We have all heard the term ‘thinking outside the box.’ It is a challenge to try to think and interpret in new ways never done before. Of course the term is probably cliche now, and perhaps the bigger challenge is defining exactly what that box is. It is hard to think outside of something that is undefined to begin with.
So I started thinking about what box I typically work in when it comes to nature photography. I am pretty open minded when it comes to techniques, and have tried all sorts of concepts over the years. So I think my box is actually quite large, and really had to think quite hard to define some of the edges. After all, the entire purpose of defining the edge of the box is to do nearly the opposite, reach outside of it to expand your experience and work you create.
My box is going to be ultimately confined to the nature photography universe. While ‘going outside your universe’ is certainly another interesting thing to think about – the scope is just too huge. Certainly shooting people or cars would be completely new areas..or if I really wanted to torture myself.. a wedding! 
So here are some things I thought of as far as my box..within my universe..that perhaps impose some type of limits on my images;
So these are just four that I was able to come up with, I am sure there can be many more. But just listing these, and then thinking about their opposites puts some interesting ideas in my head. . If it ever warms up around here, I am looking forward to playing with these a little. Please share any box boundaries you might have consciously identified or broken.
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I have noticed a lot of photographers (including myself) drifting lately towards more painterly photographs. William Neill’s Dec 2007 photo essay in the latest Outdoor Photographer is a perfect example. We attempt to accomplish imagery with a camera and lens that most of us probably couldn’t do with a brush and canvas. Perhaps there is some admiration of painters that have freedom to create their own realities. There is also perhaps a little dissatisfaction with simply documenting a scene before us.
Similarly, I know a lot of painters use reference photographs in attempts to make their work look more like reality. I often wonder if you have a blank canvas open to whatever you imagine being on it, does a flower need to look like a flower? I know some painters visit this site, and I would appreciate your insight into this. Personally I have always been drawn more towards work that only lightly touches on reality, but have more emphasis on the conceptual thinking of the painter. I suppose this explains my attraction also to painterly photographs.
I am certainly not well versed in painting trends to know if there is a general movement towards more realistic or more abstract portrayals. Given the medium is hundreds of years old, I am not sure if there are any trends but simply preferences of the artist. But I do see many more abstract images from photographers through the use of shallow depth of field, camera movements and the like. It is an interesting intersection to think about how the two mediums and our perceptions or desires for reality influence each other. Are there boundaries to consider in how far each one can stray from the traditional before becoming too abstract?
I think the crossroads of the two is an interesting place to pull up a chair and watch those coming through. Some folks will walk down their own familiar road and turn back quickly – others you see charging on through to the other side and making all sorts of crazy turns.
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That time of year has started in the Midwest, and soon we will be in the depressing season of gray and brown. A constant rain over the past day will likely force the last of any remaining fall color to the ground. Some subject material will remain on the ground for a very short time before decay sets in and the cold, wet weather is felt to your bones. Not one of my favorite times of the year. I know photographers must challenge themselves to make interesting pictures of the uninteresting and mundane, but I still struggle. Not only because I find the subject matter drab, but there is an emotional disconnection as well. It is one of my most unproductive times of the year.
It also shows our strong connection to nature’s cycles and how it changes our mental state, and how that can affect our creativity and motivation. A time of year for retreat and sleep, rejuvenation and recharging.
Have a happy Thanksgiving. . A warm thanks to all of my visitors here, new and old for your continued support and comments And for you folks in warmer or coastal regions – send some creative energy to the folks in the midwest will ya? 
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I think perhaps one of the toughest aspects of nature photography is the struggle to assemble nature’s chaotic elements into some type of order that will make a 2-dimensional image effective. It is part of human nature to want to see things in an orderly manner. Therefore when we see an image that seems to be in harmony, we attribute more pleasing feelings towards it.
I happen to like the look of freshly fallen leaves on the ground, often to the point where I hate raking them up in my yard because I prefer their look to grass. But when trying to photograph them, visual chaos definitely takes over. At the same time, part of me wants to leave them representing the chaos that they are. Falling haphazardly from the trees depending on the wind alone. But chaos adds tension to an image, and might throw off its appeal. I often wonder why a completely random leaf pile can be so peaceful experiencing it in reality and have a need for some type of order when photographed.
More leaf photos can be found in my gallery.
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There is a fantastic conversation between several well known photographers, recently recorded into a podcast by George Jardine. The topic is basically many thoughts about archiving of photographs, our organization of them, and why. Jay Maisel, Greg Gorman, Seth Resnick and of course George all weigh in on the systems and philosophies they use (or lack thereof) to organize their images. It is a bit comforting to hear how even these guys are still trying to navigate through the complexities of keywording, image organization, digital archives, and applying some justification and rationale in how their images are cataloged.
I couldn’t agree more with their statements on how the best system is the one that works for you personally, not necessarily adoption of the system suggested by a book, a teacher, or even other pro photographers. Everyone has different objectives in mind, evident by each of these guys describing how they organize – and it is important that your system is a good fit with your objectives.
One very interesting thing they discuss at length, that often isn’t mentioned when it comes to image management, is the topic of legacy. For many of us as photographers, we can only hope when we are gone, some of our images will remain behind as perhaps a symbol of our contributions (however great or small) while we were here and what we enjoyed doing most. As a photographer approaching 40 (January folks – it’s coming soon – get the black balloons! 
) – I suppose the thought has crossed my mind a couple of times now that my life is for the most part, half over if I am lucky. In many ways, I think I have only started growing as a photographer. There are a few images I wouldn’t mind being remembered for if I should die tomorrow. How would anyone know which those are? Look for 5 stars? Certain colors? Of course, my contributions (as well as volume of work) to the photographic community and art form as a whole are tiny compared to these guys – but in general – the questions are the same.
These guys ask a key question – what images do you want to be remembered for, and how will anyone know that? Is it important that such a thing is built into whatever organizational system that you use? It is one thing to develop a system that works for you personally – it can change greatly if the perspective of usability by someone else is factored in. How will the system be accessed and utilized in 20, 30, 40 years? If you are a famous photographer in the art world or publication circuit, perhaps your most popular images are not necessarily your favorite images. I suppose your photographic assets need to be factored into your estate planning just as much as your financial assets. I doubt many of us will have a foundation to manage our photographs as mentioned in the podcast.
Software based image management has certainly helped greatly in managing digital files. Programs like Lightroom are wonderful tools for the here and now, when we need to access our OWN images. What about 40 or 100 years from now? The assumption of course is that whatever system is used, it is continually updated to grow with technology. How relevant will keywording be? Will the Internet be the ultimate archive? Is it too egotistical to think that any images will be of any historical significance or value whatsoever? It helps to know that we are not swimming alone in this digital revolution.
I know if I am dead and immediate family is gone, no one will be paying my web hosting fees, and the images on this site will disappear into the great cyber-trashcan. Even published images, unless in some book of historical significance, will be needles in a haystack. The prints I have sold will be around here and there – who knows exactly how many will exist over the next century. For the most part, I think general access to anyone’s image collection will be directly from where the originals are stored. Think about it though – of all the photographs ever taken over the past 100 years, how many do we actually have access to view? I think digital formats and the Internet will change this greatly. Perhaps we will see an emergence of public domain estate vaults?
Whatever your method of organization and archiving, it becomes very interesting to contemplate its scope when you change the perspective of time, and if someone else will be using it other than yourself. A big thanks to George Jardine and his colleagues for publishing a great conversation.
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