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Shooting without a memory card

From: The Practicing Photographer

Video: Shooting without a memory card

I'm out shooting. No, I am, I got my camera, I'm in this beautiful location, and, I'm shooting. Everything that I shoot looks like something I've shot

Shooting without a memory card

I'm out shooting. No, I am, I got my camera, I'm in this beautiful location, and, I'm shooting. Everything that I shoot looks like something I've shot before, or it looks like something that I think somebody else has shot, or it looks like a cliche, or it just looks like If you've ever felt this, or if you've ever experienced this, then you know this awful feeling and, it's the problem of having an editor that's sitting right next to your eye, going, ooh, no, that's not a good picture, I wouldn't blah, blah, bleh. And it's going on and on, and you can't shut it up.

I've gone into my head, I'm overthinking all of this, I need to just get back to taking pictures and I can't find my way back there. That happens to all photographers, it happens to me a lot, particularly when I try to shoot in the same locations. All the time. I live in a beautiful neighborhood in San Francisco, and sometimes I just go out and I can't see anything because I feel like I've seen it all before, which is ridiculous. There's always something new to be found at a location. So, I'm going to offer a suggestion for something you can experiment with by way of trying to get yourself out of this hole that I'm talking about.

As I said the problem is I'm over thinking it. I've made a photographic process a little too precious. It's just taking pictures its not that big a deal. It doesn't matter if someone else has already shot it, it doesn't matter if I've shot it. I need to get back into a space of seeing for the sake of seeing rather than seeing for the sake of generating a commodity of some kind that I'm then going to subscribe some value to. So to prevent myself from getting home and feeling like I only shot bad pictures.

I'm going to prevent the possibility of getting home with any pictures at all. I'm going to take the media card out of my camera. And I'm going to go shoot. This may sound like a really weird idea. But I've done this before. And it's actually pretty helpful. I've taken the memory card out. I need to insure that my camera can shoot with the memory card out. And sometimes that's a setting in your camera. On Cannon cameras, it's shoot without card. I'll have to look up what it is in here. There is a way of making sure that it will still operate completely. metering will work, modes will work, all that stuff. I'll be able to take pictures. I, I need it to work like a real camera.

I just don't want it to record any pictures. Now, doesn't matter. No one's ever going to see them. I'm not even going to see them again. This is an exercise in simply practicing the visualization of seeing a photograph. It's not an exercise in the practice of actually making a photograph. So I'm going to try this. I'm going to go out now and shoot without this card in my camera. I'm going to go through my normal process of shooting, and I'm hoping that this over thinking thing is going to calm down. So if what I described at the beginning of this video is something that you've felt before, give this a try. You can just try it for an afternoon. You don't even have to commit to it for a whole afternoon.

If you really want it to work though, take the card out before you leave, leave it at home. Don't give yourself an out. Now you might find yourself a little frustrated if suddenly you see the greatest photograph in the world and you can't capture it. You know what? There's always another greatest photograph in the world. They're actually not that rare when you're really seeing them. So give this a try if you get stuck. Take the card out of your camera, go for a shoot and see how it feels.

Show transcript

This video is part of

Image for The Practicing Photographer
The Practicing Photographer

68 video lessons · 42305 viewers

Ben Long

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  1. 3m 28s
    1. Understanding exposure with a leaf shutter camera
      3m 28s
  2. 1m 35s
    1. Introducing The Practicing Photographer
      1m 35s
  3. 6h 42m
    1. Choosing a camera
      5m 27s
    2. Looking at light as a subject
      2m 22s
    3. Using a small reflector to add fill light
      5m 45s
    4. Editing photo metadata with PhotosInfo Pro for iPad
      6m 30s
    5. Let your lens reshape you
      7m 26s
    6. Compositing street photography images with Photoshop
      7m 44s
    7. Expand your filter options with step-up and step-down rings
      3m 56s
    8. Shooting without a memory card
      3m 6s
    9. Give yourself a year-long assignment
      5m 28s
    10. Working with reflections
      1m 26s
    11. Exploring mirrorless cameras
      7m 25s
    12. Batch processing photos with the Adobe Image Processor
      7m 30s
    13. Limiting yourself to a fixed-focal-length lens
      2m 13s
    14. Creating tiny worlds: Shooting technique
      4m 15s
    15. Creating tiny worlds: Post-processing techniques
      11m 41s
    16. Shooting macro shots on an iPhone
      3m 18s
    17. Using a tripod
      3m 33s
    18. Wildlife and staying present
      5m 58s
    19. Batch exposure adjustments on raw files
      6m 52s
    20. Why Shoot Polaroid
      11m 12s
    21. Seizing an opportunity
      4m 4s
    22. Four photographers do a light-as-subject exercise
      12m 24s
    23. Shooting macro bug photos with a reversed lens
      4m 54s
    24. Varnishing a photo for a painterly effect
      13m 36s
    25. Shooting wildlife
      7m 24s
    26. Discussion on how to shoot architecture
      12m 27s
    27. Using a lens hood
      4m 48s
    28. Working with themes
      2m 48s
    29. Setting up an HDR time lapse
      7m 55s
    30. Processing an HDR time lapse
      7m 55s
    31. Two perspectives on travel photography
      12m 28s
    32. Scanning Photos
      5m 37s
    33. Photo assignment: shooting an egg
      3m 13s
    34. Reviewing the egg shot images
      6m 47s
    35. Shooting in your own backyard
      4m 38s
    36. Jpeg iPad import process
      3m 17s
    37. Shooting a product shot in open shade
      9m 34s
    38. Reviewing the product shot images
      4m 5s
    39. Warming up
      3m 26s
    40. Taking a panning action shot
      10m 17s
    41. Scanning polaroid negatives and processing in Photoshop
      8m 17s
    42. Shooting a silhouette
      3m 9s
    43. Going with an ultra-light gear configuration
      5m 29s
    44. Working with masks and calculations in Photoshop
      12m 38s
    45. Working with flash for macro photography
      4m 55s
    46. Colorizing a black and white photo in Photoshop
      5m 10s
    47. Using duct tape and zip ties in the field
      4m 14s
    48. When the on camera flash is casting a shadow
      3m 4s
    49. Using Lightroom on the road
      6m 28s
    50. Listening to your camera to get good exposure
      2m 20s
    51. Shooting a successful self portrait with a phone
      7m 18s
    52. Switching to Lightroom from another application
      9m 48s
    53. Photographing animals in wildlife refuges
      6m 41s
    54. Shooting level
      2m 42s
    55. Photoshop and Automator
      8m 54s
    56. Shooting when the light is flat
      3m 23s
    57. Discussing the business of stock photography
      9m 48s
    58. Shooting tethered to a monitor
      3m 21s
    59. Making a 360 degree panorama on the iPhone
      4m 45s
    60. Understanding the three flash setup
      3m 34s
    61. Shooting a three flash portrait
      4m 6s
    62. Understanding the differences with third party lenses
      4m 43s
    63. Understanding why files look different on depending on device
      5m 25s
    64. Working with a geotagging app on the iPhone
      4m 43s
    65. Using high speed flash sync to dim ambient light
      7m 29s
    66. Using your iPad as a second monitor
      5m 46s

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