Imaginarium: The Process Behind the Pictures
By Claire Rosen
()
About this ebook
When photographing people, you can have a great composition, perfect light, and the right camera settings, but if your subject doesn’t look right—if the pose is off—the shot will not be a keeper. Posing is truly a crucial skill that photographers need to have in order to create great photographs. If you’re looking to improve your ability to pose your subjects—whether they’re men, women, couples, or groups—best-selling author and photographer Lindsay Adler’s The Photographer’s Guide to Posing: Techniques to Flatter Everyone is the perfect resource for you.
In the first half of The Photographer’s Guide to Posing, Lindsay discusses how the camera sees, and thus how camera angle, lens choice, and perspective all affect the appearance of your subject. Lindsay then covers the five most important things that ruin a pose—such as placement of the hands, and your subject’s expression and posture. If you can look out for and avoid these five things, your skills (and your images) will quickly improve. Next, Lindsay dives into “posing essentials,” outlining her approach to start with a “base pose,” then build on that to create endless posing opportunities. She also discusses posing the face—with specific sections dedicated to the chin, jaw, eyes, and forehead—as well as posing hands.
In the second half of the book, Lindsay dedicates entire chapters to posing specific subject matter: women, men, couples, curvy women, families and small groups, and large groups. In each chapter, Lindsay addresses that subject matter’s specific challenges, provides five “go-to poses” you can always use, and covers how to train the eye to determine the best pose for your subject(s). In the final chapter of the book, Lindsay brings it all together as she teaches you how to analyze a pose so that you can create endless posing opportunities and continuously improve your work.
Claire Rosen
Claire Rosen is an award-winning artist whose transportive imagery uses universal themes of dreams, fairy tales, and mythology to visually symbolize the many facets of the human condition. Her elaborate constructions are reminiscent of classical paintings, and they evoke the aesthetics and ideals of Pre-Raphaelite, Romantic, and Gothic periods. Her images have been featured in countless magazines, including Creative Quarterly Journal, Fast Company, and Juxtapose Magazine, and her work has been exhibited from New York to Los Angeles to London to Bangkok. In 2013, Claire had her first solo museum show at the Savannah Museum of Art in Georgia. In addition, Claire has taught numerous workshops and lectured about the creative process around the globe.
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Imaginarium - Claire Rosen
IMAGINARIUM
The Process Behind the Pictures
Claire Rosen
Imaginarium: The Process Behind the Pictures
Claire Rosen
www.claire-rosen.com
Project editor: Ted Waitt
Project manager: Lisa Brazieal
Marketing manager: Jessica Tiernan
Copyeditor: Robyn Thomas
Proofreader: Valerie Witte
Layout and type: de.MO design / Giorgio Baravalle
Cover design: de.MO design / Giorgio Baravalle
Cover image: Claire Rosen
ISBN: 978-1-68198-198-7
1st Edition (1st printing, December 2016)
© 2017 Claire Rosen
All images © Claire Rosen unless otherwise noted
Copyright © of photographs in the "Artist Interviews" section belong to the artist on record.
Rocky Nook Inc.
1010 B Street, Suite 350
San Rafael, CA 94901
USA
www.rockynook.com
Distributed in the U.S. by Ingram Publisher Services
Distributed in the UK and Europe by Publishers Group UK
Library of Congress Control Number: 2016941047
All rights reserved. No part of the material protected by this copyright notice may be reproduced or utilized in any form, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without written permission of the publisher.
Many of the designations in this book used by manufacturers and sellers to distinguish their products are claimed as trademarks of their respective companies. Where those designations appear in this book, and Rocky Nook was aware of a trademark claim, the designations have been printed in caps or initial caps. All product names and services identified throughout this book are used in editorial fashion only and for the benefit of such companies with no intention of infringement of the trademark. They are not intended to convey endorsement or other affiliation with this book.
While reasonable care has been exercised in the preparation of this book, the publisher and author assume no responsibility for errors or omissions, or for damages resulting from the use of the information contained herein or from the use of the discs or programs that may accompany it.
This book is printed on acid-free paper.
Printed in China
For my parents
who instilled in me a sense of wonder & adventure
then made sure I’ve never lost it.
TABLE OF CONTENTS
INTRODUCTION
1.On Art
THE PURPOSE OF ART
STRONG IMAGES
Anatomy of an Image
DEVELOPMENT OF AN ARTIST
Personal Vision
Psyche
Artistic Roots
Areas of Interest
GOALS FOR MAKING WORK
Identifying Goals
CHAPTER WRAP-UP
2.Artistic Lifestyle
THE FOUNDATION
CURATION OF EXPERIENCES
CURATION OF INSPIRATION
Art History and Contemporary Art
TAPPING INTO THE UNCONSCIOUS
Intuition
Meditation
Dreams
CREATIVE PSYCHOLOGY
The Nature of Artists
Overcoming Obstacles
Becoming Confident
HEALTH
Diet, Depression, and the Microbiome
Happiness
Get Outside and Exercise
NURTURING CREATIVITY
Making Work
Failure
Time
Workspace
Writing
COMMUNITY OF ARTISTS
Collaborations
Apprenticeships
Mentors
Education
CHAPTER WRAP-UP
3.Time Management
MOTION VERSUS PROGRESS
Saying No
PRODUCTIVITY
Structuring the Day
MOTIVATION
WORK THAT FITS INTO YOUR LIFE
CHAPTER WRAP-UP
4.Previsualization
CONCEPT GENERATION TRIGGERS
DIVERGENT THINKING
FREE ASSOCIATION
Using an Idea Randomizer
BRAINSTORMING
Encouraging the Impossible Idea
Tips and Tricks
Thinking Less Literally
MIND MAPPING
MOOD BOARDS
PREVISUALIZATION
CONCEPT DEVELOPMENT
CHAPTER WRAP-UP
5.Production
PRE-PRODUCTION
Getting Organized
Production Sheets
RESOURCES AND RESEARCH
Negotiating Win-Wins
Synchronistic Occurrences
Budget
BUILDING A TEAM
Communicating Your Ideas
Team Members
Schedule, Shot Lists, and Call Sheets
PLAN B, C, AND D
ON SET CHECKLIST
BEST PRACTICES
EDITING
How to Choose the One
POST-PRODUCTION
CHAPTER WRAP-UP
6.The Viewer Experience
THE VIEWER EXPERIENCE
PRESENTATION CONSIDERATIONS
CRITIQUE AND FEEDBACK
SERIES AND LONG-TERM PROJECTS
ASSIGNMENTS/COMMISSIONS
BODY OF WORK: WHAT WE LEAVE BEHIND
CHAPTER WRAP-UP
CONCLUSION
ARTIST INTERVIEWS
INTRODUCTION
Anyone who has ever tried to make something has experienced both the frustration and the rewards that go hand in hand with the process: the elusive nature of creativity, the search for the muse, the gut-wrenching disappointment when things don’t go as planned, and the moment when vision and execution coalesce into a magnificent, finished piece. I found photography in my early years at Bard College at Simon’s Rock. Photography gave me a voice and outlet for expression. The artwork born of that journey shaped my identity and my life. Through Imaginarium: The Process Behind the Pictures, I hope to share the gift that the process of making art and photography has been for me by describing a path toward a fulfilling and sustainable art practice for readers.
Creative thinking and imagination combine to form a fundamental skill set that is useful across all fields and industries. This skill set is leveraged to solve problems and make improvements, big and small. Creative endeavors are not limited to the traditional idea of the Arts,
but exist in any field requiring cognitive engagement. Although photography is my personal medium, you can apply many of the concepts in this book to other creative pursuits, as well as to your day-to-day life. Employing creative thought while problem solving daily issues and obstacles will open up many possibilities.
NOTE: Rarely is there just one way to do something. In photography, as in life, charting your own path is the surest route to sustained success. Rather than providing a step-by-step primer on how to replicate my pictures with quick tips or tricks, this book illustrates a way of thinking about your own work holistically, with a goal to integrate creating
into your daily life and encouraging experimentation. Some advice will resonate and some will not. Embrace what works for you and leave the rest.
The advice I give comes from a variety of sources, in addition to my personal experience. I explore insights from experts in a range of disciplines and include writings and personal guidance that have been most helpful to me. Where possible, I include links to original sources to allow more in-depth reading on each topic.
This is not a technical book. Many people believe they have mastered photography once they have conquered an understanding of the camera, lighting, and computer software. Understanding equipment and mastering the skills to use it properly is fundamental to expressing yourself freely, uninhibited by technical blind spots. However, it’s the storytelling that makes imagery compelling. With that in mind, this book focuses on crafting compelling imagery through idea cultivation, concept development, previsualization, pre-production, efficient productivity, and problem solving.
The ultimate goal is for you to imagine images that you care deeply about—deeply enough to do all it takes to create them. It’s not always easy. It will take time and effort, and there are no shortcuts. But it will be worthwhile.
ONE
On Art
:THE PURPOSE OF ART
STRONG IMAGES
Anatomy of an Image
DEVELOPMENT OF AN ARTIST
Personal Vision
Psyche
Artistic Roots
Areas of Interest
GOALS FOR MAKING WORK
Identifying Goals
CHAPTER WRAP-UP
THE PURPOSE OF ART
Since the dawn of civilization, the Arts have been the physical expression of the ideas of each age, giving form to its realities, aspirations, and fears. Although art isn’t necessary to basic human survival, it’s much more than an indulgence. The creation and appreciation of art and beauty are essential transcendent experiences for mankind—a testament to what it means to be human.
Art [. . .] is a reminder of who we really are, or perhaps who we ought to be.
And life [. . .] is what we find when we slow down and allow the
BEAUTY
to envelop us.
When we embrace what is right in front of us and believe it’s worth our attention.
But in order to do this, in order to find the life we all want, we must be stopped,
thwarted from our petty pursuits and LED
DOWN A NOBLER PATH.
JEFF GOINS,
The Wonderful Ache of Beauty (Why We Need Art)
In Living with Art, Mark Getlein suggests the following functions of contemporary artists:
Create EXTRAORDINARY versions of ordinary objects.
Record and commemorate.
Give tangible form to the UNKNOWN.
Give tangible form to feelings.
Refresh our vision and help us see the world in NEW ways.
For the artist, the creation of art is an exploration of the world around us.
It allows us to represent, interpret, illuminate, reject, question, or celebrate any aspect of life that captures our attention and fascination—
FROM THE EXTRAORDINARY TO THE MUNDANE.
For me personally, two purposes drive me to create my images. First, the act of creating enriches my life with people, places, and scavenger hunts that become part of a whirlwind adventure to build the world of my imagination into images. The process of making my hidden, interior life visible is therapeutic as I engage in a psychological examination of different concepts. Making pictures allows me to explore the world, work out how I feel about it, and find my place within it.
We nurture an endeavour which lies at the deepest levels of the traditional function of art: the uniquely human quest for establishing personal meaning in a possibly meaningful universe.
—
PETER LONDON,
No More Secondhand Art: Awakening the Artist Within
Secondly, once the images are made and released into the world, they create a relationship with a viewer. I find satisfaction in expressing myself and connecting with others in a visual way. My hope for my images is that they provide an escape from the everyday world—even if momentary—transporting the viewer to a whimsical place where anything is possible.
The purpose of art is in washing the dust of daily life off our souls.
PABLO PICASSO
This chapter is designed to help you unearth the root of your own interests, to encourage you to think about what draws you to photography and what you can use to explore it in your work.
What are the kinds of experiences you want to fill your life with?
The people you want to meet?
The stories you want to tell?
After you release your images into the world, what do you want to happen next?
Exploring these questions will help guide your work and bring intentionality to your artistic practice.
STRONG IMAGES
We live in a fast-paced, information-saturated, distracted time. We are bombarded with images at a dizzying rate, making it increasingly difficult to capture anyone’s attention. As visual creators, this makes our job all the more challenging.
Think back to the images that have really had an effect on you. The ones that struck you like a lightning bolt. Most likely, those images were not merely beautiful or technically well-crafted. Ask yourself, what about those images inspired you and moved you? Left a lingering feeling? What was captivating about them? Make a list of the characteristics common to the artwork you find yourself really drawn to. You can refer to these characteristics when analyzing and editing your own work.
The aim of art is to represent not the outward appearance of things, but their inward significance.
—
ARISTOTLE
An indefinable
"SOMETHING"
makes a picture special, draws you in, and makes you think.
Typically not derivative, obvious, or literal, memorable photographs are nuanced and infused with mystery; they whisper meaning rather than announce it. Work that speaks deeply to a WIDE AUDIENCE addresses questions common to all of us and offers a fresh perspective. Who am I? Why are we here? What is this all about? Why do I feel this way?
Work like this illuminates collective and personal thoughts on the everyday happenings of life and the mysteries beyond. Often it’s what’s left unsaid in a picture that gives it that haunting quality.
Memorable
images don’t answer all our questions; rather, they
suggest new ones.
This fits with how our minds are made to engage with the world: We want to work things out, make connections, solve problems, and investigate. A picture that invites that level of examination and reflection is not easily forgotten. You can view the image over and over again, and it will still hold your attention. I don’t mean that all imagery must have the weight of the world’s existential questions infused within it, or that it must be overly complicated. On the contrary, a very simple picture can have this effect on you. Whatever the subject matter, the image should strive to move you to laughter, tears, reflection, or awe—the critical thing is that it moves you.
Plenty of guidelines are available on how to make a picture technically good,
but pinpointing what makes a picture interesting or important can be difficult.
Gestalt, from the German word whole
or form,
is the visual perception theory that the whole is more than the sum of its parts. Taken separately, each element of the image has limited impact or power: It’s how the parts come together that defines the success of the image.
›
Anatomy of an Image
SUBJECT(S)
person, animal, object
EXPRESSION AND POSE
STYLING
wardrobe, hair, makeup, set
SET ELEMENTS AND PROPS
BACKGROUND / LOCATION
LIGHTING
ambient, studio, blend
COMPOSITION & ANGLE OF VIEW
MOOD
COLOR PALETTE
POST-PRODUCTION
All of these elements must be considered when crafting an image. The choices you make for every aspect of your frame determine the success and visual interest of your image.
A lot of moving parts go into constructing an image; everything is done consciously and with intention. When all the elements come together seamlessly, the viewer forgets the fabrication and becomes lost in the narrative of the story. Creating these conditions for a viewer is the art of the photographer.
It’s critical to be able to judge the interplay of all these elements—from the pre-production stage, to working on set, to post-production—and to be able to evaluate what is working and what is not. Although there are some guidelines, there are no concrete rules on how to achieve a perfect balance of all the elements in an image in order to make it interesting and engaging. To quote photographer Bobbi Lane, Everything depends on everything.
It’s difficult to set down absolutes when there are so many variables.
A strong image must be interesting in both aesthetics and content. The aesthetics of an image