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Limits and Creativity

Limits and Creativity

Nikon SLR

    I want to tell you a story about two photographers.

    For a while now, I’ve been wanting to get more into photography, hoping eventually to buy a nice digital SLR camera. So I was quite thrilled when a photojournalist friend offered to give me some of her old film equipment to learn on. The camera, a Nikon FM2, is a fully manual model first introduced almost 30 years ago. It only uses a battery to run the light meter, and the battery on the one she gave me is burnt out — and I’ve been forbidden to replace it.

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    Her thinking is this: if I’m serious about learning how a camera works, I need to hone my skills and instincts so I get a feel for how to put together a good image. A more modern camera (like the later-model auto-focus Nikon she also doesn’t use anymore) wouldn’t teach me that; instead, it would teach me how to use the camera’s bells and whistles.

    I have another friend who is also a photographer, and I was excited to share with her the news of my new setup. She was more or less unimpressed until I told her what kind of camera it was, then she lit up. “Oh, that’s good — you’ll learn a lot from that!” Then we got to discussing her preference for Nikon cameras, and among other things she said she liked the black-and-white mode in Nikon’s best.

    “Really?” I asked. “Wouldn’t it be better to convert to black-and-white in Photoshop, where you have far more control over the process?”

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    I might have been asking the Pope about his sex life — the response was rather chilly. Photoshop, to her, was a substitute for skill. Learning to make the best use of what you have in your hands, that’s photography for her, not applying the near-limitless potential of an image program.

    Both of these photographers were telling me something interesting about not just photography but about… well, about life. They were telling me to stop resisting limits and embrace them as part of the process of creativity. Yes, the Nikon FM2 is a pretty limited camera — that’s what makes it a great learning tool (and, for that matter, it’s what makes it a model that’s remained popular over 3 decades of photographic advance, one that’s still found in many a pro’s toolkit). Yes, in-camera black-and-white is far more limiting than the vast possibilities unleashed by Photoshop — that’s what makes it an art. To embrace those limits and make something beautiful is to accomplish something extraordinary.

    I can’t help but think of those legendary million monkeys pounding away at a million typewriters. In all that flow of randomness, eventually a string of characters will emerge that tells the story of Hamlet, Prince of Denmark and his stunning descent into madness and eventually death. But it’s the labor of one man, William Shakespeare (or another man posing as Mr. S), scratching away with his goose-feather quill by the dim light of a beeswax candle, groping for the perfect words in the near-dark, that stuns us — one man working with all the limitations of his life and times, all the limitations of the medium and of his mind. That is what elevates a play like Hamlet to the level of art.

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    Aside from a lack of resources — who, after all, has a million monkey laying around and that kind of time to wait? — there are good reasons to oppose unboundedness, to reject a lack of limits. Creativity doesn’t stem from limitlessness. Over and over again, creative people not only challenge limits but seek them out — artists choose a limited palette to paint an image with, musicians strip a complicated arrangement down to voice and acoustic guitar, writers cut and cut and cut again to reach a thousand-word length, and my photographer friend willingly embraces the quirks of her camera’s black-and-white mode over the power of Photoshop.

    That’s the gift my photojournalist friend gave me: limits. She knew that for under $500 I could pick up a decent used digital SLR setup. But on a digital camera, it would be easy to just learn how to harness the power of the camera — to let it do my focusing, metering, white balancing, and everything else for me. I might learn good composition, but I wouldn’t learn photography.

    The education of an artist or craftsperson consists mainly in learning about limits; I would argue that their creative spark comes from embracing those limits. That’s good advice for the rest of us, who spend quite a bit of time bemoaning the limitations forced on us by our circumstances without even trying to understand them. My advice — or rather, my friends’ advice — is this: understand your limits, embrace them, and use them.

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    It’s what they’re there for.

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    Last Updated on September 17, 2018

    Why Do I Have Bad Luck? 2 Simple Things to Change Your Destiny

    Why Do I Have Bad Luck? 2 Simple Things to Change Your Destiny

    Are you one of those people who are always suffering setbacks? Does little ever seem to go right for you? Do you sometimes feel that the universe is out to get you? Do you wonder:

    Why do I have bad luck?

    Let me let you into a secret:

    Your luck is no worse—and no better—than anyone else’s. It just feels that way. Better still, there are two simple things you can do which will reverse your feelings of being unlucky.

    1. Stop believing that what happens in your life is down to the vagaries of luck, destiny, supernatural forces, malevolent other people, or anything else outside your self.

    Psychologists call this “external locus of control.” It’s a kind of fatalism, where people believe that they can do little or nothing personally to change their lives.

    Because of this, they either merely hope for the best, focus on trying to change their luck by various kinds of superstition, or submit passively to whatever comes—while complaining that it doesn’t match their hopes.

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    Most successful people take the opposite view. They have “internal locus of control.” They believe that what happens in their life is nearly all down to them; and that even when chance events occur, what is important is not the event itself, but how you respond to it.

    This makes them pro-active, engaged, ready to try new things, and keen to find the means to change whatever in their lives they don’t like.

    They aren’t fatalistic and they don’t blame bad luck for what isn’t right in their world. They look for a way to make things better.

    Are they luckier than the others? Of course not.

    Luck is random—that’s what chance means—so they are just as likely to suffer setbacks as anyone else.

    What’s different is their response. When things go wrong, they quickly look for ways to put them right. They don’t whine, pity themselves, or complain about “bad luck.” They try to learn from what happened to avoid or correct it next time and get on with living their life as best they can.

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    No one is habitually luckier or unluckier than anyone else. It may seem so, over the short term (Random events often come in groups, just as random numbers often lie close together for several instances—which is why gamblers tend to see patterns where none exist).

    When you take a longer perspective, random chance is just . . . random. Yet those who feel that they are less lucky, typically pay far more attention to short-term instances of bad luck, convincing themselves of the correctness of their belief.

    Your locus of control isn’t genetic. You learned it somehow. If it isn’t working for you, change it.

    2. Remember that whatever you pay attention to grows in your mind.

    If you focus on what’s going wrong in your life—especially if you see it as “bad luck” you can do nothing about—it will seem blacker and more malevolent.

    In a short time, you’ll become so convinced that everything is against you that you’ll notice more and more instances where this appears to be true. As a result, you will almost certainly stop trying, convinced that nothing you can do will improve your prospects.

    Fatalism feeds on itself until people become passive “victims” of life’s blows. The “losers” in life are those who are convinced they will fail before they start anything; sure that their “bad luck” will ruin any prospects of success.

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    They rarely notice that the true reasons for their failure are ignorance, laziness, lack of skill, lack of forethought, or just plain foolishness—all of which they could do something to correct, if only they would stop blaming other people or “bad luck” for their personal deficiencies.

    Your attention is under your control. Send it where you want it to go. Starve the negative thoughts until they die.

    To improve your fortune, first decide that what happens is nearly always down to you; then try focusing on what works and what turns out well, not the bad stuff.

    Your “fate” really does depend on the choices that you make. When random events happen, as they always will, do you choose to try to turn them to your advantage or just complain about them?

    Thomas Jefferson is said to have used these words:

    “I’m a great believer in luck and I find the harder I work, the more I have of it.”

    Ralph Waldo Emerson said:

    “Shallow men believe in luck. Strong men believe in cause and effect.”

    Your luck, in the end, is pretty much what you choose it to be.

    Featured photo credit: LoboStudio Hamburg via unsplash.com

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