(aka “The Unplanned Diptych”)
Rather than focusing on technique or compositional principles, this month’s assignment is an exercise in observation, conceptualization, and execution. We’re going to capture a pair of images, and the key to making the most of the exercise is that you not plan too much. Be patient, embrace the process, and permit yourself to be receptive to where your art leads you. You do not have to complete the whole exercise at once and can do each step at your own pace!
Step One: Establishing a Foundation
Your first image can be almost anything, and it’s fine to stay in your comfort zone! For the purposes of this creativity exercise, it may help to isolate your primary subject as much as you can; fill the frame or utilize negative space to make the main subject prominent and/or readily identifiable. If you need a bit more direction to get rolling, choose one of the following subjects for your shot:
- Your Child
- A Piece of Fruit
- Your Favorite Pair of Shoes
- A Piece of Furniture
- Something with Wheels
- A Flower
- Something Red
- A Faucet
Shoot as many or as few images as you wish during this initial phase of the exercise. Keep shooting until you feel satisfied that you have captured something that speaks to you.
Upload your memory card, cull, process, and select a single image with which to move forward.[Note: If desired, you may choose a favorite image already in your portfolio rather than shooting anew.]
Step Two: Observing and Describing
Print your chosen image out if possible, or maximize it to fill your computer screen.
Grab a favorite pen and notebook, and carefully observe the photograph, listing (one per line) as many adjectives as you can to describe the image and primary subject within. When you run out of steam, consider words you might use to describe …
- the shape of the subject
- the size of the subject
- the style of the subject
- the color in terms of hue, saturation, and luminance
- the sensory qualities (texture, taste, smell, sound) of the subject
- the quality of light in the photograph
- the mood of the photograph
Step Three: Identifying Opposites
When your list is complete, go back through it again (with a different color pen, if possible), and write down words that represent the opposite of the adjectives on your list. For example, if my initial list is:
Then my completed set might appear as:
It’s okay if you can’t find a direct opposite for every word. Identify the best approximation you can, and skip a word if needed.
Step Four: Letting Your Word Lead You
Choose the word that speaks most to you from among the opposing adjectives that you added to the list.
Clear your mind of the first image as much as you can. Use the selected word alone to conceptualize/identify the subject, composition, and processing of your second photograph. Again, keep shooting until you feel satisfied that you have captured something that speaks to you and powerfully represents your opposing word. Upload your memory card, cull, and process with the selected word in mind.
Present your two images as a diptych.
IMPORTANT: The idea of this exercise is NOT to present an obvious dichotomy; it is to allow your first image to drive the conceptualization of the second. You will have a much more elegant and nuanced pairing if you embrace the process than if you skip ahead and identify your pair of opposites ahead of time. Don’t go into this thinking, for example, “I’ll shoot something old and then something new!” Let the process carry you from image-to-adjectives-to-opposites-to-image. At face value, and absent an explanation of the adjectives used, this second subject may have absolutely no relationship at all to the first subject.
This exercise can be repeated time and again, with very different results each time; the idea here is simply to allow your images to flow one into the next. As a variation on the exercise, you could also present a compelling pair of images by building on a shared word from the first set of adjectives (e.g., a shadowy-shadowy pairing rather than a shadowy-sunny pairing). However, working with a set of opposites can be especially effective in pushing you to capture visual representations that might be a little outside of your comfort zone or beyond your typical subject/style, empowering you to use your own images to inspire new approaches when you get in a creative rut.
What’s the best way to improve your photography? Shoot thoughtfully and frequently! Try new things and embrace creative and technical challenges. Every month, Sarah Wilkerson posts a new tutorial and challenges our members to join in a new Creativity Exercise on the Clickin Moms photography forum. At the conclusion of the exercise, we select Editors’ Choice images from among the exercise submissions and share them here with you on the blog. Congratulations to the ladies whose photographs included in the exercise above were selected as this month’s Editors’ Choices, and thank you to everyone who participated in the exercise!
And be sure to participate in the next exercise! Visit the forum where Sarah has posted “6 New Ways to Approach Backlighting.” We’d love to see your work!
Sarah Wilkerson, New York
CEO | CMU Instructor
website | facebook | twitter | pinterest | instagram
Duke graduate and former attorney Sarah Wilkerson joined Clickin Moms as a member photographer in 2008 and quickly became a leader in the community. Together with Kendra, Sarah has led the evolution of the company’s mission, program development, and position within the greater photography community. She currently resides in New York with her Army JAG husband, three sons, one daughter, and two dogs. Sarah shoots with a Nikon D4, enjoys tilt-shift and atmospheric black and white work, and instructs CMU’s upper level composition courses: Elements of Design and Composition and Creativity.