the photoshooter's journey from taking to making

LEFT, RIGHT, LEFT

Both of the images in this improvised double-exposure were taken within a space of five minutes. Final processing was finished in ten.

Both of the images in this improvised double-exposure were taken within a space of five minutes. Final processing was finished in ten.

By MICHAEL PERKINS

IN HER BRILLIANT 1979 BEST SELLER DRAWING ON THE RIGHT SIDE OF THE BRAIN, art teacher Betty Edwards, while obviously addressing the creative process chiefly as it regards graphics, also contributed to a better understanding of the same visualization regimen used by photographers. In its clear explanation of the complementary roles of the brain’s hemispheres in making an image, Ms. Edwards demonstrates that photographs can never be just a matter of chiefly left-brained technique or merely the by-product of unfettered, right-brained fancy.

And that’s important to understand as we grow our approach to our craft over time. It’s ridiculous to imagine that we can make compelling images without a certain degree of left-brained mastery, just as you can’t drive a nail if you don’t know how to hold a hammer. But it’s equally crazy to try to take pictures without the right-brained inspiration that sees the potential in a composition or subject even before the left knows how, technically, it can be achieved. One side problem-solves while the other dreams. One hemisphere is an anchor, a foundation: the other is a helium balloon.

When you develop a plan for your next shoot, selecting the lenses and tools you’ll need, scoping out the best locations, it’s all left brain. But, comes the day of the shoot, your right brain might just fall in love with something that wasn’t in the blueprint, something that just must be dealt with now. Fact is, neither side can hold absolute sway. When you are laboring a long time to get a particular picture, you can almost feel the two hemispheres arguing for control. But all that left-right-left toggling isn’t a bad thing, nor should you expect there to be one clear “winner” in the struggle. The pictures that emerge have to be an agreement, or at least a truce between “how do we do this?” and “why should we do this?”.

I have pictures, such as the one up top here, that I call five-minute wonders, so named because they go very quickly from conception to completion. They are like impulse items in the grocery checkout line. I’ll take some of this, a few of these, and one of those, toss them together in a bowl, and see what happens. Sounds very right-brained, right? However, none of these quickie projects would work if I simply don’t know how to make the camera give me what I want. That’s all left brain. The point is, the two factions must at least have a grudging conversation with each other. Right-brained creativity gets all the chicks and the cool clothes: it’s the flashy rock star of the photo universe, a sexy bad boy who just won’t listen to reason. However, Lefty has to take the wheel occasionally or Righty will crash the sports car and we’ll all die horribly.

It’s romantic to believe that all our great photographs come from blindingly brilliant flashes of pure inspiration. That’s where the lomography movement with its cheap plastic cameras and its “don’t think, shoot” mantra comes from. And impulse certainly plays its part. However, anyone who tells you that amazing images come solely from some bottomless wellspring of the soul is only telling you half the truth. Sometimes you can spend the day playing hooky, and some days you gotta stay inside and do your homework.

Left, right, left….

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