Burnout

I’ve been following Christian Henson for the past several years on YouTube. He is a music composer and also the owner of a company who develop sample instruments for Audio.

I really enjoyed this video from him today, as he openly talks about his burnout, and his own problems dealing with work and stress.

Just in case you are wondering why I am posting this: I am NOT suffering from Burnout. But it has been something that I have experienced now around three times this past 12 years of running workshops.

For me on each occasion when I felt I was reaching burnout, the solution was easy: I restructured my workshop schedule so that I get time off to recuperate. I now take each summer off - that is roughly around three months.

These three months off, is often a time where I seem to turn into a couch potato, or I go out daily cycling. I also find myself sleeping an awful lot. I am convinced this is needed, and it benefits my creativity.

During this time off, I have very very little interest in doing anything photographically. Initially it worried me that the lack of interest was burnout, but I now realise that as the summer begins to end, I am looking forward to my trips back to Eigg or Iceland in September.

Having this three months off keeps me sane.

Much like Christian, I would say that my own personality is similar: I never know when to stop, and my hobbies usually tend to become all consuming passions that I seem to turn into something quite serious. I’ve had to learn to take the foot off the accelerator, and also, to not feel guilty when I am not working.

Making great photographs may be something we all want to do. But I have had a very strong opinion for a long time now that just going out every once in a while and hoping that you’re going to create great work isn’t enough. Great work seems to be a combination of talent, and going way beyond what most folks think is normal. In other words, in order to create work that stands out from others, usually something has to be sacrificed. I would argue that those whom you admire - musicians, book writers, actors, athletes, photographers, all ‘have a bit of a screw loose’. They are not normal people. They more than likely sacrifice other areas of their lives and they can’t help themselves push themselves forward.

Being a photographer that stands out from the crowd isn’t just something that you get to by doing photography in the evenings or weekends. You get there because you’re willing to sacrifice things that normal folks wouldn’t.

As I said at the beginning of this post: I am NOT suffering from burnout. But I have done in the past, and I was relieved that I found a way out of it. I love photography, I love being creative, but I have seen for a very long time that there has to be balance in one’s life, and sometimes it’s ok not to be creating.

I realise for most of my audience this isn’t the problem. It’s perhaps that you don’t get as much time as you’d like to be creative. But everyone has their limits. Everyone has that point where they may stop and say ‘shit, I really loved this, but now I’m hating it, and I don’t know why’. There is an expectation that it should always be fun (false expectation), or that spending all your free time doing it will make it better (another false assumption).

Take a step back sometimes. Put the camera away. Stop looking at other people’s work on the internet. Go do something else for a while. All creativity needs its own time. That means NOT doing it is just as important as the times when you are.

Be kind to your creativity, which is another way of saying ‘take care of yourself, and also, be kind to yourself’.

wild-man

I’m just home from the wilderness.

It was a research trip where I found that one particular day of trekking is where all the drama and action is.

I am now hatching plans to return. Now that I have narrowed down my focus to one particular area, I am looking to return next summer.

I won’t say where. All I will say right now is that where I was, was in the clouds. It was beautiful up there, but challenging to photograph. So much mist, so much moisture forming on my lens and filters, and so much steam also.

I’ll leave it at that. Hoping to return next year, and have started to make enquires as to how to get to where I want to go, without doing any serious hiking in. That is what I had to do this past week : 55km trek. Was fun, but it was really a certain 12k region that piqued my interests and I know I am not done yet.

With all the said, I am glad to be back home. Being a wild-man for a week, with no showers, no internet, basic facilities, makes one appreciate modern day comforts.

Assynt Portfolio Editing Review Class

I’m in the process of working on a video class about this set of six images.

Last year I produced a portfolio editing class whereby you could watch me choose and edit a set of images that made up my Bolivia set from 2019. With this class, the work is already complete, but I thought it would be good to go through the edits one by one, and break them down, show each of the editing decisions, and also go into more detail about the curve adjustment made for each of them.

I hope to publish this set later on this Autumn time, but it is work dependent as my workshop schedule will be taking off this September.

Artificial Inteligence 3

I asked Stephen if he could ask Midjourney to generate some AI photos based on the criteria ‘Bruce Percy Iceland’, and this is what it gave him:

Crazy shit!

I’m thinking ‘yep, that’s what I’d be looking for’. I asked Stephen if he could simplify further, so he typed in ‘minimalism’ and ‘reduced detail’, and got these:

AI simulation of ‘Bruce Percy Iceland Minimalism’

Spooky. First off, I feel as though I am looking at memories I don't remember having. Some of the motifs etc used in these generations remind me vaguely of some of my own work, and also, of some known places throughout Iceland. I am sure AI has used elements from real photos of Iceland as well as my own images to do this.

AI simulation of ‘Bruce Percy Iceland’

As someone looking at work that has been generated based upon their own work, I feel as though I am looking at a parallel world of sorts. There are just so many traits of what I do, and what I like to go looking for in these artificial generations, that they leave me feeling a bit odd. I can’t associate with them on an emotional level because I was never there to create them, yet they feel and look like parts of Iceland that I would be interested in shooting, and compositionally, mirror to a degree what I do.

AI simulation of ‘Bruce Percy Iceland Minimalism’

Artificial Intelligence 2

Yesterday I wrote about the AI program MidJourney generating images based upon the criteria ‘Bruce Percy Photography’.

I thought I would show some more, which were created by the criteria ‘Bruce Percy Photography Bolivia’.

I can definitely see elements of some of the places I have visited in Bolivia. The top left image in particular reminds me a lot of the mountains near the Dalí desert.

Tonight I’ve been thinking that this all reminds me of something. And I’ve just realised it reminds me of when HDR came out. Many thought it would be a fad. As much as I know that HDR work can be subtle, masterful, and invisible in the final image when in the hands of a skilled operator, it can also be extremely gaudy (to my tastes at least anyway) when used with much less regard for restraint and taste. Regardless of whether I approve or not, HDR is here to stay.

And so with the AI generated images from Midjourney, I think we are seeing the birth of something new here. There will be those that use AI image generation with sophistication, and those that don’t. We now live in a world where anyone can publish, and I often feel I have to curate what I spend my time looking at. There is an awful lot of derivative work out there, and to find the jewels of work that are being published, one has to work harder to find them.

So for me, as much as I’m fascinated by this new advancement in AI, perhaps more from a sociological perspective (jobs are going to be lost and also won, because this is a massive paradigm shift we are on the cusp of), I don’t see the algorithms at present giving you an option for the level of taste in the work. When I went onto MidJourney to look at other work, everything had a similar kind of saccharine look to it.

But I must warn that this is only temporary. If you are not up to speed on AI and where it is headed, then I can recommend this article on the Wait but Why website. In it, the writer explains that progress and developments in AI are exponential. The Google scientist Ray Kursweil has said that progress is always exponential, but we humans tend to project into the future in a linear fashion. It is a human failing. We tend to assume that what has happened before is an indication of what will happen in the future. If the first year we learn 10%, we assume the second year will be a further 10%. But the truth is, that 10% you’ve learned, contributes towards you learning 30% the second year. And so on. Progress is exponential.

One has to move with the times, because if you don’t, you’ll be left behind. I am curious to know whether ‘real art’ generated by ‘real people’ will have a reverence over AI generate work, or whether folks simply won’t care. I don’t think they will be able to notice the difference, but that is another matter entirely. Because we still discuss the merits of different cameras, and yet I doubt if anyone could look at most photos and confidently claim to know which camera they were made with. My own belief is that when it comes down to the bottom line, convenience always wins. So AI will win over work that has been created by a human.

Where does that leave us in the future? Artist have seldom made money from their art, unless they are extremely lucky. Same for musicians. And book writers, only if they have a best selling book. But what if AI can generate a JK Rowling like sequel, and it does it in a matter of seconds, as opposed to JK Rowling writing a book for 2 years? There is no contest.

I digress perhaps. But I must stress that I am not warning of the perils of AI, or even saying I don’t like it. I am just curious how it is going to affect us. Because rather than us shape it, it will shape us.

Artificial Intelligence

A friend emailed me today to tell me that he had joined Midjourney. If you don’t know what Midjourney is, it is an AI application that can generate images based on user input.

Steve decided to type in ‘Bruce Percy photography’, and this is what it generated.

Apart from it looking a bit dream-like (which by the way, is one of my own intentions when creating images), I can see parallels, and similarities, even though it is not exactly like my own work.

I can’t get the software to work right now, as I believe they have hit their subscription limit.

Anyway, here are some other variations:

The last set in particular remind me of my photographs of Stac Pollaidh, here in Scotland.

But I have to ask the questions:

1) how long will it be, before this starts to look so convincingly like real photography, rather than some weird dream?

and perhaps more specifically:

2) how long before we have photographers publishing work created in these AI programs? How long before we see work that is so convincing that we don’t know if it’s a real photograph or AI?

For anyone out there who has a USP with their art, it does make me wonder how long before everyone is not far away from creating work just like theirs? I’m not trying to be all ‘doom’ about this. I am fascinated by the boundaries. Will we be able to spot an AI generated piece of art from a human created one? And if so, what will be the tells? I think it will get to the point where it will be impossible to do so.

So where does this end? What about music? What about books and stories?

Will the ‘art’ in creating anything, be about how you work with AI and use it, rather than just letting it create itself?

Quite intriguing.

Then Steve noticed it has also generate some portraits as well based on ‘Bruce Percy photography’. In case you aren’t aware, I have made portrait photos in the past. I haven’t done much in a long while, but I do have some portraits on this site if you go check. But here are Midjourney’s interpretations of my portraiture work:

Quite dreamy. They sort of remind me of Susan Burnstine’s imagery. More in the focussing, and blur techniques applied.

In the last set of pictures, the one that comes extremely close to my own work is the bottom left image. It is almost a mirror copy of one of the lochs in the Scottish highlands that I have photographed many times.

micrometeorites

I was watching a movie by Werner Herzog called ‘Fireball’, which is on Apple TV right now. In it, he met up with a scientist in Oslo who was using the rooftop of a local stadium as a catchment area for meteorites. But these meteorites are micro-meteorites. Tiny ‘space dust’ particles that he is able to hoover up with some magnets due to their iron compounds.

They are so small, that you’d think there would be nothing remarkable about them, as you can see in the photo of the finger.

But the scientists who’ve been collecting these micro-meteorites have been using some very high resolution photography to study them.

I found the photographs of them extremely beautiful.

I have no affiliation with the website where I got these images from. But it appears that you can buy these meteorites ! Anyway, if you’d like to go and view some more micro meteorites and see how they were found, you can visit the website treasuresfromspace.com.

I would also thoroughly recommend Werner Herzog’s movie ‘Fireball’. It’s on AppleTV.

Print storage and worktable

I was sorely needing a table where I can work on my prints, and also somewhere to store prints and art work I’ve produced.

This got me thinking about how many of us actually get something to store our prints in? I opted for an architect set of drawers. It’s rather large, but now that I have it set up, it’s just what I was looking for.

I think a studio of some kind is a complete luxury, but often not considered. How many of us are just editing our photographs on a laptop on the sofa? I have another desk with a permanent screen set up - an Eizo display alongside a daylight viewing booth, so I can review my prints against my monitor.

I appreciate this is a luxury for most. How many of us have the space, or a spare room to do this with? But I do think it’s something to consider. Especially if you print. Which I think all photographers should do.

Minimalism in the Icelandic Landscape

I’ve just published dates for an updated tour to Iceland in winter time. The trip focusses on shooting minimalist winter scapes in the Icelandic landscape.

Hotels & Comfort

Unlike the previous incarnation of this tour, we will be staying at a hotel situated on the very edge of this wilderness landscape. So private rooms, showers and a nice glass of wine in the evening :-)

If you love to shoot minimalist compositions, with black brush strokes on a white canvas, then this trip is for you.

During the week we will spend together, we will be based in a highland hotel, situated on the outskirts of the minimalist landscapes we aim to photograph.

The landscape is seldom the same. Snow conditions will vary which contributes to this being a trip of exploring. Each day we will venture out to see what we will find. If you are open minded and like to go with the flow, rather than follow a fixed itinerary, then this will be the trip for you.

April 12 - 18, 2023
Price:
$5,495 USD
Deposit: $1,648 USD
7-Day Photographic Adventure

Learn more

Print Buyer's Home settings

I love receiving emails from folks who’ve bought my prints. I love even more seeing my prints framed and in place in their homes.

Over the years I’ve had folks send me emails from all over the world with my prints hanging on the walls. Sometimes I’ve even seen them hanging right next to an Ansel Adams original (which is very complimentary).

I really like the arrangement for this collection. I love triptychs, and to me, single photographs aren’t what it’s really about. I’m much more interested in a cohesive theme, and a collection of three images that sit tightly next to one another is more important than having twenty good images that don’t fit as well.

Of course I’d like to sell more prints. But I’ll let you in on a secret: few amateur landscape photographers buy other people’s work.

But I think most amateurs should really fill their houses with their own work first, anyway. Printing and framing your own work is the final step to completing your work. It is also immensely satisfying to see the work reach another level when it is hanging on a wall. I have often thought that printing is nice, matting the print is nicer, and framing it is even nicer still. But nothing beats seeing the completed object hanging on a wall.

I’ll let you in on another secret: few photographers actually print any of their work.

The print is greatly undervalued in my opinion. We should print more, exhibit more, and also, when we have the spare cash, buy other’s work we admire.

In my own case, I have a couple of John Blakemore prints at home. A Michael Kenna (that’s another story), and a Charlie Cramer. I’d like to get some more in time.

Printing is where it’s at. When you print, you notice things in the hard copy that you didn’t notice on your monitor. It’s the final verification stage, and if you can get it to look great in print, it will always look great on a monitor. But the opposite is not true.

Anyway, thanks so much to Pete for sending me this photo. I get great satisfaction from seeing my work ‘complete’ - printed / matted / framed, and placed on a wall.