The Catch - Johnny Puakea and Danny Ching OC Clinic (16 May 2008)

The Catch - Johnny Puakea and Danny Ching Paddling Clinic OC Clinic - at blip.tv (16 May 2008)
John: What I look for is a forward angle on the catch. 99% of people are going to reach and look exactly like this (Danny on ERG in perfect setup) before they take a stroke. But what they are going to do is come 8, 9 or 10 inches before they hit the water. And another 2 or 3 inches before they sink the blade.

So the idea is to set that blade we you reach it.

I hear all the time that "I hit the front iako" in the canoe. Well if you are hitting the front iako, but your putting in the paddle a foot back. So why not just put the paddle in there?

The idea is to reach the paddle to the point you are going to put in. If you can only put the full blade in at this point. Then start there. Don't reach out here and then come back 5, 6 or 7 inches before you set the blade. It's a wasted motion. If you can get in here at this angle, then eventually over time as you get more comfortable then you start moving a half inch further forward, and then move another half inch farther forward.

So forward angle on the catch is the first thing I look for.

I look for a triangle. The bottom of the blade is here is one point. Your top hand is the second point and the back of your hip is your third.

So if you body has this triangle motion and you set the blade there and then you start to use your larger efficient muscles (???).

I will let Danny do some talking as he is good at this.

Danny: As Johny said, the biggest thing is to get your blade to set in the water. It doesn't count if the tip just touches the water and it does not count if it is up in the air. The entire blade has to be set.

Johnny actually showed me a drill that is really hard to do but is surprisingly sounds really easy. You literally just set up, set you blade in the water at forward angle, don't pull and then take it out. Amazing how many people setup in the air start back to pull and it surprisingly simple. All you do is set up the blade and you just set blade in the water, take it out, set it again. This kind of gets you use to knowing where your catch is.

Some people have really long arms that are great for putting the paddle up here. Some people have little short arms. It's kind whatever you can reach comfortably because if you get this point (over extended). You can't pull from here, You can't be really efficient from here. You need to find that extension where you have a forward angle and you setting the whole blade in the under water (at a positive angle).

99% of paddlers get here, start there stroke and it is buried here and this is where the stroke starts (short).

You have a great picture of you and the paddle in the air and this great reach and everything is perfect. But you are not starting your stroke until here. (short)

Johnny: That's why every likes pictures of them paddling in the air, because it looks great. And you get a six man team and everyone looks awesome and then a lot of times with the video you go stroke by stroke.

If you can get someone to take a video of you and you think about that forward angle on the catch and where you are setting your catch. If you go frame by frame, you see each frame as go come back farther and farther until the blade gets in the water.

A lot of times, by the time you set that blade in, a lot of people have this angle (negative) on the shaft.

You have lost your whole load at the front. The reason you are paddling up front is that you are using leverage instead of muscle and that is how I kind of look at it.

[By example] If you are reaching out really far and setting it in, you are using lats, legs, stomach and core muscles. You know if you are in here and bending your arm, and this is where it feels heavy (during the pull). A lot people think I am doing a lot of work, I am really strong and this is working out. Well that's not it. The reason is that it feels heavy is that you no longer have leverage. Out here feels (extended) easy because you ahve leverage. It should feel like you are out in front and you have set the blade and you literally grab onto mud or concrete.

OK I always say, that if a door is closed shut and it is nailed closed. What you are going to do is put your foot one the wall and you ging to have your arm out and you are going to pull on it this way (at 4:25 sec mark - effectively shows leg drive also).

It's the same thing when you are paddling. You are never going to go up to that door and go half way up to it, and give it good yank, because there is no leverage.

Any questions? That is just the first part.

Danny: You will know when you get out and set the blade on forward angle, because it feels heavier and it is actually harder. Once you get going, that's going to help you out just to keep your speed. (???)

When you get out here. Once you set the blade, it feels a lot heavier, then if you are going to pull back and set here (short).

Johnny: That's where the one man technique comes in so handy in canoe paddling. A lot people just paddle 6 mans and not one mans (??). If you have your own boat, you can get out there and see where you are putting the paddle in. No timing to keep up with, nobody is racing you, you are not in the competiiton mode. You just sit there relax and go. OK:

• can I put that paddle in up front?


• Did I have a forward angle?


• Did I set the whole blade?

If you can get that blade set at a forward angle at the front, then half you battle is over.

Geoff Dyer on Trent Parke (2010) - American Suburb X - (Fri 17 Dec 2010)

Geoff Dyer on Trent Parke (2010) - American Suburb X - (Fri 17 Dec 2010)
I have a Google Alert for Trent Parke, an Australian Photographer who is a member of Magnum and in-public (who BTW have just celebrated their 10th birthday).

Trent Parke - Google Blog Search Result - My Google Reader - Fri 17 Dec 2010
Most days I will get one or two alerts come through on my Google Reader. Normally, they don't lead to anything interesting or something I don't already know about him. However, I received an alert that quickly drew my attention. It was titled:

Geoff Dyer on Trent Parke (2010).

As Andrew Bruce posted today on Trent's Facebook Wall:

easily the best piece of writing on Parke to date

Have to agree and it is definitely worth a read.

A bit of a ramble to follow. I have known of Geoff Dyer for sometime. At least since around the time of the publication of his book, the The Ongoing Moment (Guardian Review - 16 Oct 2005). A novel and rather modest approach to writing about photography - he claims that he does not even own a camera:

"I am not a photographer ... I don't even own a camera."

I enjoyed the book and appreciated his knowledge of photography. In particular I enjoyed his writing style and the metaphors he used to get his ideas across - you will see this in his article on Trent.

[on writing about the book, The Seventh Wave] The surface of the sea is a film separating two worlds, that of water and that of air. Though absolute the distinction is perpetually on the brink of dissolving, melting away. People fly through the water as if suspended in a turbulent sky, or float through great clouds of aquatic light. That’s what water is for Parke and Autio – liquid light. Forms dissolve, blur, swim into and out of focus. Quick and silver, the water is a flash-flood of mercury.

Phot from the The Seventh Wave - Narelle Autio and Trent Parke
On to Trent Parke. I have followed his progress since he was photographer with the Sydney Morning Herald back in the early 2000's. He had two photos in the first Sydney Looking Forward Exhibtion back in 2002. I wrote about one of the photos here. Indeed the post is one of the more popular pages residing in my little blog.

In 2003 I bought two copies of the two books he had published at that stage:

• Dream/Life


• The Seventh Wave

Both books appear to be long out of print, by the looks of the Amazon Used Books prices.

Looks like I have done alright with these purchases (they were about $50 each from the Stills Gallery). I could not help myself other than to buy two copies of each. They were just beautiful. I have a soft/weak spot for photography books. I can remember catching the train after work, upto Kings Cross and then walking into Paddington to the Stills Gallery. I took quite a few photos with my litte IXUS. Must drag them out of the archive to find out the exact date of purchase of the books. A job for another day.

I will close with a quote from Geoff Dyer's article on Trent:

Later works will continue but intensify the Dream/Life vision so that, at its most extreme, Sydney becomes a kind of ghost city, in the process of being annihilated by light. A passer-by will be transformed into an accidental super-hero: Solar-man, a bleached absence of pure radiance! (Part of the fascination of this picture is of the photographer-as-magician kind: how did he do that? The difference between magic and photography is that the spell remains unbroken even when the technical explanation - which, in any case, I cannot recall - is forthcoming. [GeoffE: maybe some discussion here will help: How is this done? (Trent Parke) at photo.net - 31 Mar 2004)]

White Man, 2001 - Circular Quay/Sydney (GeoffE: at guess!) - Trent Parke
An article by the Sydney Morning Herald's Tim Clayton giving some background to the working environment that Trent Parke evolved.

Make Pictures that are Larger than the Frame - Michael Davis - Montreal (Thu 25 Aug 2011)

Recently stumbled across a great blog (*) hosted by Michael Davis (*), a Professional Picture Editor (*). Lots of great insights there for any budding photographer.

The following is an extract from a post, that caught my attention:

You can engage people who look at your work more dimensionally if you decide whether to make the picture larger than the frame. [..]

The notion is pretty straightforward but explaining it is not so easy.

The idea is that when people’s minds complete aspects of a photograph that don’t appear within the frame, the experience of looking at the photograph is more dimensional than when everything fits within the frame.

From Make Pictures that are Larger than the Frame (*) by Michael Davis (*) [Tue 29 Nov 2011]

I think the first photo below demonstrates the dimensionality that Michael talks about above. The rear part of the car on the left hand side of the frame and the reflective puddle leading in from the bottom of the frame, being the elements needing completion.

I did spend a bit of time in this car park photographing the surrounding buildings. As I sit here looking back at that time in the car park, I can see that I experimented with different framings, trying to find something that was stronger than the others.

Maybe this is a good way to think about composing a photo - be a bit looser in the framing and make pictures that are larger than the frame (*). Thanks Michael.

Mural (3 of 3) - Sainte-Catherine St / Montreal (Thu 25 Aug 2011)
Mural (2 of 3) - Sainte-Catherine St / Montreal (Thu 25 Aug 2011)
Mural (1 of 3) - Sainte-Catherine St / Montreal (Thu 25 Aug 2011)
PS - If you look at the first two photos close enough you will be rewarded with the tiny detail that caught my eye - it was not the giant mural, but something much smaller that resonated with the mural. Will show this detail in a later post.

The Picture - Bruce Davidson / Jame Maher (Tue 02 Aug 2016)

Barry Humphries - Archibald Prize / Art Gallery of NSW (Fri 22 Jul 2016)

Bruce Davidson on The Picture:

I am in the picture, believe me. I am in the picture but I am not the picture.

via The History and Photography of Bruce Davidson, Subway Photographer Extraordinaire by James Maher.

All you have do is frame and click - Contact Sheets No.1 - William Klein (1988)

Picasa Contact Sheet - eljeiffel - New York (Fri 12 Aug 2011)
Picasa Contact Sheet - eljeiffel - New York (Wed 17 Aug 2011)
Just a couple of screen shots of some virtual contact sheets (*) from recent trip to New York. Will put a few more over the coming days as (the following youtube clip reveals) I think they reveal something about how I see when I travel.


From his film Contacts Vol.1 (*), William Klein (*) reveals some great insights into the working processes of a photographer.

It does not matter if you are great or unknown, if you care when you press the shutter to take a photo, we pretty much all go through the same thoughts and steps.

Some of the more interesting insights from the clip follow:

A sheet of contacts. 36 exposures. 6 strips of 6 photographs, taken one after the other. You read them from left to right like a text. It the diary of a photographer. You see what he sees through the viewfinder. His hesitations. His hits. His misses. His choices. He choses one moment. One angle. Another moment. Another angle. He insists. He stops.

You rarely see the contacts of a photographer. You only see the picture chosen. You don't see the before or the after like you do on proof sheet. [..]

Ok, the contacts. You see the before and after. Why one picture is taken rather than the other. And then why one is chosen rather than another. [..]

A wall in New York 20 years ago. Ciaro. Probably the name of a gang. Torn paper. A ready made photo. A kind of ??. All you have do is frame and click. You can do a hundread on that wall no sweat. It's there for the taking. There are pictures like that all over, you just have to look.

This picture is maybe better than that one. Or this one. Or that one.

Found the Klein clip from a Jonathan Walker (*) post (*). Always lots of good information on photography (*) there. Thanks Jonathan.

Composition - The Minds Eye by Henri Cartier-Bresson (Extract)

The photographer’s eye is perpetually evaluating.

A photographer can bring coincidence of line simply by moving his head a fraction of a millimeter. He can modify perspectives by a slight bending of the knees. By placing the camera closer to or farther from the subject, he draws a detail—and it can be subordinated, or he can be tyrannized by it.

But he composes a picture in very nearly the same amount of time it takes to click the shutter, at the speed of a reflex action.

Sometimes it happens that you stall, delay, wait for something to happen. Sometimes you have the feeling that here are all the makings of a picture—except for just one thing that seems to be missing.

But what one thing? Perhaps someone suddenly walks into your range of view. You follow his progress through the view-finder. You wait and wait, and then finally you press the button—and you depart with the feeling (though you don’t know why) that you’ve really got something.

Later, to substantiate this, you can take a print of this picture, trace on it the geometric figures which come up under analysis, and you’ll observe that, if the shutter was released at the decisive moment, you have instinctively fixed a geometric pattern without which the photograph would have been both formless and lifeless.

Composition in The Minds Eye by Henri Cartier-Bresson. Originally from The Decisive Moment (full text here).

Anyone who has ever looked through a viewfinder, taken a photo and cared will be able to relate to the above.

Low Tide - "A photographer can bring coincidence of line simply by moving his head a fraction of a millimeter" - Padstow/Cornwall - Tue 09 Sep 2009
Workers - "You wait and wait, and then finally you press the button" - Lyon/France - Thu 17 Sep 2009

Annie Leibovitz: Pilgrimage - Letterman (Tue 08 Nov 2011) / New York Times (Sun 30 Oct 2011)

Water - Niagara Falls / Canada (Thu 01 Sep 2011)
Niagara Falls - Ontario / Canada (Thu 01 Sep 2011
Niagara Falls (Detail #1) - Ontario / Canada (Thu 01 Sep 2011)
Niagara Falls (Detail #2) - Ontario / Canada (Thu 01 Sep 2011)
We spent Thu 01 Sep 2011 (*) at Niagara Falls (*). When we were planning the trip back in early June 2011, I was not that keen on spending a day at the Falls. However, when Jo showed me the photos (*) of her trip there with Jenny back in 1987, I felt we had to go. I guess another kind of Pilgrimage (*).

After a little searching on wikitravel (*), we decided that we could catch a bus out from and back to Toronto (*) and not do the guided tour thing with a travel company, which included a stop at a winery. Figured by doing a local bus trip, we could do our own thing at our own pace.

On our arrival at the Falls we were mesmerised by the flowing water and spent a good hour there, just looking at the water roll over the edge. These photos and its details (exposed by cropping) capture a little of what we looked at for so long.

Watched Letterman last night and saw Annie Leibovitiz (*) being interviewed. Much of the interview touched on her new book Pilgrimage (*) which I knew was in the works (*). Was pleasantly surprised to see the Niagara Falls featured in the book as well as being the cover photo (see below).

David Letterman - Annie Leibovits - Tue 08 Nov 2011 (*)
Finally, from the New York Times (Sun 30 Oct 2011), Dominique Browning writes (*)..

So Ms. Leibovitz planned a trip to Niagara Falls. Nothing went right. They were late getting on the road; their hotel room was given away; when they finally found a place to sleep, their room had a view of a cement wall. Ms. Leibovitz, fielding calls from lawyers as she approached the falls, couldn’t take them in. “I didn’t quite get it.” But she noticed that her girls were mesmerized. She went to where they were standing, and grew still. “I was stunned by the beauty of the water (*),” she says. The picture she took that morning became the cover of the book.

Further on she talks about the creative process, about how to sustain it..

"Talent is something anyone can have. It can go away. It needs to be nurtured, taken care of. The best thing about getting older is that you kind of know what you are doing — if you stick with something. It doesn’t get easier. But you get stronger. Pilgrimage (*) is an exercise in taking care of what I do. My books are my way of being able to express myself completely."

Pilgrimage - Cover - Annie Leibovitz

New Order - Ceremony (youtube video)

New Order - Ceremony (video by OKSauceOK)
In June 2007 just after I had been selected in the Australian Masters Dragon Boat Team, I bought an MP3 player to use at the Gym while I trained. Did not have any music CD's, so one night after training I wandered into a Music Store in King Street Newtown. Was not looking for anything in particular, but I noticed a Double CD Set by New Order and bought a copy on pure speculation.

When I listened to the songs, I was familiar with quite a few of them. One song I had not heard of was Ceremony. I was instantly drawn to the song. It has a complicated history which you can follow on wikipedia. I love the bass guitar that drives the song. The lyrics are a bit of a mystery to me, but I guess like most things you can make it mean what you want for you. My feeling is that you need to have an understanding of the life and death of the song's author, Ian Curtis and the band Joy Division, the predecessor to New Order. A sad story really.

It's almost 4 years since I first heard the song, but I still enjoy it as much as the first time I heard it.

There are many Ceremony Videos on Youtube. I picked the one above because I liked the video. It reminded me of my time in London and a Park (Grosvenor Square which featured in Episode 8 of Series 7 of Spooks I had seen a month early back in Sydney - I recognised the Park instantly from the Spooks Episode) I sat in before I went to see the Murray Fredericks Exhibition in Mayfair. I have a few photos I might dig out of the archives.

Ceremony

This is why events unnerve me,
Define it all, a different story,
Notice whom for wheels are turning,
Turn again and turn towards this time,
All she ask's the strength to hold me,
Then again the same old story,
Word will travel, oh so quickly,
Travel first and lean towards this time.

Oh, I'll break them down, no mercy shown,
Heaven knows, it's got to be this time,
What she heard, these things she said,
The times she cried,
Too frail to wake this time.

I break them down, no mercy shown,
Heaven knows, it's got to be this time,
Avenues all lined with trees,
Picture me and then you start watching,
Watching forever, forever,
Watching love grow, forever,
Letting me know, forever.

Mark Cohen - Street Photography (YouTube)

Mark Cohen - Street Photography [Youtube (*)]
A bit of a preamble to this but it is worth the wait in order to see his working method on the street and the ensuing interview of which there are many great quotes On Photography (*). I have scribbled a few down here:

[..] They are snapshots and they are made in a very simple way. But the thing they see when they continue to look at the pictures, they start to see the closeness is one of the things they see. Some one is making pictures that are really close on the street and its that kind of taking the camera so close to the subject and making pictures and not in a studio way. in a flow of life on the street or field kind of way. And they see that closeness and that is the thing that gives the pictures there uniqueness and their agressive sort of character.

When you make an exhibit of this work, you walk around in a room filled with it and you see all these strange pictures. You know there is a certain excitement to it, There is a certain quality in that room about an artists mind, and an artists work that comes from the pictures and touches the viewer in some way. That's why it works. I don't know why exactly it works. A lot of physcological reasons, sexual reasons. A lot of things are going on in those pictures.

It is not some kind of exact analytical science going on here, its right on the edge of meaninglessness, but its in there and that is what makes it so fascinating.

It feels awkward for me to try to talk about my work, frequently. Once in a while I do it. I do a slide show and I describe how I take the pictures. Describe how I think they fit into things socially and formally, in the context of photography in America. Different kind of things.

You usually don't think about that kind of stuff. You dont think about that. You think about when you are taking pictures the most important thing is to get new pictures.

The pictures you already took, you already took those pictures. My main drive is to do something new. To make some new kind of picture. [..]

A copy of Grim Street (*) is on the way.

The Minds Eye by Henri Cartier-Bresson (Extract)

For photographers, there are two kinds of selection to be made, and either of them can lead to eventual regrets.

There is the selection we make when we look through the view-finder at the subject; and there is the one we make after the films have been developed and printed.

After developing and printing, you must go about separating the pictures which, though they are all right, aren’t the strongest.

When it’s too late, then you know with a terrible clarity exactly where you failed; and at this point you often recall the telltale feeling you had while you were actually making the pictures.

Was it a feeling of hesitation due to uncertainty?

Was it because of some physical gulf between yourself and the unfolding event?

Was it simply that you did not take into account a certain detail in relation to the whole setup?

Or was it (and this is more frequent) that your glance became vague, your eyes wandered off?

The Picture Story in The Minds Eye by Henri Cartier-Bresson.

What struck about this passage was not the regret that is felt at losing an opportunity to have a great photo, but what we have learnt from why the photo is not as strong as we would like. I have felt this in not only in my photography, but also in my paddling. If you know you have made a mistake and know why, then you have learnt a valuable lesson and you will become better at your chosen activity.

Graffiti - Brick Lane/London - Wed 2 Sep 2009
Window and Books - St Ives/Cornwall - Tue 8 Sep 2009

On Photography - Joel Meyerowitz / Vice Beta (Nov 2012)

Weathered Door - Mitchell Road / Alexandria (Wed 21 Nov 2012)
Joel Meyerowitz (*) reveals in The Young Gun Meets the Living Legend (*):

Every time you take a picture, you’re saying yes to what you see.

There should be a degree of consciousness about who you are in the world at that moment, a kind of integrated consciousness.

It’s not blind luck, so if one can find what it is that makes you conscious, what gives you the pleasure of being alive at that moment, I feel that is what leads you to your own identity.

Because in the long run, your individual identity will be revealed by the strength of the photographs you make in one year, ten years, 15 years—there’s a string.

They’re like little jewels on the string and they carry all the messages that you were excited by when the world spoke to you.

From an Interview (*) with Olivia Bee (*).

On Photography - Joel Meyerowitz - Time Lightbox (Fri 02 Nov 2012)

On Approach to Busan [1] (Tue 04 Sep 2012)
From Taking His Time: A Look Back at 50 Years of Joel Meyerowitz’s Photographs, (*) Nate Rawlings (*) writes about Joel Meyerowitz (*):

When he is shooting on the street, there isn’t much time to contemplate each moment.

"Photography takes place in a fraction of a second"

Meyerowitz says.

"There isn't a lot of time to think about things. You have to hone your instinct. You learn to hone that skill and timing so you’re in the right place at the right time."

Although he has made images that have moved audiences for decades, that has never been his true motivation.

"I'm not out there to make another ‘great picture,"

he says.

I’m really out there to feel what it feels like to be alive and conscious in that moment. In a sense, the record of my photographs is a record of moments of consciousness and awareness that have come to me in my life"

[1] The light was just beautiful as the sun rose on our landing approach to Busan. Often just photograph a scene because of the good nature of the light. For me the scene has extra meaning as it represents the beginning of a long, challenging and, ultimately, rewarding trip to Busan, South Korea.

On Failure - Some Notes on Photographic Intent - Ground Glass / Spencer Lum (01 Mar 2012)

Mont-Royal Red - Mont-Royal / Montreal (Thu 18 Aug 2011)
Ground Glass / Spencer Lum (*) writes (*):

Failure is the sound of a thousand wasted efforts screaming in unison. [..]

So the goal [..] should be to use those things that inspire us as a framework for exploration, so we can learn the process behind them.

Shots aren’t preordained.

They are happy accidents, lead by intention, and founded on a combination of preparation and discovery.

In other words, photography isn’t seeing the big picture.

It’s knowing how to stumble from one adjustment to the next, eliminating choices along the way, while focusing on others, until we find that one thing that says just what we want. [..]

Success is the sound of a single action made of a thousand efforts.

On Feelings and Street Photography - Peter Kool / Eric Kim Street Photography (Fri 04 Oct 2013)

Pedestrian Crossing - Osterport / Copenhagen (Fri 23 Aug 2013)
Peter Kool (*) writes On Feelings (*) and Street Photography (*):

most of the time it’s the feeling (*) instead of the rationality that makes the picture. In most situations there’s too little time to think it over.

via Variety is the Spice of Life: Interview with Peter Kool (*) by Eric Kim (*).

On Photography and Light - Mike Johnston (Wed 19 Feb 2014)

Untitled - Copenhagen (Fri 23 Aug 2013)
Mike Johnston (*) writes On Photography (*) and Light (*:

The number of possible pictures is infinite. In every light, there are some that work. The trick is not finding the "right" light. The trick is finding the right picture in the light you're in.

via Ask Mike (*) by Mike Johnston (*).

On Photobooks and the World Beyond - Colin Pantall (Mon 27 Oct 2014)

Untitled - Ultimo / Sydney (Thu 09 Oct 2014)Untitled - I knew we stumble (*) across this scene - Sacre-Coeur / Montmartre / Paris (Thu 18 Sep 2014)
Colin Pantall (*) writes on Photobooks (*):

I write a lot about photobooks on this blog. The photobook world is small, a few thousand people, but it is dynamic. Sometimes it's too small and it gets too self-congratulatory. When it becomes most interesting is when it looks out of itself, That's when you get great photobooks that are great books - that touch on the world at large, that tie in with a bigger picture, and touch hearts and souls beyond those of the 10,000 people in the world who regularly buy photobooks.

via Luton Airport, x-rays and Blue Peter (*) by Colin Pantall (*).

Observation - Swarat Ghosh (Sat 14 May 2016)

tree / shadow - The Australian Arid Lands Botanic Garden / Port Augusta (Mon 11 Apr 2016)

Swarat Ghosh on Observation:

It is all about the timing and the capacity to observe.

via Focused on the Big Picture - The New Indian Express by Rajitha S.

On Awareness - The Talent Code / Daniel Coyle (Mon 12 Nov 2012)

Jenny - Thredbo (Wed 08 Jan 2003)
Daniel Coyle (*) writes on How to Boost Awareness (*)

Know where you are, and know where you’re supposed to be. [..]

Know where you are. - What move are you making, exactly, right now? Are you tuned into the precise knowledge of your performance as it unfolds?

Know where you’re supposed to be. - Where are you in relation to the ideal move? If you could superimpose yourself over the ideal performance, where would you match, and where would you fall short?

This advice fits with our scientific picture of skill acquisition. [..] In a word, it’s about cultivating awareness - awareness of ourselves, and of the path to our target performance.

Definitely applies to photography as well.

A Picture You Fall Into - Tim Winton / Intelligent Life Magazine (May/June 2015)

A little bit of Copenhagen on the Wall - Alexandria (Mon 18 May 2015)

Tim Winton on Looking and Stories:

It was a picture you fell into. You could look at it for the rest of your life and still wonder what the story was.

SPURNED NO LONGER by Tim Winton.

We Are All Photographers? - Jorg Colberg (Mon 23 Jun 2014)

Take an Inspiring Picture - George Street / Sydney (Mon 21 Oct 2013)
Jorg Colberg (*) writes On Photography (*):

We’re all photographers now. Or are we? [..]

Let’s assume that we are not all photographers. If that is the case, here’s the crucial question: what is it that photographers do that those who occasionally or regularly photograph don’t do? [..]

What is it then that separates the photographers from all the rest of us? I think it’s aspirations. Ambition (*).

via Photography Today (*) by Jorg Colberg (*).