I have to admit when I see a beautiful landscape or nature photo I instantly think two things:
1. “I’d love to visit this location and get this shot.”
2. “How would I strive to get my very own perspective of this scene.”
In fact when I do visit certain locations its tough not to snap the classic perspective captured by greats such as Ansel Adams, Galen Rowell, Edward Weston, and contemporary artists like Art Wolfe, John Sexton, James Kay and William Neill. In fact this repetition of classic shots is a common event that all photographers do at some point. For some it is part of the journey of self-discovery and for others its a means of collecting scenes on a to-do list.
One concept I’ve been throwing around in my mind is the concept of “Creative Debt”. This concept again came up when I was admiring the latest work of Bert Stern who just completed a shoot titled Lindsay Lohan as Marilyn Monroe in “The Last Sitting” for the New York magazine. The gallery contains (6) six images of Lindsay Lohan nude or in partial dress as Marilyn Monroe had been photographed by Bert Stern some 46 years earlier in the original “Last Sitting” (termed as such because it was the last time Marilyn Monroe was photographed before she died). The photography is no doubt art in my mind and hardly pornographic. (Note: You’ll still want to refrain from viewing it at work.) Over the years other fashion photographers have taken images similar to Bert Stern’s original Marilyn Monroe set just as countless landscape photographers have taken similar images to Ansel Adams.
“Creative Debt” what is it?
“Creative Debt” merely translates to a creative state where its easier to fall back on something safe, something done before and something with a known level of interest by viewers. More succinctly it is when creative components of an image whether composition, perspective, styling, etc. are owed to another photographer or even an older photo shoot completed by the same photographer. Great examples of this include numerous photos taken by other photographers of Ansel Adams’ Yosemite Valley from the tunnel view lookout or the Snake River view of the Grand Tetons and as just exemplified the Bert Stern ‘Lindsay Lohan as Marilyn Monroe in the “Last Sitting”‘ photo set. “Creative Debt” is hardly something to knock, but merely something to be conscious of as a photographer.
“Creative Debt” is the middle ground between the pit that is “Creative Block” and the pinnacle of finding your own perspective. Personally I dread “Creative Debt” as much as I dread a “Creative Block” simply because I’ve grown addicted to the high of capturing something unique. As with most highs it’s a fleeting sensation, hence the lure to keep pursuing truly unique photos. If I’m lucky the few unique photos I capture are equally appreciated by those that view them.
Something to think about the next time you head out with your camera or view photographs.
[tags]creative debt, photography, philosophy, landscape, Ansel Adams, Galen Rowell, Edward Weston, Art Wolfe, John Sexton, James Kay, William Neill, Bert Stern, Marilyn Monroe, Lindsay Lohan, nude, portfolio, New York, magazine [/tags]
Great post Jim.
I think you pretty much nailed the concept…and I really think with digital age, and the internet it’s so easy to see places you’d like to go…and I think any good photographer sees a shot and first thinks…A) I’d really like to get to that area, but immediately thinks B) How can I make it original to me….but the nice thing is that…C) there can only be one shot like the original, because for the most part the lighting, camera, viewer, subject, everything change the miunute that shot is done….but it is an interesting concept, “creative debt”
I think it’s why a lot of photographers now are pushing themselves to get out farther, more remote spots to change up views and what not.
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In music we do this all the time – take a theme or a concept from another composer and run with it. Not in a plagiaristic sense but as a way or recognizing and honoring the original composer. Sometimes great work is created this way. (Stravinsky’s Pulcinella Suite comes to mind…)
Dan
Excellent post, Jim!
To me there are two forces at play here. Any place of great natural beauty is a source of inspiration and awe. This will always be true, regardless of any images I or anyone else has ever made or will make there. The experience of merely being there is reward in its own right.
The other aspect is that, as a creative artist, I want to produce something capable of relaying some of the beauty and emotion to others.
If I knowingly duplicate a composition I have seen before from others, I may still satisfy my urge to capture and share the beauty but my satisfaction will admittedly be somewhat diminished.
Personally I don’t see Creative Debt as a bad thing. Mimicry is a big part of the learning process and evolution of our craft to a point where we find our own voice.
Here’s an excerpt from an article I wrote a while back:
All Photography is Autobiographical
Yes, I borrowed this last title from the great director Federico Fellini who said that “all art is autobiographical.” This is not so much a mis-perceived truth as it is one that most are not consciously aware of. Your work is your legacy. These images that you create as you wander through life will tell others that you once walked the Earth and that these things inspired you. How would you want to be remembered?
More than just your technical skill is at stake here. Ask yourself what one might learn about you from seeing your work. What are the things that stopped you in your tracks and inspired you to make an image? Where have you been, and what did it look like (to you), way back then? What are the things you tried to convey to those who view your images? to loved ones? to complete strangers?
Don’t dismiss your involvement in your own art to being just a bystander who knows how to operate a camera. Make it count! Make it count as one of yours!
Complete article can be found here.
Guy