The MOOD Podcast
In The MOOD Podcast, Matt Jacob, renowned cultural portrait photographer, dives deep into the world of photography and the visual arts, with guests from all around the creative industry, across all parts of the globe, sharing inspiring stories and experiences that will leave you wanting more. With years of experience and a passion for storytelling, Matt has become a master of capturing lesser-told human stories through his photography, and teams up with other special artists from around the world to showcase insights, experiences and opinions within the diverse and sometimes controversial photography world.
You can watch these podcasts on his Youtube channel: https://www.youtube.com/@mattyj_ay.
You can also follow Matt's work on his Instagram @mattyj_ay and his website: https://mattjacobphotography.com.
The MOOD Podcast
Why Creativity Beats Gear: the Art of Intent in Photography, Moments Of Mood, 1.8
In this new episode of Moments of Mood, we're taking a break from guest interviews to dive into another rant, by me. Yep, this time it's the incessant topic of the narrow focus we have around photography equipment...
Creativity beats gear, hands down, all the time. No exceptions. Born from a plethora of comments, messages and questions over years posting images, the most common questions I have received is "what camera/lens did you use" or "what settings did you use for this photo"?. I want to put forward why I'm a bit bored of this being the most popular question and why it is perceived so important for beginners in photography. I was that person, so I'm not judging any individual, more the system and societal constructs we (and the big manufacturers) have created around the sector. It detracts from so much potential beauty and creativity.
Driven by the belief that gear is the key to mastering photography, many photographers today forget that the real magic does not come from expensive equipment, but from the artist's vision, creativity and ability to capture stories. My rant also draws on insights from iconic photographers like Henri Cartier-Bresson or Annie Leibovitz, which are great examples of how understanding light, composition and 'moment' will always beat the technical features of a new camera.
Am I wrong to be fed up with this topic now?
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Why do we focus so much on the tools rather than the art? Why do we let gear define our craft? Let's try and understand why this approach might be missing the mark and explore how shifting our focus can lead to a deeper, more fulfilling practice of photography. Hello, fellow photographers and aspiring artists, welcome to another episode of Moments of Mood, where we take a break from our feature episodes with guests and journey into little opinions and observations from myself that I encounter along this wonderful journey of photography. A little housekeeping first, though. I'm in the midst of editing my first online course. Yes, another ubiquitous photographer with another generic, uneducated or banal course. Well, maybe it's really an expose of my personal journey in education form, a personal essay to how I think people should take photos to get the best out of themselves, their equipment and their collaborators. So, alongside launching my coaching and mentorship program, this will provide insights as to how I like to think about creating photographs, long past any of the technical jargon or equipment veneer that shadow the industry today, especially with beginners. This course is directed purely at how to take professional level photographs with equipment worth less than 500 bucks. So if you want to sign up for early bird insights and discounts. Head to my website and click on the learn section, where you will find the page to join the waitlist On the podcast.
Speaker 1:I'm still experimenting with different styles of production, hosting and guest casting and genres. So many topics interest me in life, not just photography but I always want to stay true to you, my audience, and keep producing episodes that resonate with subjects and guests that you are most interested in as much as me, but for that I would really love your feedback. You can send me a message on the episode description if you're listening to this on the normal audio podcast platforms, or you can comment on my YouTube video or, of course, send messages through my website or social media platforms. I'm always responsive to all messages. Lastly and I haven't done this before, but I'm asking you to follow the show and review it if you haven't done so already. Yes, it's a gratuitous request and I don't feel comfortable asking for things like this, but I don't have sponsors. I'm considering it because I don't want to devalue the viewer or audience experience if I can help it. But this podcast and channel does need support and, short of taking it behind a paywall, it would greatly help if you were to follow this show in order to allow me to continue to provide this podcast for free to you every week without fail. Anyway, thanks for listening, and today I want to discuss a topic that I believe is fundamentally misunderstood in our community and industry the overwhelming emphasis on equipment.
Speaker 1:When I was just starting out in photography, I was an equipment kind of guy, not because I needed to be, but because I just liked gadgets Still do. As a pilot, I enjoyed pushing buttons, playing with toys and managing software, but this also led me into the naive belief that good photos were inextricably linked with having good equipment. I vividly remember walking into a camera store my eyes wide open with excitement, convinced that the latest camera body, a Sony a7R III at the time, the fanciest lens and every gadget on the shelf would, if not transform me, give me the best chance of becoming a master photographer. So I had the privilege of being able to throw money at the problem acquiring the most advanced gear I could afford. My reasoning was simple If I had the best kit, it would give me the best chance to capture those perfect, printable photos, and to some extent it worked. My photos did improve, technically speaking. They were sharper, the colors were more vibrant and the dynamic range was deeper, but something was missing. My images lacked soul. They were technically proficient but artistically hollow, lacked soul. They were technically proficient but artistically hollow. I found myself more focused on the settings and specifications than on the stories I wanted to tell or the emotions I wanted to convey. It was a humbling experience and one that reshaped my entire philosophy on photography.
Speaker 1:The obsession today with equipment is not only misguided but also detrimental to the true essence of photography. Let me explain. It's easy to get caught up in the frenzy of new gear releases, review channels and the constant barrage of advertisements telling us that the next piece of equipment is the secret to our success. We live in a consumerist society made even worse by accessibility, digitization and homogenization. Everything is everywhere and everything is at our fingertips. If we want to see the latest thing, it's either thrust down our throats or we go look for it and find it. We shall, then it's just a story. We tell ourselves as to why we need it.
Speaker 1:Look at the underwhelming release of the new Canon R5. I mean so much marketing fluff, but essentially it's not much different than the first version, especially given the time gap of four or five years. But we all get convinced it's a must-have. Why? Because what else would reviewers and marketers do? Not least, many of them are paid to give and often either agree to review favorably or feel that they should. Something like this is synonymous with the new iPhone releases A load of hype, not much substance, but this is getting off track, I feel. And for another conversation, for another day.
Speaker 1:Some disadvantages of a free market that is another day. Some disadvantages of a free market that is the real irony, though, is that in photography, none of this should even matter. Here's the truth, a matter of fact that I learned the hard way many years ago. There are two main things that make you a better photographer. One do not rely on equipment and two practice. No amount of equipment can give you a quick fix or a fast track to great photos. Even if it helps you skip a few steps in terms of technical specifications, it does not translate into longevity, true understanding of the craft or the ability to tell compelling stories.
Speaker 1:Consider the work of Henri Cartier-Bresson. We all know him. He's often considered the father of photojournalism. He famously used a simple Leica rangefinder with a 50mm or 35mm lens for most of his career. For Cartier-Bresson, the magic was not in the equipment, but in the decisive moment, that fleeting instant when the visual and emotional elements of a scene coalesce perfectly. His technique was deeply rooted in the philosophy of capturing the spontaneous, and he believed that the camera should become an extension of the eye, allowing the photographer to capture the world without any intrusion of technical concerns. His approach emphasized patience and the art of waiting for the perfect moment, and his meticulous attention to composition and timing is evident in his iconic images, such as behind the Gar, st Lazare, where he captured the precise moment a man leapt over a puddle, the reflection creating a perfect symmetry. Equipment was important in this. He was using a new Leica that had just been released that allowed such fast shutter speeds and mobility with the body, but the equipment wasn't at the forefront of his intent. With such images, it was his vision, his idea, his composition and getting that moment just perfectly.
Speaker 1:Similarly, a photographer like Annie Leibovitz's iconic portraits are renowned not because of the gear she uses, because of her deep connection with her subjects and her unique ability to capture emotions and breaking down of the gear she uses. Because of her deep connection with her subjects and her unique ability to capture emotions and breaking down of the veils that always guard our human essences. Leibovitz's work with celebrities and cultural figures has become legendary, not because of any latest camera technology, but because of her storytelling ability and artistic vision. She focuses on the narrative, the context and the emotional resonance of her images. She often spends considerable time with her subjects, understanding their personalities and stories before even picking up a camera. This investment in time and understanding allows her to create portraits that are not only visually striking but also deeply personal and evocative. Her lighting techniques, often utilising natural light to enhance the mood subtle yet effective. For instance, in her famous portrait of John Lennon and Yoko Ono, taken just hours before Lennon's assassination, the intimacy and vulnerability captured Speaks volumes, showcasing her ability to connect deeply with her subjects and convey powerful narratives through her lens.
Speaker 1:Joey L, a contemporary photographer whose stunning portraits of indigenous tribes and diverse cultures have garnered international acclaim, and he often works with quite simple equipment. He prefers to travel light and build relationships with his subjects. Over time, and his emphasis on understanding and respecting the cultures he photographs, combined with his keen sense of lighting and composition, result in powerful, evocative images that resonate deeply with viewers, me being one of them. Yes, he shoots medium format digital, but anyone who knows about these bodies will understand how technically aged they are, how slow and basic they are in their performance and features respectively. Joey's approach underscores the idea that great photography is about connection and vision, not just technology. His use of light, whether natural or artificial, is masterful, creating a sense of depth and intimacy in his portraits by focusing on the story and the subject rather than the equipment. Joey demonstrates that the heart of photography lies in the human connection and the narrative conveyed through the images. His series on the tribes of the Omo Valley in Ethiopia, for example, is a testament to his dedication to authenticity and his ability to capture the raw beauty and cultural richness of his subjects.
Speaker 1:Many of the greats also approach each shot with intention Think about what you want to capture and why. This mindful approach will lead to definitely more meaningful and impactful images. So consider the work of someone like Sebastien Salgado, who's known for his profound, thoughtful approach to photography. His images are the result of extensive planning, deep contemplation and a clear vision. Before taking a shot, he spends a significant amount of time understanding his subject and the context. He doesn't just snap pictures, he crafts them. Each photograph is a product of his introspection about what he wants to communicate and how best to achieve that, and his ability to convey the essence of his subjects comes from his dedication to understanding them deeply and his deliberate contemplative process. Salgado's work reminds us that photography is not just about capturing a moment, but about telling a story with intent and emotion. His intentful approach to composition, lighting and timing, combined with his profound connection to his subjects, results in images that are not only visually stunning but also deeply resonant. His projects, such as Genesis, reflect his commitment to showcasing the beauty and fragility of our planet, urging viewers to appreciate and protect the natural world.
Speaker 1:Now, what was his intent with equipment, other than how to use it and understand how to get his vision out of it? Too many questions I see or I get in the photography community revolve around the technicalities, such as what settings did you use to get this shot, or what camera did you use or what lens do you have? These questions are fueled by a plethora of aforementioned review channels and often sponsored by brands, which instill the belief that you need specific equipment to achieve certain results. This mindset can be incredibly limiting and discouraging. When we focus solely on the equipment, we neglect the critical aspects of photography Composition, light, emotion and narrative. The technical specifications of a camera, such as megapixels and dynamic range, are just tools to aid in the creative process. They are not substitutes for vision, creativity and ability to see the extraordinary in the ordinary. It shifts the focus from creativity and vision to mere technicalities. It perpetuates the myth that the gear makes the photographer rather than the other way around. The truth is, there is no piece of equipment that will make you a great photographer overnight.
Speaker 1:Great photography is the result of skill, vision and experience. It's about understanding light, composition and timing. It's about developing a unique voice and style. Here are a few reminders Light is the essence of photography. Learning how to see and manipulate light will have a far greater impact on your work than any piece of equipment. Whether it's natural light or artificial light, understanding how it interacts with your subject and what you want to portray is key. For me, it all starts here and is the foundation to any great image. So experiment with different types of day, different weather conditions and various light sources to see how they affect your images.
Speaker 1:Many of the greats approach to light is or was intuitive, focusing on how it could enhance the mood and composition of their shots, the way you frame your shot and the composition you choose can transform a mundane scene into a compelling image. Study the rule of thirds, leading lines and other compositional techniques, but also learn when to break these rules. Study the rule of thirds, leading lines and other compositional techniques, but also learn when to break these rules. Look at the works of masters like Ansel Adams, whose meticulous compositions are a testament to his understanding of balance and harmony in an image. Adams often spent hours or even days in a single location, waiting for the perfect light and conditions to capture his iconic landscapes. His approach was about patience, observation and a deep understanding of the natural world. His use of large format cameras required him to compose his images carefully, considering every detail within the frame, which is evident in his works like Moonrise Hernandez, new Mexico, where every element contributes to the overall impact of the photograph.
Speaker 1:Photography is a medium for storytelling, interpretation, curiosity and context. What narrative or context do you want to tell? What emotions do you want to convey? These questions are far more important than which camera or lens you use. Think about the narrative of our images, the context and the message we want to communicate.
Speaker 1:Look at the work of photojournalists and documentary photographers, who capture powerful stories with minimal equipment. Their images often resonate more because of the story they tell and the emotions they evoke, rather than the technical perfection of the shot. There's no substitute for experience. The more you shoot, the better you'll understand your equipment and your own creative process. Don't be afraid to make mistakes. They are an essential part of learning. Use every opportunity to shoot, whether it's a formal assignment or a casual walk in the park, something I need to do more of. Over time, you'll develop a deeper understanding of your craft and a more intuitive approach to photography overall.
Speaker 1:So how do I think we should collectively shift focus away from the gear and back to the art? Well, we should start by embracing the limitations of your current gear, not shying away from them. Use them as a creative challenge and enjoy the simplicity and freedom it can bring. Some of the greatest photographers in history worked with far less advanced equipment than what we have today, which allowed them to see the world in front of them and let their perspective, imagination and creativity blossom, without getting bogged down or reliant on gear or technical specifications. It's about seeing the world through your unique lens, not the lens of your camera. Limitations can spur creativity and force you to think outside that box and, if you're starting out, invest your time in learning the fundamentals of photography both technical knowledge, such as the exposure triangle, and artistic fundamentals composition, lighting, storytelling or the moment Then apply them with practice. Having these building blocks as second nature allows you to truly see that you can stand on all of these blocks and get the most out of them, with any camera and any lens. These are truly the building blocks of great images, not the latest firmware or megapixels. Understanding these principles will do more for your photography than any new piece of equipment ever could.
Speaker 1:We must continue to study the work of photographers who mastered these elements and see how they applied them in their work, and one thing all these masters had in common was a distinct style. Style is important as it provides cohesiveness and familiarity with your own work, which again takes away from the distractions of continuously experimenting with different styles. And I think style is something that we can work on and evolve perennially. So we need to take the time to develop our own style and voice, not so others can recognize and respect you, but so you can feel comfortable with what you are trying to do and say, without fear of being wrong, hiding behind equipment or being distracted by trends and frivolities. This comes from practice, experimentation and a deep understanding of what you want to convey through your photos. One style is what will make work stand out, not the camera you use.
Speaker 1:Lastly, we need to remind ourselves of past and present greats like I've talked about before, and especially their way of impacting the industry and inspiring those within it and outside of it. We need to remind ourselves of the work of renowned photographers who really didn't rely on advanced equipment. Very, very few did. Studying their work, and especially photography books, can really provide valuable insights into the art of photography and inspire you to focus on the creative process. It's something I do, but definitely not nearly enough. Let's stop letting the tools define the artist. Let's focus on the craft, the vision and the stories we want to tell.
Speaker 1:Great photography comes from within. It's about seeing the world in a unique way and having the skill to capture it. The gear is just a tool, a means to an end. Remember the words of Elliot Irwin photography is an art of observation. It's about finding something interesting in an ordinary place. I found it has little to do with the things you see and everything to do with the way you see them. This sentiment captures the essence of what we should strive for as photographers to see the world with fresh eyes and capture the beauty in the mundane.
Speaker 1:And that has nothing to do with the latest version of the R5 or any other camera it's getting boring, it's getting distracting and it's stifling the exposure of great photography. Furthermore, we've bottlenecked with equipment. All the big manufacturers are offering essentially the same thing packaged in a different way, and there are becoming clear limitations as to what manufacturers can actually improve on these days. What's next? A camera that's analogous to a self-driving car, something that does everything for itself, with hyper-realistic images and virtually realistic outputs? So what's the point? There's a reason why the trend in film photography is growing, and rightly so. The skill, the art, the love of photography is getting stripped away with every new camera release.
Speaker 1:Don't fall into the trap. By shifting our focus away from the gear and towards our creative vision, we can create images that are not only technically proficient, but also deeply meaningful and impactful. The magic of photography doesn't lie in the latest gadgets or the most expensive equipment. It lies within you your vision, your creativity and your ability to see the world in a unique way. Embrace the tools you have, but never let them define you. Focus on the craft, hone your skills and tell your stories with passion and intent. So experiment, make mistakes, learn and grow, but don't hide behind the equipment. Stand alongside it and utilize it. They're just tools, they're not you. The magic is not in them, it's in you. Have I gone on enough about this? Thank you for listening and I look forward to seeing your incredible images that you will create. Until then, take care and happy shooting.
