makes it better off after our interaction with it. This might be as simple as inspiring public appreciation of the person, place or critter photographed. Or it might be as involved as a raising critical awareness through a life-long project to protect an endangered habitat. But by following our guiding principle of promote the well-being, we’re going to be on the right track. Also, actively thinking about your positive obligation in advance will make your decision a lot easier about whether to take the photo or not.
Nobody’s perfect. We both confess to actions in the past in the name of “I gotta get that shot”, that we now would not do. Maybe it’s maturity. Maybe we grew a conscience. What we do know is that we’ve been trying to follow this guiding principle of ‘promote the well-being’ for some time, and we can tell you we are more comfortable making our images and more proud of them.
By the way, if imposing a positive obligation on ourselves feels onerous, consider this: we don’t have a right to make a photograph. It’s a privilege. So let’s ensure we get to keep this privilege for ourselves and others by avoiding careless or ignorant behaviour. Photographers have been getting a bad name lately mostly because we all think we have the right to photograph anything, anytime and anywhere. We don’t. Let’s rise to a higher standard. Let’s set the bar above the level of ‘everyone else is doing it’. Let’s put our subject matter first and ourselves second. We bet that if we do this, our images will sing with sincerity and the photo industry will be a role model in the art world instead of its poorer second class citizen.
Enough of the grand theorizing. So what kinds of specific behaviours might our guiding principle of ‘promote the well-being…’ entail?
We’ve surveyed some photo organizations for their ethical codes (see below for links to some prominent groups – there weren’t many which says something right there), and the bulk of the actions can be distilled into three main areas: environment, social and self. We’ve summarized them and tried to put them in terms of positive actions. So here’s our proposed Code of Ethics:
This category involves the world around us, especially the natural world.
- Inform yourself and follow all rules and regulations when visiting a natural area or public attraction. These might include shooting distance to subjects and refraining from using certain kinds of artificial light or even photographing an animal or plant at all.
- Receive permission before stepping on to private property even if the property appears abandoned.
- Stay on designated paths and trails. If there is no trail, follow proper field etiquette by educating yourself on the principles of Leave No Trace.
- Aim for authenticity: photograph plants and animals in their natural habitat engaging in their natural behaviours.
- Research and inform yourself about the plants and animals you intend to photograph. Be aware of their distress signals, times of physical strain or breeding seasons, and avoid photographing plants and animals during these times. If you see any signs that your presence is causing stress, move back until the stress signals end or leave the area immediately.
- Leave the environment in a better way than you found it by picking up trash you find when in the field.
- Improve your photography composition skills by using your full arsenal of tools to make a great composition rather than moving objects, pulling plants or otherwise ‘tidying’ a scene for your composition.
- Move your position or patiently wait rather than attempt to influence an animal’s posture with catcalls, hoots or whistles.
- Remove all artificial attractants you find in wild places that were placed there by people to attract animals and refrain from baiting or placing attractants to entice wildlife to move to you. This is especially important with some large animals since they tend to be relocated or killed when they become habituated to humans.
- Refrain from sound baiting if its use may cause stress to the animal.
- With animals living in an urban environment such as songbirds, consider not putting out seeds as bait. If you do, research the proper natural organic food and follow proper procedures to ensure cleanliness of the feeder to minimize risk of disease. Place the feeder such that the birds will not be exposed to hazards such as predators under cover or at danger of flying into reflective house windows.
- Keep rare species safe and intact by not broadcasting the location of a fragile area, plant or animal. Remove GPS data from your images and refrain from sharing the location to others after the shoot.
- If by stopping to photograph, you are likely to start a chain reaction of other visitors crowding the area, do not stop but find another time or place to continue photographing.
This arena is about relationships with other people. So some sample situations are going to be interactions between photographer and client, photographer and tourists and photographer and photographer.
- Ask permission before photographing an identifiable person.
- Treat all people with respect.
- Treat your professional models with professional courtesy, repaying them with prints or fees for their work. Do not reimburse people where to do so would take advantage of their social or economic position or unduly influence them to pose for your picture.
- If you see someone violating the Code of Ethics, diplomatically attempt to educate them about the effects of their behaviour. If that person continues with their improper behaviour, document the situation and report them to the appropriate authorities.
- Be patient and courteous with non-photographers visiting a scene. Be creative by adjusting your expectations of the images you hoped to make and be open to new ideas as they present themselves.
- Be aware of your position and how it may interfere with the ability of the photographers and non-photographers around you to enjoy a scene.
- If someone inadvertently wanders into your scene, be courteous and wait if possible for them to move, adjust your own position, or kindly ask them to move their own when they are ready.
This category relates to how you personally internalize and live the Code of Ethics.
- Adopt a Code of Ethics and post it somewhere conspicuous to remind yourself to follow these important principles. Strive to adhere to the Code and commit to a lifelong education of these principles.
- Be an ambassador of ethical conduct in the industry through your own behaviour and by educating other photographers and the public about ethical photography.
- Know and respect your physical limitations and keep yourself out of harm’s way by avoiding situations where your health and safety or the health and safety of others could be put at risk because of your actions.
- Educate yourself about the weather, terrain, culture and possible hazards before visiting a new area.
- If you are leading a photo group, whether commercially or not, ensure that the group members are informed about the Code of Ethics, hazards and safety concerns and that the group size is appropriate to the sensitivity of the place you are visiting.
- Always be forthcoming about your processing and refrain from representing your photographs as something they are not.
Suggest a link to a good Code of Ethics in a comment on this post!
This year, Darwin and I decided to curate each other’s images to select what we felt was that photographer’s oopoomoo best for 2015. Just as we stipulated in the oopoomoo Newsletter announcing the challenge, an oopoomoo best had to meet three criteria:
- represent who they are photographically as an artist or demonstrate something they learned this year
- be as well-composed as they can do at their learning level, and
- be taken ethically.
You can see what Darwin picked as my oopoomoo best here. And here is the image I’ve chosen as Darwin’s best image of 2015.
In pouring over Darwin’s work for this year, I’ve noticed a shift in his usual subject matter. Instead of photographing grand landscapes, Darwin has started to concentrate more on intimate studies and abstractions. Some of the same elements of style are present in his work, making them a ‘Darwin shot’, such as a fascination with light and shape and an attraction to colours and tonal contrast. But I sense with this image a refinement perhaps of ‘seeing’, an engagement with the mind rather than just senses. There is many layers to this image and it is quietly intriguing.
This image was taken at Lake O’Hara, probably one of the most iconic of places in the Canadian Rockies. We were standing far uphill on the trail to Opabin Plateau and Mary Lake was being covered by a giant shadow cast by Oderay Mountain as the sun set behind it. Darwin had to work fast to frame and make this shot before the light was gone and the lake covered in shadow. When photographers say that they refuse to photograph iconic places, I feel sorry for them; I suspect they are insecure and may suffer from a lack of imagination. A great photographer can always make a place his own as Darwin does here.
As part of our regular monthly Newsletter, this December we asked our subscribers to share with us their best picture of 2015. But the photo could not be just any predictable best, it had to be their ‘oopoomoo best’. To be an ‘oopoomoo best’ the image had to follow these criteria:
- represent who they are photographically as an artist or demonstrate something they learned this year
- be as well-composed as they can do at their learning level, and
- be taken ethically.
If you want to see all the amazing results so far log into your Facebook account and do a search for #myoopoomoobest2015
In the spirit of year-end sharing Sam and I will be showcasing our oopoomoo best image here on the blog but with a twist. Instead of picking our own image to share we are going to chose what we think is our partner’s best image of 2015! Scary stuff to have someone else curate your work.
And so here is my pick of Sam’s best image of 2015. Drum roll please!
I chose this image for several reasons. First, it perfectly represents Sam’s creative vision. Sam loves grass and trees and she has both in spades in this picture. Second, Sam creates compositions that are personal and intimate and that drill down to the essence of what attracted her to the scene. We were out shooting in the Rockies and I was photographing a distant lone spruce in a sea of yellow aspens with my 300mm lens (an obvious and easy subject). Sam asked if she could borrow my camera and lens for a minute. She swung the camera away from the obvious fall colours, away from the big peaks in the background and over to a grassy slope just above the road. I could not for the life of me figure out what she was making a picture of! Of course now I see… a quintessential Sam photo, but at the time I thought she had gone mad photographing away from all the big beauty surrounding us. I’m always impressed by how Sam can make ‘something from nothing’ and how she always photographs true to her vision no matter what others are doing around her. So the biggest reason I picked this image is because Sam continues to surprise and delight me with her creative vision. No one can make Sam images, they are unique to her. And so, for me, this image represents Samantha’s answer to the #myoopoomoobest2015 December Newsletter challenge.
It seems we have touched a nerve with our latest eCourse offering “Resolve:Discover Your Creative Self“. Our first run of the eCourse sold out in three days but we are offering a requested second session January 17 – 23, 2016 with the same introductory 40% discount until December 15 2015. After the 15th we’ll be charging $79.95 for the eCourse. To learn more about this unique photography offering please go to this link. May you have a creative 2016!
Samantha and I have written extensively on the oopoomoo blog about honouring your creative vision. To be an artist you need to follow your muse especially when outside forces always seem to want to sabotage your progress. For example, my output in photography was directed for years by the need to produce saleable images for stock photography. I shot things I normally would not be interested in and I learned how to make images which would please photo buyers. Once stock photography started to dry up (post 9-11), then money was to be made in providing tours and workshops to other photographers. The imagery I created was meant to entice participants to sign up for desirable destinations or to learn technique driven processes. My own development as an artist suffered. And so the time has come to allow my creative vision free reign of expression.
Samantha and I have taken the pressure off ourselves to produce work for others. We are not shooting for stock nor are we shooting to gather potential tour or workshop clients. Sam never really pursued these things anyway. Instead, we’re returning to photography purely as a creative outlet. Of course, giving up our successful and acclaimed workshop program means we have cut our income by about 1/3rd. But that is a small price to pay to go on a path of self-discovery. To finance our journey we have cut expenses and gotten part time jobs outside the world of photography. Our jobs are what we do to support ourselves as artists. We have decided to purposefully walk the pathway of creativity and see where it takes us. For too long we have been teaching others to do this but we haven’t done it ourselves. You’ll see oopoomoo stay true to its roots of create, inspire and educate through us sharing both our journey and, increasingly, the journeys of others – in fact, we make this adjustment in order to focus more clearly on this important aspect of photo sharing and story-telling. We have a great desire to help photographers be artists. And we welcome all creatives to share their discoveries and stories here on the oopomoo blog or in our oopoomoo Facebook group. Stay tuned!
To read part II of this post, Carving Out Time for Creativity, please go to this link.
Here at oopoomoo we have always emphasized creative vision in photography. As a photographer you should honour your interests and express those interests from your heart. In short, we try to teach photographers to be artists. Unfortunately, social media and the internet don’t reward the slow path to self discovery but instead it rewards instant gratification, easy to digest imagery and techniques of the day with photographers scurrying all over the globe to get to iconic destinations to make replica images or replicate techniques of other photographers. There is little reward for nurturing your own creative vision. We have written about his extensively before here and here.
Recently, our friend and oopoomoo photography assistant, Catherine returned from taking a workshop with esteemed photographers Freeman Patterson and Andre Gallant. Catherine has long been interested in things that most other photographers pass by. She came with me once on a Canadian Rockies ‘Glory of Autumn’ photography tour and spent her time taking pictures of rocks and sticks while everyone else was making images of mountains and lakes. The other photographers just could not figure out why she was ‘wasting her time’ shooting things she could photograph at home when she was in the Canadian Rockies! The truth was simple – Catherine was following her creative muse, sticks and stone moved her more than big mountain scenes (read about Catherine’s experience at this link). She honoured herself by not caving to peer pressure and shooting for herself. Fast forward to her workshop with Freeman and Andre. Catherine was given an assignment to make reflection shots… in cars. She took to the assignment with gusto and came away with an impressive body of work, so impressive that Freeman singled her out from the class as an example of creative vision. By following her heart, and her interests Catherine emerged as an artist.
Last October Samantha and I came up with a workshop idea in the Canadian Rockies called “Beyond the Icon”. The idea was to strip away the temptation for photographers to make or expect classic Canadian Rockies iconic photos. We went after the fall colours were over but before winter ice and snow set in. It was the season of browns and for many photographers the Rockies looked blah (if that is possible). We also purposely took our participants to unknown locations and even just stopped roadside randomly and gave out photo assignments. The results from the participants were impressive and it was fulfilling to see growth in the participants’ creative vision. Sam and I also had the opportunity to do these same assignments along with the students. And we got to spend some time before and after the workshop making personal images. After the trip I noticed that my creative vision was evolving from big vertical landscapes in theatrical light to more intimate, abstract and graphic images. Recently, I finished processing the images from this outing (finally!) and thought I would share my 25 personal faves from the trip in this post.
What is your creative vision? Have you seen it evolve over time? Are you able to be true to yourself in spite of external pressures to shoot something different from what you love to shoot? We would love hear about it in the comments on this blog or share some images with us on the oopoomoo Facebook Group.
Happy Canada Day!
Samantha and I have been lucky enough to travel to many different parts of the globe and every time we come home to Canada we realize how fortunate we are to live in this amazingly diverse country. We are blessed with stunning natural beauty and vast areas of wilderness. Our friends don’t believe us when we tell them, but it’s true – no place we have visited compares to Canada!
Canadians have a unique opportunity to preserve, nurture and embrace the bounty of nature bestowed on Canada. We could be world leaders and celebrate our abundance before it is gone forever. Many other countries have learned this lesson, the hard way… they don’t appreciate what they had until it’s gone. Rather than mourn what we had, let’s work hard not to lose it in the first place. We need to think bigger picture and longer term than just the immediate future. The election of the NDP in Alberta is a signal that people want more than just “business-as-usual” short-term economic riches. Most Canadians want an ethical social fabric, a diverse economy that rewards quality of life over quantity of goods, and we want to keep the awesome nature that we all benefit from and enjoy.
One of the best ways to preserve natural habitat and the species that live there is to preserve watersheds. Thinking watershed is thinking holistically… we all need water to live and saving water requires saving large chunks of habitat (which saves many species at once)! A common statistic flaunted about Canada is that we have 20% of the world’s fresh water. But according to Environment Canada:
…less than half of this water — about 7% of the global supply — is “renewable“. Most of it is fossil water retained in lakes, underground aquifers, and glaciers.
For Canada’s 30 million people — about half a percent of the world’s population — this is still a generous endowment. But, more than half of this water drains northward into the Arctic Ocean and Hudson Bay. As a result, it is unavailable to the 85% of the Canadian population who live along the country’s southern border. That means the remaining supply, while still abundant, is heavily used and often overly stressed.
This blog post is part celebration and part exhortation. Let’s call upon our governments (and ourselves) to take action and protect our water and riparian habitat.
And so in celebration of Canada Day, I present images from across Canada showcasing our water (both fresh and salt water).
Samantha and I will continue to vote with our ballets, our wallets, our conservation habits and our time to do our part to keep Canada biologically and socially diverse. Canada, we toast you (with a cool glass of fresh water!) Happy Canada Day!
Samantha and I have had a busy spring doing photography workshops across the country. Our workshops take a lot of advanced preparation to give our participants the best experience possible. Between our heavy prep time and the fact that we don’t shoot during our workshops, we’ve had very little time to shoot for ourselves. Now that our workshop schedule is done and we have the summer for our own photography we thought it might be nice to show some of our recent work (newly shot and/or processed images). I’ll start off first with some fresh work. Watch for Sam’s new stuff in a follow up post!