May 9, 2014

How I Found My Vision

The Angel Gabriel

Why do I focus on Vision so much? It’s because I believe that Vision is what makes an image great. It’s what makes the difference between a technically perfect image and one with feeling. It’s what makes your images unique.

Great images do not come about because of equipment and processes, but rather from Vision that drives these tools to do wonderful things. What good are great technical skills if you don’t have an idea worthy of them?  

If I had to choose between the best equipment in the world and no Vision or having a Kodak Brownie and my Vision…

I’d take the Brownie.

A lot of people ask: “How do I go about finding my Vision?” I’m not sure I can answer that for everyone, but here is how I discovered mine:


The Wake-Up Call

Several years ago I was attending Review Santa Fe where over the course of a day my work was evaluated by a number of gallery owners, curators, publishers and “experts” in the field.

During the last review of a very long day, the reviewer quickly looked at my work, brusquely pushed it back to me and said “It looks like you’re trying to copy Ansel Adams.”  I replied that I was, because I loved his work! He then said something that would change my life:

“Ansel’s already done Ansel and you’re not going to do him any better.  What can you create that shows your unique vision?”

Those words really stung, but over the next two years the message did sink in: Was it my life’s ambition to be known as the world’s best Ansel Adams imitator? Had I no higher aspirations than that?

I desperately wanted to know if I had a Vision, but there was a huge problem: what exactly was Vision and how did I develop it? 

I researched Vision but I couldn’t relate to the definitions and explanations that I found. Was it a look, a style or a technique? Was it something you were born with or something you developed?

And then there was the nagging doubt: what if I didn’t have a Vision? I feared that it was something you either “had” or you “didn’t have”  and perhaps I did not?

And how was I to go about finding my Vision?

With so many unanswered questions and with no idea on how to proceed, I simply forged ahead with what made sense to me.  Here is what I did:

1. Sort Your Portfolio

I took 100 of my best images, printed them out and then divided them into two groups: the ones I REALLY loved…and all the rest. I decided that the ones that went in the “loved” pile had to be images that “I” loved, and not just ones that I was attached to because they had received a lot praise, won awards or sold the best. And if I loved an image and nobody else did, I still picked it. 

2. Make the Commitment

I committed that from that point on, I would only pursue those kinds of images, the ones that I really loved. Too often I had been sidetracked when I chose to pursue images simply because others liked them.

3. Practice Photographic Celibacy

I started practicing Photographic Celibacy and stopped looking at other photographer’s work. I reasoned that to find my Vision, I had to stop immersing myself in the Vision and images of others.

I used to spend hours and hours looking at other photographer’s work and would find myself copying their style or even their specific images. I knew that I couldn’t wipe the blackboard of my mind clean of those images, but I could certainly stop focusing on their Vision and instead focus on mine.

When I looked at a scene I didn’t want to see it through another photographer’s eyes, I wanted to see it through mine!

4. Simplify Your Processes

I embarked on a mission to simplify my photography.  In the past I had focused on the technical and now I was going to focus on the creative. I disposed of everything that was not necessary: extra equipment, gadgets, plug-ins, programs, processes and all of those toys we technophiles love. I went back to the basics which simplified my photography, gave me more time and it reminded me that I wanted to put more focus on my creative abilities.

5. Ignore Other’s Advice

I ignored the advice that well intentioned friends and experts gave me. So much of this advice had never felt right for me and I was torn between following their recommendations or my own intuition. In the end I decided that only by pleasing myself could I create my best work, and that no matter how expert someone was, they were not an expert about my Vision or what I wanted.

6. Change Your Mindset

I worked to change my mindset from photographer to artist. I had always thought of myself as a photographer who documented, but I could see that this role was limiting and the truth was that I wanted to be an artist that created.  

To help me make this mental shift I started calling myself an artist (I felt like such a fraud at first)  figuring that I must play the part to become the part. I also stopped using certain words and phrases, for example instead of saying “take a picture” I would say “create an image.”  

That may seem like small and inconsequential thing, but it helped to continually remind me that I wanted to be an artist who created, and not a photographer who documented.

7. Question Your Motives

I questioned my motives and honestly answered some hard question such as: why am I creating? Who am I trying to please? What do I want from my photography? How do I define success?

It seemed to me that Vision was something honest and that if I were going to find my Vision, I had to be honest about the reasons I was pursuing it.

8. Stop Comparing

I stopped comparing my work to other photographers. I noticed that when I compared, it led to doubts about my abilities and it left me deflated. All I could see were their strengths and my weaknesses, which was an unfair comparison.  

I decided that if my goal was to produce the best work that I could, then it did not matter what others were doing. I had to remind myself that this was not a race or a contest, I was not competing against others…I was competing with myself.

9. Stop Caring What Others Think

I made a conscious decision to stop caring what others thought of my work. I recognized that in trying to please others, I was left feeling insecure and empty.

At the end of the day, it was just me, my work and what I thought of it. As long as I cared what others thought, I was a slave and could never be free.

10. Get Inspired

I re-read Ayn Rand’s novel “The Fountainhead” which I had first read at age 17. It has been one of the most influential books of my life because it gave me hope that I could become truly independent, that I could think for myself and define my own future. I know this book can cause strong reactions in people, both for good and ill, but it was a tremendous help in finding my Vision. 


I really was proceeding blindly, but I believed that if I listened to my own desires, pursued what I loved and eliminated all other voices, I would learn something about my Vision.

I did this for two years and there were many times that I became discouraged and didn’t feel like I was making any progress. I didn’t really know what I expected to happen, perhaps I thought I’d have a revelatory experience where my Vision would suddenly appear in a moment of inspiration!

But that didn’t happen.

And then one day it just occurred to me: I understood…I understood what my Vision was. 

It came in an anticlimatical and quiet moment of understanding, and after all of that worrying and angst…it now seemed so incredibly simple. Vision was not something I needed to acquire or develop, it had been there all along and all that I needed to do was to “discover” it.

Vision was simply the sum total of my life experiences that caused me to see the world in a unique way. When I looked at a scene and imagined it a certain way…that was my vision.

My Vision had always been there but over the years it had been buried by layers of “junk.” Each layer obscured my vision until it was lost and I doubted my creative abilities.  Some of those layers were valuing other’s opinions over my own, fear of failing, imitating others and creating for recognition.

Each time I created for external rewards, each time I put accolades before personal satisfaction, each time I cared what others would think…I buried my natural creativity under another layer until it was buried and forgotten.

Interestingly I came to conclude that Vision had little to do with photography or art and had more to do with being a well-adjusted, confident and independent human being. Once I had the confidence to pursue my art on my terms, and define success for myself, I was free to pursue my Vision without fear of rejection or need for acceptance.

Something else I learned about Vision: it is not a look or a style. It is not focusing on one subject or genre and following your Vision will not make your work look all the same. Vision gives you the freedom to pursue any subject, create in any style and do anything that you want.

But finding my Vision was not the end of the journey, because now I had to follow it which was equally as hard. I am still tempted to create for recognition, to care what others think and to want to be acknowledged. It takes constant discipline to stay centered, to remember why I’m creating and to follow my definition of success.

If you could have known me before I found my Vision, you would have found a technician that doubted his creative abilities, a photographer who felt that it was wrong to “manipulate” the image, a person who sought the generally accepted definition of success: money, fame and accolades, and you would have found an insecure person who needed others to like his images in order to feel good about his work.

Thankfully, that person is gone.

While my initial search was for my Vision, what I really found was myself which allowed my natural Vision to flourish once again.  




81 thoughts on “How I Found My Vision

  1. Cole, Well thought out post! Clear and concise. Even I can understand it. 🙂 All of us can learn from the lessons you’ve learned throughout your life’s journey.

  2. Your courage and perseverance is so admirable. I seem to struggle with these issues every day, as I am sue many do. Thanks for sharing your personal insights, Cole.

  3. Thanks for writing this. More often than not your reason for creating images is for appreciation of your ability by others. Sometimes it takes someone, and something like this to kick you back to your own path.
    Thank you.

  4. Very nice post! I like the part about not competing with others, just competing with yourself. My twist is that I do look at the work of others freely and liberally. To me, this helps me understand my own vision more clearly. Maybe I’m too close to my own stuff. When I look at the work of others, it’s like holding up a mirror, reflecting back to me qualities and aspects about my own work that I see in what I’m looking at. Then I can think more critically about my own stuff.

  5. Thank you, Cole. This post hits me at a time when I really need to hear it. It’s a constant struggle for me to judge whether I like one of my images purely because I like it or because I think other people will like it. Just the other day I decided to become more strict in my choosing. What you posted today will help me stick to that decision.

  6. Wonderful article that hit’s close to home. So well written and informative a must read for anyone struggling to find their photographic style!

  7. Well done Cole…although when you say ” I was proceeding blindly”, I must disagree. Stepping out of our comfort zones requires the very vision you thought you weer seeking. Eyes wide open, as fearful as it may be

  8. Hello Cole,

    It’s been a while since I have written to you. But, I just had to drop you a brief note of thanks for this wonderful article. I am going to try your methodology and see if I can also find my vision. I suspect that this is no easy path to take but, I am willing to give it a go.

    Just a warning…you may be getting several emails from me along the way.


  9. What an excellent post, Cole! I recognize myself in many of your points. Particularly in that, lately, I like seeing other photographer’s work more than my own. Thank you for sharing your own struggles and the journey you have been (and still are) on. You are an inspiration.

  10. Hello Cole Thompson
    I am a great fan of not only your photography but also you intellectual and artistic vision.
    I have been reading your views for quite some time and want to discuss one point
    You have adopted a photographic celibacy and think it helps to purify your pursuit of a personal vision
    Would you recommend the same approach to any one still in the process of artistic maturation?
    I feel if some one adopts this approach at an early stage, it would seriously limit his exposure creating a tunnel vision.
    After all you took this step when you had years of experience and must have studied thousands of pictures from hundreds of masters of art.
    There are some more points which I would like to discuss but for the time being this would suffice

  11. Aamir, I would tend to agree that Photo Celibacy works better AFTER some learning… I know Cole does not agree but I’m in your camp on that particular point.

  12. John barclay
    I had initially put this question to Cole on g+.
    He suggested that the question to be posted on this blog for discussion and participation of all the members
    I think he intends to generate an intellectual discussion on this issues.
    Let us see what others have to say about this issue

  13. Dear Aamir, thanks a lot for throwing a grenade into the discussion! (not really, I asked him to post this)

    First, the only thing I can be certain of is what I did and what effect it had on me. Photographic Celibacy has been a HUGE factor in both finding and following my Vision.

    I know that about 85% of the people who hear about Photographic Celibacy disagree with me, and I’m okay with that. I am not telling people what they should do, but simply sharing my experience.

    I try not to give other’s advice, but what would I say to a photographer who pressed me if he should try Photographic Celibacy and when?

    I do think I would encourage anyone who was at a certain stage of their photographic journey to try it. When would I suggest they try it?

    When they are hungering, as I was, for the answer to the question: Do I have a Vision?

    When they feel that they are not creating original work, but instead just copying others.

    When they are dissatisfied and want more, but don’t know what to do.

    That’s when I would suggest that they try it.

    What have you got to lose? If after a year it doesn’t benefit you, then reverse course.

    Just my thought Aamir.

  14. I don’t know how many posts and articles about vision I have started to read during the last months because it is something I struggle with. Mostly I stopped after few lines as the content hasn’t touched my heart.
    But this post is very different.
    Word by word I had not the feeling that these are not just words as I thought so often, reading posts about this topic.
    For me this post contains heart and truth. And I have to admit my hope that some day I am able to go my way as you described your path.
    Thank you very much for this post!

  15. Cole, I have read bits and pieces of this from you before but this is a masterful composite of many of your thoughts. It’s thorough, yet concise, a writing style sought after by many, achieved by few. Your response to Aamir rings very true to me. Like others who have indicated above that they struggle with this “vision” thing, you have helped us move forward. I have printed your words and will now reach for them whenever I need inspiration. For others, last year I went through the process Cole describes by looking at all my images (7 years worth of part-time shooting) and selected a small group that I really liked. It was an arduous and time-consuming process but well worth it – the final result did reveal some unexpected results. “While my initial search was for my Vision, what I really found was myself that I really liked…” – a wonderful sentiment and a great accompaniment to “every picture is a self-portrait”. Now, unlike you I wasn’t concise and thorough was I?!

  16. Thanks for another thought inspiring post Cole. Photographing what you love and presenting the image how you love it is something we all should strive for.

  17. A truly inspirational article, Cole. It’s true that you can only do your best work by pleasing yourself. I love looking at other peoples photo’s, But if I constantly compare my work to theirs, I find that my work will never be good enough for me!

  18. Excellent, Cole, as usual. I still think there’s a recipe book waiting to be written.

    Here’s my egghead take-away:

    Strive to eliminate the dualism between object and photographer, which is documentary. Examples: pictures of a flower, a dune, a pepper.

    Instead, take the outer world object, and cook it in the juices of one’s inner world, and out comes a flower by Georgia O’Keeffe, a dune by Cole Thompson, a pepper by Edward Weston.

    Ingredients for juice: Every love you’ve ever had, every heartbreak, every book you’ve ever read, every person you’ve known and experience you’ve ever had.

    Utensils: Whatever.

    Cooking time: as long as it takes.

    So simple, right? HaHaHaHaHa.


  19. Aamir, Cole was a special guest instructor for a workshop I co-led in February. The discussion we had after his presentation “Why B&W” was one of the best discussions I’ve ever been part of. After he was done, I simply asked the group what they thought of Cole’s celibacy idea. It was a spirited discussion, many did not agree but all left the room thinking about the discussion for the rest of the week together.

    My personal feeling is that most need a foundation of some sort to get them started. Then they can choose to be celibate if they want. Being celibate is hard, really hard to be honest. And it is human to want feedback. What I totally agree with is, at some point one does need to let go of getting feedback and TRUST in or follow their vision. What I love about Cole’s thoughts in this post is how he has explained that that process was not easy either. In other words you don’t one day decide to be celibate and follow your vision…. that is just a starting point.

  20. Lots to think about here, and reassuring to me in many ways. I have a an art school background and a view in my latest photos that does not fit typical photographers subjects or compositions. I gave up camera clubs because of this. My concern these days is I can’t seem to get to where I want to be with a piece – maybe lack of skill (technique) since I do processing, and a need to spend more time on my artwork. Hope to read much more here.

  21. Cole Thompson, Johan Barclay
    There are lots of points to ponder here.
    In my own training, western influence is dominant.(In form of books, on line courses and most of all through social networking). I have no connection with any local artist/photographer or camera club.
    Recently I went to flickr where Pakistani photographers have a strong presence. I looked at their work and found some interesting difference between my work and their approach.
    They use strong vibrant colors
    There were few BW pictures
    Almost all pictures were realistic with hardly any picture in abstract/impressionist style
    Mostly it was about cultural representation. Minimal share of still life/abstract etc
    There were some other points as well
    I compared and realized how a company influences in a very subtle way on our approach and thinking of art
    So in a way I tend to agree with Cole
    However I would like to submit that
    1. Decision of celibacy is a sign of maturity. It (should)comes at a point where one has already achieved a certain degree of command
    2. Even after that there is a risk of being monotonous!!
    I mean looking at thousands of pieces of art gives new fresh ideas. If one is living a secluded life oblivious of what new is going on in art circles, Isn’t there a danger that one would keep on reproducing same thing(style) while world would have moved on to some new horizon???
    I would like Cole to ask, how he keeps himself up to date with new trends in art and design?
    Does he still read books on art and art history?
    Does he go to art exhibitions (as a viewer or a judge)

  22. I loved your post. Sometimes “experts” make me chuckle. Before I read our post I was thinking about what is “in” now – how that is described as so creative and innovative. But so many of those “new” images look the same. Ultra high contrast, only one subject, wide angle, black and white. So this is basically what’s in vogue now. I never do portfolio reviews anymore because I don’t fit their mold. and I don’t care.

  23. Much of your blog resonates with my humble journey, though the word I use to summarize it is “intuitive,” which seems close to, but not quite the same, as your phrasing. We all have vision, but it is a vapor in a world of solids. We sense it rather than perceive it. In my case, just taking many, many pictures, & reacting to them honestly, over decades now, it has slowly found its way to the surface of some of my images.

    ps. You do post some of the most thought-provoking blogs.

  24. “Vision was simply the sum total of my life experiences that caused me to see the world in a unique way. When I looked at a scene and imagined it a certain way…that was my vision.”

    Love this quote Cole! Another inspiring post, thanks for sharing your journey.

  25. I love your clear and concise way of putting it out there in B&W (literally) What is Vision? How do I find it? This post is a a great reminder for those of us still trying to uncover it when it’s probably staring us in the face.

  26. I have read this blog several times, each time I see something resonates with me.
    A couple points. in #6 I’m happy to say that i’ve been “creating images” instead of taking pictures and think of myself as an artist. But it was not apparent to me was how I was arriving at my final image.
    From #10 I find that my final vision is in the photograph and it is my skill that brings it out. Where your vision seems to be a quality within yourself, mine seems to be within each image. My joy is watching it emerge. I believe the final image reflects my life experiences.
    Please continue to share your photographic wisdom with us, Cole

  27. Hands down the best blog post I’ve seen on the topic of vision. This encapsulates a lot personal philosophies of my own. Great to see a photographer finding themselves with confidence. More power to you!

  28. I understand that worked for you, but I’m not sure about #3 (Photographic Celibacy) is useful. For example, one may want their work to engage with the traditions and history of the medium. It’s also more difficult to do something new if you don’t know what has been done before.

  29. I am working on this same issue for myself. I will probably take a somewhat different approach in working to capture the same emotions, delight, or concepts of poetry that speaks to me from Robinson Jeffers. We will see how it goes. Seth Godin is also often helpful as well.

    Wise and relevant words from Seth Godin on 6/10/14:

    “Shun the non-believers.

    Do your work, your best work, the work that matters to you. For some people, you can say, “hey, it’s not for you.” That’s okay. If you try to delight the undelightable, you’ve made yourself miserable for no reason.

    It’s sort of silly to make yourself miserable, but at least you ought to reserve it for times when you have a good reason.”

  30. Wonderful insight and introspection Cole. Close to my heart as I have traveled a similar path myself.

    Your closing words, “what I really found was myself ” absolutely hit on the nail! This is exactly what I try to instill in the students in their first year at the photographic academy, where I teach. Even before technicalities I ask them to first discover, who they are, to learn to love what they find and then have the courage to be themselves. When they have achieved that, the rest would follow.

    Many thanks again for reassurance.

  31. Wonderful insight, thanks for laying it out so clearly. Most of the points you make resonate with me. I’d like to elaborate a bit on two,
    “hotographic celibacy” and “Stop caring about what others think”.

    I don’t see Photographic Celibacy as precluding appreciating other artists works completely.
    From what you say, I understand Photographic Celibacy to mean not spending “literally” hundreds of hours looking at other artists images (by the way, the same reasoning can also apply to non-photographic images!) – so as not to lead you to a “pre-conceived” vision of whatever subject you are looking at. This is similar to the notion of priming in psychological experiments, to a great extent, and trying to avoid it.

    In other words, you want to approach a scene/subject with a clean slate, so that your Vision can manifest itself unhindered from the influence of other artist’s Vision for that subject (if there has been one).
    (as an aside, I point out that this same reasoning can be applied for any artist in the broadest sense, not only photographers…)

    On the other hand, you state your Vision as being “the sum total of my life experiences that caused me to see the world in a unique way”. Personally, this doesn’t preclude seeing other artists images, since I should be able to absorb their Visions just as I do everything else to which I’m exposed in my life – the key difference is “being exposed” x “immersing”. So I don’t look at other artists images to imitate or copy them, but rather, as simply another (their) way to perceive and express that particular subject; some I appreciate, they resonate with me, others don’t.

    But when I set myself to express my Vision, I’m always looking at different ways, some that are perhaps not so obvious, or that I haven’t previously seen. I want to be original with respect to myself! This applies both when in the field and in the (digital) darkroom. Invevitably, some end up looking similar to things I’ve encountered before, but many do not – and hence, add new facets to my Vision – which, as you say, is also constantly evolving.

    So, in my view, it is actually compatible with what others have expressed about acquiring some background “culture” with previous masters.

    However, here is where I find the hardest line to thread. You say that we should “stop caring what others think”. Ok, if by that you mean caring about their “judgement” or “valuation” of my work – I should not value my work by what other people think of it.

    On the other hand, I can’t think of the idea of Vision and expressing myself outside a framework of *communication*. True, there are photographers such as Vivian Mayer, who never showed her images to anyone – so clearly she was doing it for herself only. But I think most artists, myself included, want to *communicate* their Vision to others – otherwise, they would not post them, or exhibit them in shows, or make books.

    I am thrilled when I see that an image I made resonates with someone else, creates some emotion – even if often not the one I felt myself!. . And it is even more rewarding when that person is from a completely different background/culture than mine.
    I’m not saying that I need this to value what I create – it’s not about approval (or disapproval). But, in the sense above, I do care about what others think – or perhaps, I should say “feel”, when exposed to my images.

  32. Daniel, thanks for sharing your thoughts on Celibacy and Vision.

    Celibacy: I made this up, so I only know how I did it and I figure everyone will apply it (or not) based on their situation.

    But you’re right, my objective was to create from my own Vision and not to be influenced others. And again you are right that I had been influenced by other photographers in my past and that’s became a part of my life experience, and hence my Vision!

    Regarding not caring what others think: this is highly personal and subject to each person’s personality, goals and where they are at in life.

    For me, I do not care if someone doesn’t like my work. I appreciate everyone has preferences and only a small sliver of the world’s population likes my style of photography. I’m okay with that.

    But more importantly I’m okay with that because I did not create the images for them, but for myself.

    Once created in this manner, do I enjoy showing my work and meeting people who have similar tastes and appreciate my work? Certainly!

    But their approval was not what I was seeking and if I exhibit the work and few like it, that does not affect how I feel about my work or myself.

    In other words, my self worth is not tied to my images being liked or disliked.

    I really appreciate your thoughts on this Daniel, they are well thought out and expressed.


  33. Beautifully written Mr. Thompson. I’m returning to photography (i.e. shooting my own pictures) at the age of 63, after 24 years of working as a Photoshop artist. Your article has inspired me to find my own path and begin creating pictures.

  34. Reading the input to this post I was reminded, with no intended prejudice, of:

    “The story of the blind men and an elephant originated in the Indian subcontinent from where it has widely diffused. It has been used to illustrate a range of truths and fallacies; broadly, the parable implies that one’s subjective experience can be true, but that such experience is inherently limited by its failure to account for other truths or a totality of truth. At various times the parable has provided insight into the relativism, opaqueness or inexpressible nature of truth, the behavior of experts in fields where there is a deficit or inaccessibility of information, the need for communication, and respect for different perspectives.”

  35. I am late to this discussion but wanted to express how fresh and insightful your post is. I am now looking for my own vision, and in the process found many articles,blogs etc on finding ones own vision. Heck, there courses that promise to help you find your own vision. Most say that vision in the final step to becoming an artist and then approach vision as purely a technical skill you must study and find. You have come to the very essence. To be an artist, you must believe in yourself, you must explore your insecurities and you must express you thoughts I your art. Vision is showing your deepest thoughts, fears, hope, and passion of and about your world. It is only then your art becomes something unique. Thanks for sharing your thoughts,fears and hopes. It makes it so much easier four those who are still trying to find that courage

  36. Thanks for sharing. some of things I am already doing, some I could do better and some I need to put into place. My problem is an overactive creative mind, my vision never gets a time to evolve as another vision is created. Maybe I just like creating visions as I am sure my next vision will be my best – perseverance is a far bigger problem than creativity for me. Uniqueness is not a problem persistence and perseverance is my issue.

  37. I think our vision is always changing. It changes as we change and develop our own style. The most important thing is that what we do, we do for ourselves and not our ego. We only need to satisfy ourselves and if people enjoy what we show them then that is a bonus. You have to feel the image that you make, and it has to mean something to one self.

  38. A great post. I don’t have a half of the problems you did and yet I’m struggling to find my vision. It’s so evasive. Sometimes I feel it in my hands, the next day my palms are empty again.

  39. Cole, thanks for the post. I belong to a camera club that does competitive image scoring once a month by professional photographers. After a few years of doing what I thought the judges would like (and getting good scores) I decided submit images that I like. My scores are about the same, but I feel better.

  40. Hello Cole,
    I’m going through your blog again. Now I have come to the vision section. I have to tell you honestly that this made me doubt for a moment. But I am glad that I persevered. I now make work that I think is good and beautiful. What someone else thinks is totally unimportant to me. I don’t have to earn a living with it. All I want is to take a nice picture. And whether or not someone else likes it in my problem. I am happy with the work I create now and enjoy it to the fullest. And you are the one who, through this article, made me think about what I was doing. Thanks for that. Stay safe and take care, my friend.

  41. Cole, this article resonated a great deal with me. And since circumstances have allowed me to pursue interests I didn’t have time for that has fed into my photography and moved me forward in understanding what my artistic vision could be. I haven’t fully revealed to myself what it is but it’s fun trying to find it. Perhaps a bit like personal archaeological excavation 😉 Anyway your article has provided me some helpful insights. Thank you.

  42. I saw your presentation before the Sun City photography club a couple of days ago and was floored. One of the best I have seen, if not the best. Thank you for it and for providing the link to this page where a small part of it can be seen. Is there an updated version or a recording of what you presented at the club? I know several photographers that I would like to share it with.

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