By Torsten Andreas Hoffmann
For many folks, images serves as a sort of meditation; the way to separate themselves from their demanding lives. during this booklet, Torsten Andreas Hoffmann explores an method of inventive images in line with jap Zen-Philosophy. Meditation and images have a lot in universal: either are established within the current second, either require entire concentration, and either are so much profitable whilst the brain is loose from distracting ideas. Hoffman indicates how meditation can result in the resource of inspiration.
Hoffman's outstanding photographs of landscapes, towns, humans, and nature, in addition to his shrewdpermanent picture research and proposals concerning the creative procedure, can assist you realize this method of images with no forsaking the rules of layout essential to in achieving nice photos. Photographing busy scenes, specifically, calls for an internal calm that permits you to have instinct for definitely the right second and compose a well-balanced photo amidst the chaos.
The objective of this e-book is to improve your photographic expression. It presents enrichment for photographers who think that simply technical mastery produces nice photos and indicates how very important it truly is to have interaction together with your personal expertise to behave creatively.
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Extra info for Photography as Meditation: Tap Into the Source of Your Creativity
15 Inner and Outer Landscapes 16 The Alleged Objectivity of Photography 17 Basic Moods Expressed 18 Representing Beauty without Being Shallow 19 Photography as a Puzzle 20 Street Photography 21 Creating Special Magic 22 Photography as Ink Paintings 23 Magic in the Detail 24 Abstractions 25 What is Creativity? 26 Image Design Perceived During Meditation 27 Subsequent Critical Analysis and Interpretation 28 The Path to Your Own Style 1 Thoughts on Photography and Meditation The recent phenomenon of mass accessibility to digital cameras has produced a generation that records everything, even the most benign moments.
The first paintings that I created during my years as an art student were not bad, but I soon realized that I was too impatient for oil painting. Photography became my medium of choice. When I was on the island of Gomera in the Canary Islands, a young woman asked me if photography was a type of substitute life. I was impressed by this profound question and have thought about it often. Can the act of taking a photograph truly be as immediate an experience as our actual life? Or is the act of viewing those moments through the camera’s viewfinder enough to remove us from the flow of the actual experience?
They strongly interfere with the natural flow of the ritual. It appears as though they were briefly emerging from the flow of life, which they could have experienced firsthand, in order to have a print to enjoy at home. Because of this, I struggled with the decision to pursue photography as a way of life. A former professor once told me I needed to become a photographer in order to be able to experience my deeper self. I may have had trouble with the idea at the time, but I’ve since grown to agree.