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“VISUALIZE THIS THING THAT YOU WANT, SEE IT, FEEL IT,

BELIEVE IN IT. MAKE YOUR MENTAL BLUEPRINT, AND

BEGIN TO BUILD.”

— ROBERT COLLIER, AUTHOR.

The first and most important part of the cycle of photography is “visualization.” This term dates from 1883 and means “the action or fact of visualizing; the power or process of forming a mental picture or vision of something not actually present to the sight; a picture thus formed.” Oxford Dictionary. It comes from a Latin word meaning “sight” and an earlier word meaning “to see.” It’s another way of saying “using your ability to imagine or get a mental view of something.”

Can you remember a time when you visualized a photograph before you pressed the shutter and then took the photograph? This is taking the photograph with definite purpose or intention, rather that just letting it happen and hoping you’ll get what you want or just taking snapshots.

With all of the steps of photography, why is visualization the central and most important part in the whole process? Because it guides every single step of the process, without which it would be like trying to build a house without plans, or make a movie with no script, or sail a boat without charts. In all of these activities, you would end up wandering around and never achieving your goals, which would be wasteful and very frustrating.

» Rainbow, Near Rifle, CO, Huntington Witherill

Before we look at the last century’s masters, let me introduce you to Huntington Witherill, a very creative and eclectic photographer who was named “Artist of the Year.” He told me, “What I try to do with visualization is to use my imagination, together with a variety of photographic tools – in order to take what is already out there in the world and to transform it into a composition that will render a given scene as being visually compelling beyond a strict literal translation.”

I can’t emphasize strongly enough that the fastest way to elevate the quality of your photography is to visualize the final photograph before you press the shutter. But before you go out and start practicing (I bet you’re ready), let’s take a further look at what some of the masters had to say about visualization in photography.

Alfred Stieglitz (1864-1946) was known as the “father of modern photography” and was one of the most respected photographers of his day. He emphasized that his process was to see in his “mind’s eye” the photograph that he intended to create, in order to convey what he saw and felt at that moment. He said, “I have a vision of life, and I try to find equivalents for it in the form of photographs.”

Equivalent here means “something that is considered to be equal to or have the same effect, value, or meaning as something else.” It comes from a Latin word meaning “be strong.” (Encarta College Dictionary) Thus, when you convey the equivalent of what you saw and felt, it can be very strong for the viewer. Having a “vision of life” of what you see and feel when you view a particular scene is what sparks the whole creative process. You are conveying a message including emotions to your viewers that they can connect with.

Another milestone photographer was Minor White (1908-1976), who taught the steps of visualization. Here’s what he said:

“Previsualization refers to the learnable power to look at a scene, person, place or situation and ‘see’ at the same time on the back of the eyelids, or ‘sense’ deep in the mind or body, the various ways photography can render the subject. Then out of all the potential renderings select one to photograph. Such selection makes up a large share of the photographer’s creativity.”

I agree, but I prefer the term visualization to “previsualization” as I want to emphasize that visualization carries through the entire cycle of photography, not just “pre-” or at the beginning. I also believe that the process occurs mentally and spiritually, not within the body.

The common point from these artists is that you as the photographer have a huge choice of tools to use for how to capture a photograph and how you render it from there. Think about just a few of your choices: Do you use your smartphone or DSLR? Do you intend it to be black and white, or color? Will you post it on social media or do you hope to eventually print and frame it? Then there are all the settings available to you to get the desired result you want. Later I’ll cover some examples of my images and tell you my story of visualization.

Minor White also said, “One should not only photograph things for what they are but for what else they are.”

That is another part of the visualization process: Look for what you see, but look more deeply for what else is in the image.

» Horseshoes, Canyonlands, Utah, Marc Silber

Some of the best examples of photographing “what else they are” are by Edward Weston (1886-1958), a contemporary of Minor White. Look at his images to see how he was able to photograph everyday objects to show what else they were, revealing the beauty all around us. As a note about Weston, he used a very simple printing process, so all of his attention was really centered on visualization and capturing the image.

He said this about his process: “Anything that excites me for any reason, I will photograph; not searching for unusual subject matter, but making the commonplace unusual.”

Again, I don’t want to lead you to believe that only the past masters talked about visualization. In my hundreds of interviews with leading photographers, most of them discussed it in some way as part of their process. As an example, Chase Jarvis, an award winning photographer and Founder & CEO of CreativeLive, told me about his process:

» Runner, Chase Jarvis

“The first thing I do is walk around and look at the scene without a camera, because when you put the camera to your face, you see a lot less than you do just walking around. So I walk the area I’m going to shoot and look for interesting things. When I find things I’m going to shoot or that I can build into a scene in my mind, I’ll start putting the pieces together, and that’s kind of a visualization for me. So when I’m visualizing I know exactly how I want this thing to look – I even pre-visualize what this could look like in post-production. Then I fantasize about it a little bit and think, ‘What could I put in here to make it the absolute best picture it can be?’”

MAKE A SHOOT PLAN AND SHOT LIST

Note: I use “capture”, “image” and “shot” interchangeably to mean a photograph. I use “shoot” or “capture” as the verb; the action of photographing. I’m not a snob about always saying “capture” or “image” (example: “nice capture” or “great image”). I use “shot” to mean “an image captured deliberately,” as opposed to “snapshot” – one taken quickly as a toss-off.

The action of visualization also extends to your planning before you even arrive on the scene you’re going to shoot. I do this all the time when I’m traveling. For example, when I went to Paris, there were certain images that I knew I wanted to come back with. One was the Eiffel Tower, but it had to be a unique shot, not one that looked like a cliché or postcard – that was as far as I’d visualized it before I arrived there. And by the way, that is the trick to capture an image that has been photographed a million times: Find some new angle or a new way to approach it that is your own way of looking at it. When I was at the tower, I tried various angles and ways of looking at it until I captured this image:

» Eiffel Tower, Paris, Marc Silber

I recommend that you make a shot list before you go on your next vacation. Do some research ahead of time to see what’s already been photographed, and to get some ideas for when and where you might shoot. That in itself can add a whole new level to your travel, guiding your entire trip with new purpose.

When you are shooting an event, particularly a wedding, there are certain mandatory shots that you must get, so you don’t leave out the bride’s favorite aunt or niece for example. But on the other hand, you want to capture those spontaneous moments that no one could have anticipated, which we’ll talk more about later. The answer then is to write a detailed shot list and get each and every shot on it, and then get your spontaneous shots.

A shoot plan where you plan and sketch out what you intend to shoot is also helpful, when this makes sense. Your drawing can be simple and not necessarily artistic, as it is just a guide. When you get to the scene, you’ll already have some ideas for where and how you’ll get the shots you want. It’s useful when you have a tight schedule to follow, such as an event or performance. This will also cause you to think through all the details so you can create the photographs that you intend.

For example, your son or daughter is graduating from high school or college (or you are), and you want to come away with some really memorable images. There’s little chance that you’ll get those memorable shots from way back at the venue. Thinking like a photographer, you plan how to get up close and get a really great image. This is one of the advantages of being a photographer: it can afford you great access, right past the normal barriers!

Your shoot plan then drives all the other items that must be in place to capture that great image: the equipment you’ll need (maybe a tripod, telephoto lens, etc.), the location you’ll want to arrange access to ahead of time (as above), and the timing of the shoot itself. This planning all comes under the heading of visualization.

HOW ABOUT BEING SPONTANEOUS AND

“CAPTURING THE MOMENT?”

That is a very good question and shows that you’re paying attention and thinking about what I’m going over with you.

The best answer is from a photographer I introduced you to in the last chapter: Henri Cartier-Bresson.

Cartier-Bresson captured what he called the “Decisive Moment”, where he photographed his subject at exactly the moment that captured the true spirit of their action. In order to hit the exact right moment, he had to be prepared for the precise instant to press the shutter. If he waited until he saw it, chances are that because of the lag of his finger pressing the button and the lag of the camera itself, by then that moment could have passed. So by being aware of the action and being prepared, he was able to judge the exact moment to press the shutter an instant before that decisive moment occurred.

Nancy Newhall, a biographer of photographers, described his process: “…you photographed the developing action until the climax was reached and you achieved ONE picture out of the whole roll, or even several rolls, which summarized the whole. For this kind of picturemaking you must be forever alert. The action happens just once in all time. There is no retake ever. No prearrangement, no direction will ever bring the same unmistakable flash of insight into actuality.”

A great example of Cartier-Bresson’s “Decisive Moment” is his image of a man jumping over a puddle (Google it). By being prepared for the action, he was able to capture the man a split second before his right foot hit the water. When he saw this man about to make the leap, Henri must have visualized the image in a split second and immediately readied himself to capture it – which is all part of visualization, but greatly sped up to match the pace of the action taking place.

» Polo, Atherton, CA, Marc Silber

I have an example that combines many of these elements in the photograph above. I was on assignment from Gentry Magazine to capture, as they put it, “some exquisite images of a place you thought you already knew.” I visualized various images that I wanted to capture and that I believed it would surprise people to learn were right in their backyard, a suburban area of Silicon Valley.

I knew I wanted to capture the polo field in action as part of my shot list. I situated myself, anticipating where the action on the field was going to occur. I wanted to shoot a tight image of the players together at the decisive moment, not when they were scattered around the field. The moment was there; by visualizing it, anticipating the action, and pressing the shutter at the exact right moment, I was able to capture the players in a tight group, with their mallets forming an arc. A moment later they were scattered again.

Here’s another example of visualizing the final image and anticipating the action of my friends jumping off a sand dune in Morro Bay, on the California coast. The sun was behind them so they were perfectly silhouetted. I took a few frames from the side, but that wasn’t particularly interesting. (you can see these on page 121) Then I had the idea of getting below them on the sand dune and capturing them in mid-air, so I moved into position and told them to jump (like calling “Action!” as a director). I anticipated it correctly and was able to capture them in an arc, which again a split second later fell apart.

» Friends Jumping, Morro Bay, CA, Marc Silber

What about just getting the shot? Aren’t there times when you’re out for a walk to the store to pick up beer and pizza, and you see a shot and take it, completely unprepared? Yes, of course, and you should be ready for such and have your camera (even if only a smartphone) ready at all times. Just remember this phrase from Louis Pasteur: “Chance favors only the prepared mind.” The moral here is that the better prepared you are, the more likely you are to capture that moment.

STRENGTHENING YOUR VISUALIZATION “MUSCLES”

I didn’t say “learn how to visualize,” because you already know how to do it. As it turns out, the ability to visualize is “standard equipment” from our earliest age. In fact, as kids it might have been at its strongest, and alas, as we grow older we often hear excuses for not being able to imagine and create as we once did. But the visualization ability of the mind is powerful! It just may need some regular exercise to get back in shape.

Can you remember the wonder you had as a child and the flexibility your imagination had? It’s that ability we want to focus on at this stage of photography. And by the way, as I told you earlier, I first became a photographer at age 12, and a year later made the jumping picture above. I am so grateful that photography has been the part of my life that has kept me young by causing me to continue to imagine.

FEED YOUR CREATIVITY: GO TO MUSEUMS

In the last chapter, I told you about some of the photographers who have inspired me and recommended looking at others’ work. Let’s go a bit deeper to find out why and how.

» Goat Skin, Joey L.

Some years ago I interviewed a young photographer named Joey L. He got his start when he was 16 on the first of the Twilight films, and his career just took off from there. Have a look at the photograph above and his other work, and especially notice his lighting and composition. He told me he tries to place subjects in the frame similarly to the way that some of the master painters would. These same masters have also influenced the way he lights his subjects and images as a whole.

Here’s Some Damn Good Advice from the book of the same title by George Lois, who has been an inspiration for me. While he is not a photographer, he is one of the most creative people I know; in fact, he has said, “Creativity can solve almost any problem – the creative act, the defeat of habit by originality, overcomes everything.” Among his many accomplishments, he has designed 92 covers for Esquire magazine, so listen closely to his advice about feeding your creativity:

“You must continuously feed the inner beast that sparks and inspires. I contend that the DNA of talent is stored within the great museums of the world.”

“Mysteriously, the history of the art of mankind can inspire breakthrough conceptual thinking in any field.”

Take George’s advice and spend plenty of time looking at art (he does it weekly on Sundays). But when you look, don’t just glance and say, “That’s great. That’s strange,” etc. Really look deeply.

Here’s the process I suggest; bring your AYP notebook with you to take notes or sketch as you look. If you can’t go to a museum, you can do this with books, but don’t do it on your computer – you should get as close to the original art as possible.

Select a genre of art that is similar to what you want to photograph. Joey L. does a lot of portraiture, so he was particularly inspired by the classical painters of the 17th and 18th centuries, but choose your own.

Find a work of art that you are particularly drawn to. Look closely and observe:

A. How was the subject (or subjects) composed within the frame?

B. How were they lit? Where was the light coming from?

C. How did the light strike the subject?

D. Look at each layer: the foreground, middle and background, plus any other layers.

E. What was your eye drawn to?

F. What was de-emphasized by being put in the background or made darker, etc?

G. How did the artist use color?

H. Can you find a pure white and a pure black (representing the full range of black and white)?

I. What is in focus and what is out of focus?

J. What is the overall message or communication?

K. What is its emotional impact? How did it hit you?

Keep up this exercise, taking notes as you go.

Now that you’ve “fed the inner beast,” you’re ready for the next step:

TRAIN YOUR EYE TO SEE IMAGES

It’s good practice to always look for images, with or without a camera. Whenever you have a moment, riding on a subway, waiting for a meeting, or out on a walk, try to find the images in that environment.

It can help to “frame” with your hands making two “Ls” on top of each other or touching your thumbs together (as you see me doing on page 36), and look through them with only one eye, to simulate what a camera would see with a single lens. Simply find images that are interesting to you. Why not use a camera to do this? Because we’re working on training your eye, freed from the camera or any equipment, just you and the scene. Think of it as a workout for your eye!

I often will walk into an environment and just know there is an image there, and like a game of hide and seek, will look for it until I find it!

Repeat the above drills – building your mental collection of art, and then framing with your hands. And feel free to come back with your camera and create an actual image!

CRASH COURSE/SUMMARY

1. The most important and central part of the cycle of photography is visualization: first seeing the photograph as a mental image. It guides all the other parts of the cycle.