Exposure Latitudes » Mindfulness

Cool Blog: Becoming Awake

Nacho — Tue, 30 Dec 2008 07:14:07 +0000

Thought I'd share, and archive, this wonderful blog find: Becoming Awake. This is the effort of Rita Desnoyers-Garcia, and in her own words it centers on:

Reflections of a mother's everyday life and how to use these observations to become more conscious of Self and the connection to the Universe. Awakening to the truer, Higher Self.

The entries are wonderfully insightful, and Rita has some nice prompts at the end that foster insight, reflection, and imbue hope. I'm always glad to find folks like Rita because they are nourishers of common humanity, waterers of the seeds we want to harvest. Rita seems to be watering seeds of love, kindness, caring, mindfulness, and deep reflection. I don't offer her site as resource — it certainly is that, but it is much more, and to offer it only in those terms takes away from what it truly is, an expression of an ethics of care. So let me offer it to you as a fellow traveler in mindfulness, in seeking and fostering a life in harmony, nourishing wellbeing and peace.

Those of us interested in mindfulness and photography benefit greatly from writings and efforts that call us to deep reflection, to stop and look deeply. Rita's blog is such a bell of mindfulness.

I've been referring to her as Rita even though the presumption of familiarity is awkward on my lips. I just don't know what she would prefer. Check it out. Have to share it also in my other blog.

Where Does the Mindfulness Reside?

Nacho — Wed, 26 Nov 2008 17:17:00 +0000

A question I’ve encountered recently: what is mindful photography… about? The short answer is that mindful photography can be about anything. The better answer however is that the subject of photography is not what is mindful or not. Hence, just because I take a photograph of a Buddhist monk does not mean that I am a mindful person, that the shot was taken mindfully, nor that mindfulness resides somewhere in the image. We should probably move to defining mindfulness, but I will skip that for now.

Well then, where does mindfulness reside? For me, and given my own background practicing mindfulness, it resides not in me as container (nor in other objects as repositories of mindfulness, all bottled up for use here and there), but in my disposition to enact an ethos of mindfulness. That means that mindfulness is not a thing. It is instead, a practice, an attitude, a disposition and inclination, a sensibility, it is a way in which we relate to all that is. Whether taken in a spiritual way, from a Buddhist perspective, from a scientific and medical perspective of stress-relief, or even from an artistic understanding of presencing, mindfulness is not about the subject, it is revealing of the relationship of being fully present.

But, can a picture be mindful? My concern here is that folks will think that we can create another genre or category of images, those under the rubric “mindful” and somehow expect them to not just look a particular way, but evoke a particular response or set of responses. The key is that as photographers we can practice being mindful observers of the world, as well as engage in our techne with as much mindfulness as possible. Such a disposition can enhance our witnessing of the moment, our photographic imagination, our seeing deeply, and infuse our work with such a character (ethos). The outcome might be that our images are more than mere representation, and become revealing of the world we inhabited at that moment. Notice that I did not say “the world as it was at that moment,” nor “the world as it is.” What might be revealed in such photography is the way we mindfully experienced that moment. That mindfulness opened our eyes to elements of the situation that we perhaps treated, composed, and/or addressed differently as a result of our being fully present. That makes a difference in our images, and in how a viewer in turn sees what we present. Of course, our own mindful persona might influence the subjects we select, our imagination, our artistic vision. And let us not forget that the viewer brings much to that experience.

Ah, but another question comes up: does our photography have to reveal such mindful disposition? No. Viewers might know nothing about mindfulness and still get a feel for the photographer’s deep witnessing and/or presence of that moment. What’s more, the image does not have to be iconically about what gets depicted as “mindful subjects.” A good photograph of a Buddha statue does not necessarily entail any mindfulness on the part of the photographer. I italicize the word necessarily because beyond technical skill, great photography, in its artistry, does require having the kind of sensitivity and sensibility that reveals a mindful disposition (at least for that moment).

Do you have to be a great photographer to be mindful and/or produce mindful work? Of course not. A mindful disposition will most likely increase your enjoyment of photography, make you slow down and pay attention, look deeply, and enhance your photographic imagination. Slowing down and paying deep attention are foundational steps for enhancing your technical skills. Photography will become more than “point and shoot” and its technical aspects will be more than just an exercise in the mastery of imaging technology.

There are, no doubt, many ways in which people take mindfulness and practice it. For me, given my Zen inclinations and practice, a mindful disposition is not just about being a good artist, nor about a particular subject, or “look” of images, but about developing an ever increasing understanding of interbeing (interconnection with everything). I also want to offer that understanding, that feeling (if that’s what comes through) to those who view my images.

What is it for you?

Presence & Getting Better at Photography

Nacho — Sun, 21 Sep 2008 13:49:10 +0000

At some point photographers come against a few questions regarding skill, craft, vision, and art. One question that emerges, and a relatively easy one to answer is: what does it take for me to do this not just well but with excellence? It is natural that an initial concern is with how we can become good at this activity. We recognize that there is a great deal of technical matter to master, and if we are motivated, we set about learning as much as we can about such aspects of photography. Invariably however, we come to the realization that in order to “do this” with excellence we need to see photography as much more than just pushing a button, changing a lens, using a tripod, “reading the light,” and so forth.

When we get enough technical expertise under our belt, we say, how do I move to the next step? What can I do to make my images be stunning? That is a whole different concern than the ubiquitous query in online forums regarding how to make an image “pop.” What we ask at this later stage is truly how do we become more than just good technicians. A friend of mine would say that at such a point, a person is asking “how do I further my artistic development, how do I nurture artistic vision and imagination?”

I agree. But I also think folks that really delve into photography have another question often not articulated, and perhaps it is the same question about vision but phrased differently:

how do I not just take images that represent what was there, and instead capture the moment and vision that I experienced? Aha! Asking that question really opens us up to a whole new world of photography, of the creative process. It doesn’t matter if what you photograph are landscapes, wildlife, portraits, photojournalism, etc. That moment brings us back to the original question about excellence, now infused with greater depth. How do we do this photography thing not just well but with excellence is a constant practice. It requires that we be present, that we not just see photography as a hobby, or as something we do from time to time, but as a practice that allows us to connect deeply with what we encounter in our lives. Technical and artistic expertise can help us convey this, but it also requires being mindful.

My answer to the question is that capturing what we experienced, the moment, requires mindful integration of technical expertise, artistic vision, photographic imagination, and presence or a feeling of connectedness with what surrounds us. In my experience feeling separate from the moment does not help me make the best images. We can practice being “excellent” in many ways. Sometimes that is taking snapshots at the birthday party of your niece, at other times it means being present with that gorgeous sunset, and at others still it means treating your customers with kindness, compassion, and a heart full of passion for what you do and the joy you can bring others. The key for me is that in being truly present we inhabit the moment with vastly more at our disposal than just the technical aspects of what we are about to do.

Overcoming Some Obstacles Mindfully

Nacho — Sun, 21 Sep 2008 13:49:45 +0000

A while back I wrote a post for another blog, and for folks on campus, regarding some obstacles that we experience in mindfulness practice (I lead a mindfulness group on campus). As I noted at that time, when I was writing “it quickly became apparent that these are nothing but my own challenges to practice.” It turns out that writing the list itself became an exercise in being mindful about my own practice. A mindfulness practice of course ought to encompass everything we do, and I try to make sure it permeates my photography. So, I thought, why not connect these “obstacles” to photography? I should say that mindfulness and photography are reciprocal activities for me. Photography enhances my mindfulness, and a mindfulness practice sure makes my photography practice better.

Since there were quite a few items I’ll post a few at a time here.

Facing our Assumptions & Inflexible Thinking:

Either/Or Thinking: This kind of polarization is particularly unhelpful as I often come across folks who repeat things like, “a good practice HAS to be like this,” or who make claims about “the way an image should look” or what being “professional” or a “real photographer,” or “an artist” is or is not. In any case, a practice marked by either/or thinking would seem to be pretty limiting for exploring photography, our artistic selves, beauty, etc. We should try to be explicitly self-conscious about our own assumptions.
Fear of Truth: This refers to the fear of facing the insight that emerges from deep looking and mindfulness. Often this fear becomes so intense that the insight from practice is distorted in order to make it fit with one’s own cherished assumptions. Discomfort with what we face about ourselves is unavoidable. We must welcome bracing insight about our own assumptions, beliefs, and claims.
Seeing Only What We Expect or Have Learned to See: The tyranny of assumptions and expectations that are unacknowledged, or that we have been conditioned to expect, is enormous. A healthy mindfulness practice, whether in photography or any other activity, looks deeply to see how we fetishize attachments to brands, equipment, to this or that master, or particular approaches.

The theme here is that photography is a creative enterprise, too many assumptions, too much boxing ourselves in, limits our ability to be present and experience the moment fully.

Miksang Photography

Nacho — Fri, 06 Jun 2008 02:16:00 +0000

Not familiar with Miksang Photography? Check out the Miksang Society for Contemplative Photography. Miksang is a tibetan word meaning “good eye,” or as I’ve heard others define it, “good seeing.” As such, it is a mindful approach to photography — one connected to the teachings of Chögyam Trungpa, founder of Naropa University, and the Shambhala disposition. Trungpa remains a controversial figure, not because of his teachings per se, but because his own life was pretty conflicted. Still, Miksang Photography is an approach to photography that is contemplative and focuses on spontaneity, on the flash of recognition of the moment when mind and visual perception come together.

I am not a practitioner of Miksang in a formal sense. In other words, I am neither a follower of Tibetan Buddhism, nor have I been trained in Shambhala method. Moreover, I am far more eclectic in my approach to photography and mindfulness (I call myself a Zen Humanist, see my post on that, and friendly to the secular Shambhala thought). But, to the extent that we practice being present, feeling interconnected with what is, in the present moment, and seeing photography as an extension and expression of the flow of being of that moment, then we are could be said to be practicing Miksang.

Miksang is essentially about learning to look deeply. You don’t need to be Buddhist, of any stripe, in order to practice Miksang. Their approach to perception, looking deeply and learning to recognize what is, what is present, and what we might open to when the layers of sedimentation and perceptual clutter and baggage are lifted, is helpful.

Want to deepen your thinking about space, flow of being, perception, etc? Read a bit of Henri Bergson!

What Gear for Contemplative Photography?

Nacho — Mon, 02 Jun 2008 00:57:00 +0000

Some folks really worry about equipment. I know, because I used to, and to a certain extent, equipment concerns still matter to my work. But, the fact remains that for a mindful approach to life it doesn’t matter what equipment you use. I’ve seen folks take amazingly evocative images that truly connect deeply with the moment… using their cellular phone cameras. You see, being present, being contemplative if you will, can be aided by equipment, but it is ultimately not a function of gear, just like good meditation is ultimately not a result of what Zafu you use.

To be sure, when folks start a sitting practice, posture and comfort matter in helping them stay and realize the importance of awareness of the body. Later in life, or as a result of disability or other conditions, good support is essential (my bones ache so often now, and my knee and back have been giving me trouble so I do vary my sitting now). But, in general those who find a mindfulness practice rewarding quickly realize that sitting (or other contemplative practice) does not have to be “comfortable.” It is just not defined by such concerns. If you are interested in photography as a practice of mindfulness, or in the photographic process as a way to contemplate deeply (defined in your way), whether you use a Canon, Nikon, Leica rangefinder, film, 4×5 format, Hassie, etc. is immaterial. What truly matters is your presence. A tripod helps. How? It can help you take your time, slow down, and look deeply. On the other hand, I’ve seen people put up, take a shot, and take down a tripod so quickly that I am surprised they even saw that at which they aimed their lenses.

So, don’t worry about equipment. Worried that you don’t have a medium format camera, and thus are not focusing manually, and making sure the process is taking you forever… ? The person next to you looks up from their 4×5 camera with a beatific smile after composing for what seems like an hour? Smile. Don’t let those worries be a hindrance to your being in the present moment. Start with presence, the rest becomes part of what is.