Thank you for your insightful discussion on the topic of creative challenges. I concur with the notion that photographers often benefit from a periodic stimulus to foster fresh perspectives or to overcome creative stagnation. However, the constraints of time frequently pose an obstacle. Having recently retired from full-time employment, I now find myself fortunate to have ample time to dedicate to photographic endeavours. Activities such as experimenting with a borrowed lens or exploring less visually stimulating areas of the city with my camera are pursuits I am now able to enjoy.
For individuals with limited time, I would propose incorporating minor creative challenges into their regular photography sessions. With some strategic planning, it is possible to introduce brief yet meaningful exercises. For instance, one might dedicate 15 minutes of a portrait session to exploring intentional camera movement, or integrate self-portraiture during a landscape expedition. Even the cognitive effort involved in approaching a familiar shoot with a novel concept can yield valuable insights. Personally, I embarked on my first video project during an urban landscape shoot.
Creative challenges need not be overwhelming; they can be seamlessly integrated into existing routines by adopting a slightly altered perspective.
I’ve always gravitated towards 32mm-ish as I love to get the context of a street scene but have tried out lots of others along the way, including selling all my SLR kit for a YaschicaMat124 twin lens ‘rolleiflex’ experience with a fixed 50mm and bubble exposure meter! That lasted about 18 months then I cracked and bought something with more options. Definitely made me move my feet rather than lens when composing - big positive! Also what did you take those pics of you with? Great light/quality ❤️
I've used wide lenses for a variety of scenes for decades - for landscape to street work. For me, as they usually offer extensive DOF, they're best used to shoot interesting foreground detail as part of a landscape shot. Alternatively, they're great to get in amongst the action in crowds. That said, I'm not a big fan of them in general use. I had an original Leica Q and then a Q2 but I was forever using the crop feature and praying for a 35mm version. When the Q3 came out, I didn't bother with it but I nearly screamed with joy when the Q3 43 appeared. That's now my 'go-to' street camera - but I have a 14mm (21mm on full frame) and 16-55mm for my Fujifilm kit when I'm out shooting landscapes and IR.
amen, Lucy, I shoot hasselblads, and digital, but not normally wides, for my LF camera, a sinar F2 I only have wides, a 90 f 5.6 and a 65 f 5.6 both Fujinon SWD's (thats 28 and 21mm respectively in 135 terms), yikes, thats wide!! but creatively its a blessing, as I also have a sinar zoom 120 back (its multi-format,645 right to 612) this gives me more room, more so in rise/fall having the 6x12 aspect ratio, since the 65mm doesn't have much 'head room' in regards to movements owing to the image circle it projects, so not having to move far helps with getting 'keepers' which, is difficult sometimes, as a monorail is ALL manual, one 'technical' or metering mis-step leads to a $7-00 sheet/frame write off, so one has to be extra vigilant to get anything out successfully.
I have exactly the same issue as you but I’ve been so into old point and shoots lately and some of my favourite zoom ones start at 28, which has forced me into just digging in and where I thought I would hate the results, I can say I’ve had some successes and it’s growing in me.
I am just the opposite of you. For film I like the 28mm or 35mm, for out side pictures. Inside the 50mm or 100mm. On digital I use the nikon 18mm to 55mm + crop factor. I found most of my shots then are 26mm to 40mm something.
I’ve heard musicians I love say they are the most creative when they have limitations. It’s when we have a buffet of choices we’re the least creative.
I 100% agree! Well said!
Thank you for your insightful discussion on the topic of creative challenges. I concur with the notion that photographers often benefit from a periodic stimulus to foster fresh perspectives or to overcome creative stagnation. However, the constraints of time frequently pose an obstacle. Having recently retired from full-time employment, I now find myself fortunate to have ample time to dedicate to photographic endeavours. Activities such as experimenting with a borrowed lens or exploring less visually stimulating areas of the city with my camera are pursuits I am now able to enjoy.
For individuals with limited time, I would propose incorporating minor creative challenges into their regular photography sessions. With some strategic planning, it is possible to introduce brief yet meaningful exercises. For instance, one might dedicate 15 minutes of a portrait session to exploring intentional camera movement, or integrate self-portraiture during a landscape expedition. Even the cognitive effort involved in approaching a familiar shoot with a novel concept can yield valuable insights. Personally, I embarked on my first video project during an urban landscape shoot.
Creative challenges need not be overwhelming; they can be seamlessly integrated into existing routines by adopting a slightly altered perspective.
Good stuff! I followed your link to the camera site. Thanks.
I’ve always gravitated towards 32mm-ish as I love to get the context of a street scene but have tried out lots of others along the way, including selling all my SLR kit for a YaschicaMat124 twin lens ‘rolleiflex’ experience with a fixed 50mm and bubble exposure meter! That lasted about 18 months then I cracked and bought something with more options. Definitely made me move my feet rather than lens when composing - big positive! Also what did you take those pics of you with? Great light/quality ❤️
I've used wide lenses for a variety of scenes for decades - for landscape to street work. For me, as they usually offer extensive DOF, they're best used to shoot interesting foreground detail as part of a landscape shot. Alternatively, they're great to get in amongst the action in crowds. That said, I'm not a big fan of them in general use. I had an original Leica Q and then a Q2 but I was forever using the crop feature and praying for a 35mm version. When the Q3 came out, I didn't bother with it but I nearly screamed with joy when the Q3 43 appeared. That's now my 'go-to' street camera - but I have a 14mm (21mm on full frame) and 16-55mm for my Fujifilm kit when I'm out shooting landscapes and IR.
amen, Lucy, I shoot hasselblads, and digital, but not normally wides, for my LF camera, a sinar F2 I only have wides, a 90 f 5.6 and a 65 f 5.6 both Fujinon SWD's (thats 28 and 21mm respectively in 135 terms), yikes, thats wide!! but creatively its a blessing, as I also have a sinar zoom 120 back (its multi-format,645 right to 612) this gives me more room, more so in rise/fall having the 6x12 aspect ratio, since the 65mm doesn't have much 'head room' in regards to movements owing to the image circle it projects, so not having to move far helps with getting 'keepers' which, is difficult sometimes, as a monorail is ALL manual, one 'technical' or metering mis-step leads to a $7-00 sheet/frame write off, so one has to be extra vigilant to get anything out successfully.
I have exactly the same issue as you but I’ve been so into old point and shoots lately and some of my favourite zoom ones start at 28, which has forced me into just digging in and where I thought I would hate the results, I can say I’ve had some successes and it’s growing in me.
I am working on an essay why 28mm is my favorite! Funny how we all have our different preferences but it’s all the same interest/hobby!
I am just the opposite of you. For film I like the 28mm or 35mm, for out side pictures. Inside the 50mm or 100mm. On digital I use the nikon 18mm to 55mm + crop factor. I found most of my shots then are 26mm to 40mm something.