A. Koestler talks about conflicts that can not be solved by logic or reason. Because they have no rational solution they play a fundamental role in creativity. To transcend the impasse they create, the author suggests a contemplative approach, allowing photography to have a spiritual foundation.
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In Defense of No Titles
More on Seeing Creatively
The contemplative method of photography, rooted in Buddhism, addresses creativity from a different perspective. It promotes shooting from the heart and not shooting from the head alone. In order to make this transition, we need to turn ‘within’. The author comments on the difficulties involved and makes some suggestions as to overcome them.
The Flash of Perception or the Workings of Creativity
The Flash of Perception, the hallmark of Contemplative Photography may manifest as a so called creative accident in many different settings and situations. Its recognition depends on our openness, on our preparedness to go beyond the conventional. The author compares this open mindedness with the playful mind of the trickster in aboriginal societies.
Two Ways of Seeing: The Seeing and the Seen
The difference between conventional and contemplative photography represents two perspectives with vastly different outcomes.
The former is seen as exclusive. It is based on a visual language that is primarily directed by conceptual or so called objective thinking that separates us from what we actually see.
The latter is a subjective and inclusive approach. It provides opportunities to face one’s own perceptions directly without interference by thoughts or concepts. This approach, however, requires the undoing and reorganizing of our visual habits.