In the world of photography today, it is pretty common that the relationship between creative concept and photography skill is intertwined and very much expected from a photographer. In this article, we’ll dive deeper into this discussion between these two relationships to see how photographers can unleash their artistic potential and bring their work to the next level and how one skill affects the other skill. Everything from the spark of inspiration from the basis of creative concepts to the technical skills required for project execution will be discussed in hopes of achieving balance between creativity and technical skill to push a photographer’s work to a greater height.

What Is Creative Concept?

“Creative concept” in photography refers to the underlying idea behind a photograph, which is what I called the key to artistic expression. A skilled photographer subconsciously has the ability to envision and conceptualize captivating ideas for their work. That usually includes visualization, planning the desired message, tone, mood, and story that the photographer wants to deliver through their images. Creative concept is usually also known as the foundation for the entire photographic process, forming the essence or, commonly known as the “soul,” of a photograph. It also provides a base guidelines to the image composition, lighting, subject choice, and ultimately, post-processing decisions in the image. 

What Is Photography Skill?

Photographic skill is the technical proficiency and knowledge to operate and manipulate camera settings in the process of image-making. This includes the ability to understand exposure, composition, lighting, focus, and post-processing techniques. This skill involves learning most of the technical aspects of photography, such as camera settings, equipment operation, editing software, and even honing the eye of the photographer to read light and recognize visually pleasing composition. By being proficient in technical skill, it will enable photographers to bring their vision to life, which, in turn, unlocks the full potential of their creativity. In short, this is known as the key to artistic expression.

Which Skill Is More Important?

Here comes the golden question: which is more important? When it comes to photography, the dilemma between what’s more important between creative concept and technical skill often resurfaces. The urge to succeed in a short amount of time compared to our competitors doesn’t help any further, as we have to decide which to prioritize. As a result, you may find it difficult to produce artistic results despite having excellent technical skills or not capable of translating your ideas into high-quality images despite having excellent creativity skills. This happens due to the lack of ability to make stylistic decisions or technical skill to deliver the final output. 

In today’s world, we are almost expected to have both good creative concept and technical photography skill, especially in smaller scale commercial projects where there isn’t much budget and client awareness at that level of work. The clients at this level will often relate your inability to produce a creative result to having a poor photography skill. Therefore, you may need to cover your shortcomings with all sorts of fancy stylings to impress lower-level clients. As one progresses to higher-level clients, the emphasis will shift from fancy cheap tricks to having an outstanding, clear, and precise creative sense that truly captivates and aligns with the client’s creative direction. 

I understand, as photographers, we have the tendency to only focus on delivering images with our solid technical skills, but honestly, in real-world practice, if your technically perfect image does not have a solid creative concept to back it, it will not be enough to capture the interest of viewers. It is our creative concept, unique point of view that helps clients sell their service and product that is what attracts client’s attention. Therefore, ultimately, the goal is to work towards creating a workflow that is capable of combining a strong idea, distinctive style, precise vision, and good technical skill that will eventually make your work distinctive and outstanding compared to others.

A Marriage of Both

As we like to say, harmony begins when two lovebirds take flight as one. The very same concept applies here as well. When a photographer successfully merges both creative concept and photography skill, they can produce a really captivating result, which effectively delivers the intended message, story, and mood while bringing their vision to life. While technical proficiency is important, photography is still an art form by itself. It is the demand from creative concepts that pushes the photographer to experiment with different techniques and creatively solve issues in technical requirements that ultimately enable photographers to truly express their perspective beyond image limitation and leave a lasting impact on viewers and the end users.

Tips for Achieving Balance

After expressing my thoughts above, where we know it is important to balance both having creative concepts and photography skill to be successful in photography. While I am still nowhere near the realm of being extremely successful as a commercial photographer, here are a few tips that I have gathered through my years of building this career path that I can offer from experience to make your journey in professional photography a little easier. 

Tip 1: Collaborating With Artists and Stylists

Artists and stylists are people who are surrounded by art all day and all year long. In fact, they breathe art. By collaborating with them, you are able to offload the creative stress and rely on them to come up with a creative concept while you work on the technicalities in photography. This will result in a unique and compelling images, as each team player is playing their strengths, with a common goal, which is to produce outstanding work.

Tip 2: Study and Reference the Work of Other Successful Photographers

By studying and referencing, I do not mean directly copying what they do. Although there is the saying of faking it until you make it, I generally would not recommend that. The goal here is to study their work that attracts you, learn the thought process, and approach that they have when making a certain image that caught your attention. By learning from their work, you are able to broaden your own artistic horizon, which will eventually build into your subconscious and skill sets.

Tip 3: Work With Creative Briefs

Working with creative briefs is one of the best ways that you can develop your skill set. Not only are you able to challenge yourself creatively, you can also learn how to execute a specific request and put your technical knowledge to use. Your ability to translate concepts into tangible output will be greatly expanded.

Tip 4: Printing and Curating Your Work

Printing will open a new dimension of your creative journey. As you learn to appreciate your images in physical form, it unlocks a new way for you to analyze your work and think of the medium that your photos will be used in. Printing will also improve your technical skill, as it allows you to correct mistakes that are made in the process of image-making that are not visible on digital screens. Curation is probably the most important step in the creative process, as it involves carefully analyzing and organizing your images to tell a cohesive story to the audience. This will, in turn, train your creative skill. 

Tip 5: Find a Mentor

Lastly, a mentor or someone that you look up to will be able to help you in the pursuit of your photography career. They are able to provide useful advice, guidance, and insights based on their experience that is invaluable. However, it is important to approach this relationship with an open mind and be receptive to feedback. As photographers can sometimes have a high ego and tunneled vision, it is important to note that the willingness to grow from the expertise of others will significantly improve our skill. 

Conclusion

By following these steps and continuously striving for improvement, you can nurture your photography skills and elevate your creative concepts to new heights. Remember, the journey of a photographer is a constant evolution, and embracing these practices will help you develop your own unique style and leave a lasting impact on your images.

Studio Q Photography in Amherst is marking 10 years of service in 2023 with a series of celebrations throughout the summer.

Since its inception a decade ago, the company has dedicated its time to capturing life’s precious moments.

“It is with great joy and gratitude that we celebrate our 10-year anniversary,” said Michael Ciu, co-owner of Studio Q Photography. “We started this journey with a simply goal in mind: to freeze the beautiful moments that pass by in the blink of an eye.”

As part of the celebrations for the company, Ciu and his wife, co-owner Marie, decided to honor their clients with special free events during Walkin’ On Wednesday celebrations in Amherst.

“I am very grateful to the people of Amherst,” Marie Ciu said. “They have welcomed us with open arms over the past 10 years, and it has been a great community for us to be a part of.”

Throughout its 10-year journey, Studio Q Photography has amassed a loyal clientele that extends from individuals and families to businesses and organizations.

Their diverse portfolio showcases a range of creative and striking imagery, capturing emotions and nuances that make each photograph a story.

“As part of our celebration, we have a bunch of free prizes for guests to enjoy,” Marie Ciu said. “Inside the studio, we have a spinning prize wheel with small giveaway items as well as a guessing game for the community to try their hand at.”

The studio also is showcasing some of its new products through a raffle giveaway.

“As a token of thanks to our community, we also will be offering free activities during Amherst’s Walkin’ On Wednesday events throughout the summer,” Marie Ciu said.

The studio brought on Vicki Barbaro of Fancy Faces Painting for free face painting June 14.

For July 12, the studio will partner with Northeast Ohio Creatives welcoming some fan favorite princesses for free photos and meet and greets.

“We are very excited to be able to reach this milestone in Amherst and are looking forward to many more to come,” Marie Ciu said. “As always, we have the community to thank and are immensely proud of our achievements and the incredible relationships we have built along the way.”

For the past decade, photographer Suitcase Joe has been spending time at Skid Row in downtown Los Angeles. This area, known for its population of people experiencing homelessness, often gets a bad rap. Suitcase Joe was curious to connect with its inhabitants and learn more about their stories. And from this desire, he forged relationships that have allowed him to capture Skid Row in a raw, honest manner.

His unflinching look at life on the street is also tinged with the respect he has for the people that he meets. By approaching them with a genuine spirit, he’s found himself enriched by these encounters. It’s this enrichment that he hopes to pass on to others by publishing his work together with short texts to explain the meaning behind the images. Soon, he’ll be releasing his second book Grey Flowers with Burn Barrel Press, which will feature many of his Skid Row images.

We had the opportunity to speak with Suitcase Joe about his photography. Read on for My Modern Met’s exclusive interview and learn more about what pushed him to visit Skid Row, as well as why he feels that he’s been able to get its residents to open up to him on camera.

Where does your love of photography stem from?

It’s hard to say exactly where my love for taking photos comes from. I read more than I look at other people’s photography, and often it’s the feeling from the people and places I’ve read about that I’m trying to capture. I want my photos to make people feel the way books and authors have made me feel.

For me, photography is much more than taking photos. I love to be alone, to wander and explore. I like meeting all kinds of people and talking with them to learn about their stories and life. My camera and writing give me a reason to do all this. It really brings me the deepest kind of joy—a small quiet one that I take everywhere I go.

What first pushed you toward documentary photography?

It all happened organically for me. I thought someone should photograph and document Skid Row for historical archives. I suggested the idea to a couple of photographers, who told me they had no interest in going into Skid Row. Eventually, I realized I was seeing it a certain way in my head, and I should just pick up a camera and do it myself.

I never set out to be any one kind of photographer, but my wanting people to connect with the unhoused is what pushed me toward documentary photography. At first, I just wanted to photograph all the people living in Skid Row. I thought about what the photos would look like to someone seeing them a hundred years after I took them. Soon I realized my photos alone were not enough to tell their stories.

Next, I began writing about our conversations and what I learned from them. That really changed everything for me. It combined writing, photography, adventure, and helping people all in one. I’ve continued to grow in the documentary direction ever since, but I approach my photos like fine art. I want to show the beauty of people and places. I’m most interested in showing the beauty of overlooked places or misunderstood people.

What was your first experience taking images at Skid Row like?

I was scared to go into Skid Row early on. I continually had to push myself past my comfort zone and go a little further each time. The first experience I can remember is talking with a man who went by the name Old Red. We hung out at his tent for a few hours while he fried chicken and talked. His intelligence was on another level. I remember thinking to myself, “Why am I surprised this man’s intellect is far beyond my own?”

I came to the realization that I was not as open-minded as I thought I was. I made the assumption that Old Red, like many others living outside, was not as intelligent because of where they were at in life. I know now that there are countless reasons why anyone can end up living on the streets, but that was a profound moment for me. I knew then that I had a lot to learn. I needed to be aware of my own misconceptions and shortcomings if I was gonna help change them for others. We all have room to grow.

Why do you think you are able to put people at ease in order to get the photograph that you’re after?

I get asked this a lot, and the only thing I can surmise is I’m genuine. I really care about the people I meet. I truly am interested in getting to know them. The connections I make are real. I don’t always take my camera along. I champion the underdog because I grew up as one. I greatly appreciate the time they take to speak with me and the many who have opened up about themselves to share with me. I really love them all.

What’s the biggest misconception you feel that the public has about people living on Skid Row?

Where do I begin? The truth is no matter where you’re at in life, we all want the same things—to be loved and appreciated and to be treated with dignity and respect. People living on the street are highly aware that people look down upon them like they are subhuman. This prevents a lot of them from ever trying to escape their surroundings because there is comfort in surrounding yourself with others who understand where you’re at without judgment.

The biggest misconceptions are that people living on the street want to be there or that they are there because they’re lazy or drug addicts. Each of them is a product of different environments, and no easy road ever leads to Skid Row. Don’t assume anything. Go say hello and find out.

What’s your most memorable encounter and why?

I’m not really a nostalgic person, and I don’t do too much looking back. Nothing stands out specifically. I look at my time there as a whole. Skid Row has deeply changed me as a person for the better. As many people as I’ve helped in Skid Row, they have also helped me. It was years before I realized Skid Row was my own kind of therapy. All the wonderful people there made me fall in love with humanity again.

What do you hope that the public takes away from these images?

Love and compassion for others even when it’s difficult and doesn’t always make sense. We don’t always have to understand everyone around us—but that doesn’t mean we shouldn’t be kind.

Suitcase Joe: Instagram

My Modern Met granted permission to feature photos by Suitcase Joe.

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A flamboyant photojournalist with the moxie to stand up to autocrats, she captured the intimate moments of leading figures of the 20th century.

Paul McCartney used his Pentax camera the same way he used his guitar: with total freedom. And in early 1964, the 21-year-old took his new camera on perhaps the most momentous musical journey of the 20th century: The Beatles’ invasion of America.

Hundreds of photographs from that trip were recently rediscovered in McCartney’s archive: “It was really nice,” he said, “because I thought they were lost.”

The images, collected in the new book, “1964: Eyes of the Storm,” will be on view later this month at the National Portrait Gallery in London. 

He offered a tour of the exhibit to correspondent Anthony Mason.  

McCartney explained his process: “Taking photographs, I’d be just looking for a shot. And so, I’d aim the camera and just sort of see where I liked it, you know, oh, that’s it.  And invariably, you pretty much take one picture.

“We were moving fast. So, you just learned to take pictures quickly.”

One picture was taken as the group arrived at the Deauville Hotel in Miami. Mason said, “I think your quote in the book was, ‘I can almost hear her scream.'”

“Yeah, you can!” McCartney laughed. “The cop is going to restrain her, you know?”

“I also love the cop in the foreground who just sort of looks puzzled by everything,” said Mason.

“I like the architecture of that hotel,” said McCartney. “But, you know, as we were saying before, that had to be taken really quickly, just to snap that.”

“But, you have to have an eye to take that.”

“It’s my left one!”

The Beatles had started their trip in Paris. “And it was in Paris that we got the telegram, ‘Congratulations, boys, number one in the U.S. charts.'”

“And you’d said you won’t go to America unless you have a number one?”

“I know. And that was pretty spunky to kind of think that. But I’d seen quite a few of our major stars go to the States, and we’re going, ‘Wow, he’s going to leave us now. He’ll be made famous over there.’ But then they’d come back and they weren’t famous. So I said, ‘Well, if we go over there, you know, I really don’t want to come back with our tail between our legs.'”

In America they played “The Ed Sullivan Show.” Seventy-three million people would tune in. It was, McCartney writes, “the moment all hell breaks loose.”

Mason said, “To look at those pictures, it’s kind of you looking at the world, looking at you. You seemed very comfortable with it.”

“Yeah. I mean, you know, you got to think about it: We’re kids from Liverpool. And we’re trying to get famous, and it’s not easy. And we were like stars in America, and people loved us. So, we loved it. And having that number one was really the secret – because, if the journalists, you know, New York journalists, ‘Hey, Beatle! Hey, Beatle! Why you are here?’ whatever. We say, ‘We’re number one in your country!’ Bingo!”

McCartney captured the commotion on the streets around New York’s Plaza Hotel, and the crowd that chased them when they snuck out the side door.

Mason said, “There was one reporter who said you were like prisoners with room service?”

“Yeah,” McCartney laughed. “That was kind of true. But we liked room service. You know, we’d never had it before!”

From New York, The Beatles travelled by train to Washington, D.C. McCartney’s camera took the ride, too.

So many of McCartney’s pictures were taken on the move, including shots from his car of a policeman in Miami who’d pulled up next to him: “And that was basically what I saw. And we’d never seen policemen with guns. We just didn’t have that in England.”

But in Miami, McCartney broke out the color film. “For us, it was like going on holiday,” he said.

The Fab Four even had a few days off.

Mason said, “There are some great shots of you with, like, it looked like terry-cloth jackets.”

“Yeah, the hotel supplied them,” McCartney said. “You normally, like, get a robe, but this place, because it was Miami, had these little cool, little short things – and hats! We lived in them for days. Even Brian [Epstein], our manager. We thought they were really cool items of clothing.”

He caught George relaxing with an anonymous admirer: “In that picture, yeah, I don’t think I was trying to protect her identity,” McCartney said. “I love her bathing costume. So great. And, you know, there is George, like I keep saying, living the life. He’s got a drink which is probably a scotch and Coke. He’s got a tan, the girl in the yellow bikini. For lads from Liverpool, that was exceptionally wonderful!”

The band went back home to England in late February. By early April, The Beatles had the top five songs on the U.S. charts. McCartney writes, “We spent the months and years after holding on for dear life.”

Mason asked, “Did you remember all these when you saw them?”

“Kind of,” McCartney replied. “It was a very memorable period, you know?”

“But there was so much going on, I’m amazed you could process it and keep it all.”

“Yeah, so am I!”

McCartney’s not only looking back at photos of his past; he announced last week to the BBC that this fall he’ll be releasing what he says is “the last Beatles record” – a John Lennon demo tape that McCartney is re-mixing using the latest artificial intelligence technology. The music, like Paul McCartney’s pictures, all part of The Beatles’ enduring legacy.

McCartney said, “For me, it is like a little slice of American history. And it’s my history, is that it’s Beatles history. So, it was great to rediscover these pictures.”

       
For more info:

       
Story produced by Ed Forgotson. Editor: Joseph Frandino. 

Anthony Mason

Anthony Mason is senior culture and senior national correspondent for CBS News. He has been a frequent contributor to “CBS Sunday Morning,” and is the former co-host for “CBS This Morning: Saturday” and “CBS This Morning.”

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When you become a professional photographers, you can take one of two general paths: a specialist with a focused approach to a single genre and/or style, or a jack of all trades who can competently tackle a wide variety of jobs, if not quite at the level of a specialist in each area. So, which is right for you? This helpful video essay features an experienced commercial photographer discussing the pros and cons of both approaches to help you decide.

Coming to you from Scott Choucino with Tin House Studio, this great video essay discusses the pros and cons of being a specialist or generalist as a professional photographer. Of course, the appeal of being a generalist is that you will at least be considered for many more jobs, and if you are someone who gets bored easily, you get the benefit of switching up your work quite a bit. On the other hand, a specialist, by virtue of their approach, is more likely to distinguish themselves from their peers simply because their singular focus allows them to really hone and push their craft to a very high level. Furthermore, some creatives enjoy that pursuit of narrow perfection more than being very good at a lot of things. Check out the video above for the full rundown from Choucino. 

London, England

The secretary for levelling up, housing and communities, Michael Gove, speaks to the media outside Broadcasting House after appearing on BBC One’s Sunday with Laura Kuenssberg programme

Photograph: Lucy North/PA

New York-based street photographer Billy Dinh has amassed a large and loyal Instagram following thanks to his talents. His dramatic, moody images heavily rely on light and shadow, which coupled with his ability to capture unique moments, make them look pulled from a film. Through Dinh’s lens, we’re able to watch the world unfold and peek into the small moments of life.

Whether it’s a woman wiping tears from her eyes as her train is about to pull away, or a man staring out the window on an empty ferry, Dinh takes average moments and elevates them to high art. With formal training as an illustrator, Dinh clearly has developed an eye for putting together captivating stories that pull the viewer in.

We were lucky enough to chat with Dinh about his street photography and learn more about how his passion for photography developed. We also learn more about what he looks for when he’s out on the street, as well as his biggest concern with AI imaging. Read on for My Modern Met’s exclusive interview.

How did your love of photography begin?

Photography has always been in my life since as early as I can remember. From the days of my family’s analog camera to picking up disposable cameras for class field trips, to owning my own point-and-shoot digital cameras, to where we are now with mobile phone cameras, photography has always been a way for me to preserve my memories and experiences.

It wasn’t until I started traveling abroad within the last 10 years that photography started to become something more than that. At first, the photos were more personal and were captured on my mobile phone. However, as I visited more places, I slowly found myself wanting to take photos more creatively and outgrew the mobile phone. I’ve been obsessed with photography ever since I decided to take it seriously.

What specifically attracted you to street photography as a genre?

I started my early photography career capturing landscapes and cityscapes. But something always felt unfulfilling to me about that experience, and coming from an illustration background, I had always been interested in illustrating people. It wasn’t until my visits to countries like Guatemala, Jordan, Egypt, and Mexico that I started to naturally gravitate toward taking photos of people instead of places.

Initially, it was because of the appreciation of diversity. How different, interesting, and beautiful people looked in their own way from all around the world. But soon, I became more interested in how people lived and not just what they looked like. How they interacted with each other and their surroundings. I become more interested in their stories and their lives and the little everyday moments that make them who they are, no matter where they are or where they’re from.

How does your photography change the way you live and move through the city?

It’s for sure changed so much in the way I live. I find that I can’t go anywhere these days without having a camera around my neck or in my hands. It’s changed the way I see the world and has constantly allowed me to see my own home in NYC with fresh eyes. I find I would explore parts of places I never cared about before or even knew existed. I’ve gained a whole new appreciation for constantly observing and being present wherever I am. In some ways, it has slowed me down a bit and has allowed me to take my time in a city that’s so constantly fast-paced. I now take so much notice of details in things that would have never in a million years interest me before. I can say photography has given me a whole new appreciation of life.

When you are out shooting, what are you looking for when you decide what warrants a click of the shutter?

It’s a combination of things. I think if I can sum it up into four categories, it would be the following. First, the visual element. I look for interesting people, colors, textures, layers, lighting, shapes, and interesting ways people and/or objects are positioned in a scene. Things that are appealing to the eye.

The second category I look for is what’s happening with the subjects. I look for interesting and unique interactions between people and objects in their surroundings. I enjoy having a story element and hidden messages in my photos. I enjoy photographs that make you think and wonder.

The third is the overall feeling of what I see. Sometimes you can see a scene unfold before your eyes and have it strike a chord emotionally or make you feel nostalgic. There’s something personal when a photo can remind you of something from the past, whether it feels good or bad.

The last category I enjoy capturing is something that looks and feels from another place, time, or world. I love movies in the way they often take real-life scenes and make them feel like they’re not. I particularly gravitate to this when I am out shooting. While what I end up capturing will include one or more of these categories, it’s coming across all four at once that warrants a satisfying click of the shutter to me.

You’ve had a lot of success on social media. What have been the positives and negatives of that success?

I think the positive side of my social media presence is being able to have my photographs reach people it wouldn’t normally be able to. It’s also allowed me to meet some amazing people and provided me with some great opportunities. It’s a privilege to be able to have my work seen by people that could potentially inspire them to pick up a camera. It’s one of the greatest feelings.

On the other hand, though, there’s a lot of pressure with social media. Especially if you are a full-time artist and rely on social media as a way to promote your work and brand. It’s all tied to the numbers, and that, in turn, can affect the honesty in what you create. While I’ve been much better with this, it’s definitely a problem I see today.

AI is such a hot topic now. As a photographer, do you have concerns about AI—particularly if it continues to improve and blur the lines with photography?

It’s an interesting question. I’ve been pretty active following the growth of AI art since it became more mainstream recently, and as of right now, I have mixed feelings about it. A part of me sees the benefits in how it can help take existing digital art mediums to the next level and even excel as an art form on its own. I’ve seen some phenomenal “post-photograph” AI work that, while looking as realistic as photographs, depict things that just couldn’t happen in real life but look extremely real. I think this is where AI is excelling in my opinion.

The main concern I have with AI is not so much that it will blur the line with photography. I think it is inevitable that AI will look so real that you can’t tell, and it will happen very soon. However, a photograph documenting the world will always be a snapshot of something that exactly exists timestamped in history. AI can never achieve that.

My biggest concern with the whole thing is trying to pass off AI as actual photographs without mentioning it. This is where my concern is. At the moment, the average person probably couldn’t tell the difference between most AI work being passed as photos. I’ve been getting asked more and more frequently over the last few months if my photos are AI. They are not. If something doesn’t change, we may not be able to know what a real photograph is versus what’s AI in the near future, and that’s when we lose what actually existed and what is made up.

What’s next for you?

I have a few personal photography projects I am working on that I hope to share with the world one day, and a few I am in the process of starting soon. I’m not ready to share them at the moment, unfortunately, but anyone who’s been following along with my journey may have some ideas as to what they may be. I am also in the early stages of putting together ideas for my first book. I want to actually release something I’d be proud of, so I’m taking my time with it. I am also excited to just continue to grow as a photographer and share with everyone the world through my eyes.

Billy Dinh: Website | Instagram | Twitter

My Modern Met granted permission to feature photos by Billy Dinh.

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