[johnmflores]

Don't just go out there and shoot indiscriminately. For me, creative growth needs a little structure, a framework within which the exploration can begin. I always hated those grade school classes where you were told to take out a blank sheet of paper and write about ANYTHING. Getting started - choosing what to write about - was always hard.

For example, this winter, instead of lamenting the lack of color in my part of the world, I plan on shooting almost exclusively in black and white. That means setting the LCDs, EVFs, and JPGs to black and white and thus concentrating on shapes and forms and figure/ground relationships. It will also help hone my BW PP skills, which are a bit lacking. Not only will make me a better photographer by Spring, but it has shaken me out of my rut.

Might I diverge in January towards something else? Maybe. Might I further refine my framework (I.e., BW portraits)? Perhaps. But at least I've set an initial course, and it's not just another winter of ready, fire, aim.

I'd also suggests setting short and long term goals and deadlines and trying to stick to them. Again, it's a little structure that helps to get going.

Best of luck!

[rbefly]

There's probably as many ways to learn and improve as there are people with cameras; In other words, any way that works for YOU is the right way.
But a few basic ideas (I won't call them "Rules") have come shining through here.
Learn your equipment; It's your tool, like a paintbrush or a chisel. If you miss THE shot because you're fumbling with your gear, you don't know your gear well enough, or you have too much gear with you.
Simplify. Don't over-think a shot, or a lens selection or any of the other technical details that come between you and the shutter button. Make your decision and excecute. If you're wrong, you will learn from it.
Take your camera everywhere and practice, practice, practice.
Be ruthless in your editing. Although sometimes a mistake can work (or be processed until it looks better), most of the time a mistake is just...a mistake.
Find photos (or photographers) that appeal to you and figure out what makes the shots great. Is it the composition, lighting, subject, timing, all the above? Looking at great work raises your standards and improves your internal critical faculties.
Excercise your mind. It's like a muscle; Use it or loose it. Whether it's a photography class, photo club, shooting buddy, photo outing or exhibit, maybe an online forum, you will be exposed to new ideas and outlooks and your perspectives will broaden. A closed mind is like a closed door; Nothing gets in or out.
And practice some more!
JMO
Ron

[chemtech]

I believe there is a progression.
Modern technology is so good, almost anyone in auto modes can luck into a good shot if they press the shutter often enough, but for many there comes a point where they want to take control of the creative process and push beyond snapshots into creative photography. I believe most do not turn to creative photography at this point, but to creative processing, trying to create beautiful building upon poor foundations.
All along the way, the eye becomes more critical, and one begins to sense that although an exaggeration, the saying "garbage in-garbage out" has some basic truth to it, and that realy creativity lies in the basics of photography, which can't be learned in any profound sense in auto modes.
My advise it to put everything on manual for a year or so, including focus, and limit yourself to only two dozen or so shots per outing. Shot a prime lens, or a zoom locked at a certain focal length, until when you look at a scene, you see it framed at a certain focal length. These things slow you down and cause you to not only think the shot through, but also help you develop a "photographic vision."
Once one develops a solid understanding of how the three basics elements of a camera work in unison to interpret light, depth of field, hyperfocal distance and so forth; and how this all realtes to the creative mood of an image, they begin creating with photographic control for much more consistency than relying mostly upon the camera's technology and a rapid index finger.
At this point, one realizes that despite all the technicalogical advances in photography, what still sparates an outstanding images from thousands of snapshots is the same as it was 100 years ago: exactly what one puts into the frame and exactly when one snaps the shutter. That part is still totally up to the photographer.
And then one realizes there really is no substitute for good light, so they begin chasing good light, or introducing it through artificial means and often a combination of the two, whether in a studio or outdoors.
Improving one's photography today, I believe, is not so much learning to utilize advanced technology, as it is learning the basics that are hidden behind the auto functions. Then one can utilize certain trustworthy auto functions with a purpose and override them whenever the light dictates.
At the end of this photographic rainbow lies the light. It's basically all about the light.

This is so well said! On a less serious note, someone sent me this graph that I found fun. Stages of a Photographer’s Life as a Graph | Enticing the Light It's been around a while and don't know who made it originally.

[Kerrowdown]

How do you push yourself to be a better photographer?

The need to eat works quite well for me.

[Mike Cash]

The need to eat works quite well for me.

Same answer I give when people ask how I managed to learn Japanese.....I just made the rent and groceries dependent on learning it. It is amazing what people can do when inspired by the specter of Hunger.

[jsherman999]

What do you do to get better? Not just technically, but artistically? What intrigues you to look at things differently? ...
What do you do to diversify your photographic style?

Listen to music... read novels, literary criticism and occasionally photography compilations.

[Opethian]

Quite the informative thread here. Some practical, some very personal. Thanks for sharing your thoughts. As for me, making myself a better photographer would entail spending more time with it. Really, a lot more time. And the proper use of that limited time is very important to me. A lot of planning is involved if I want to make the most out of any situation/project.

[Docrwm]

Not being particularly "artsy", for me it's focusing on one aspect of the process at a time. Learn a lens and its abilities, limits, etc. Focus on the impact of aperture on the same composition. Vary the lighting while maintaining all other aspects. Isolate one piece and see what varying it does. I get ideas from reading others comments, questions, and thoughts here or in books. In the past month the huge range of options on the K-5 has been a wee bit overwhelming and so I am returning to basics - shoot manual, set all parameters and then vary them one at a time. It takes a while but I find I learn a great deal this way.

[Roob-N-Boots]

Not being particularly "artsy", for me it's focusing on one aspect of the process at a time. Learn a lens and its abilities, limits, etc. Focus on the impact of aperture on the same composition. Vary the lighting while maintaining all other aspects. Isolate one piece and see what varying it does. I get ideas from reading others comments, questions, and thoughts here or in books. In the past month the huge range of options on the K-5 has been a wee bit overwhelming and so I am returning to basics - shoot manual, set all parameters and then vary them one at a time. It takes a while but I find I learn a great deal this way.

Are there any books you might recommend?

[mysticcowboy]

Are there any books you might recommend?

• The Passionate Photographer by Steve Simon
• Photographically Speaking by David duChemin
• The Photographer's Vision by Michael Freeman
• Storytellers by Jerod Foster

Once you're past the 'what exposure do I use' phase, these books might help. I wouldn't recommend them to someone who isn't able to shoot manually.

[Roob-N-Boots]

• The Passionate Photographer by Steve Simon
• Photographically Speaking by David duChemin
• The Photographer's Vision by Michael Freeman
• Storytellers by Jerod Foster

Once you're past the 'what exposure do I use' phase, these books might help. I wouldn't recommend them to someone who isn't able to shoot manually.

Thanks Cowboy! I'll be sure to add some of these to my Amazon wish list.

[RioRico]

Earlier, I posted on how others can push themselves to be better. But that wasn't the question. How do *I* push *myself*? Answer: I don't. I try to learn technique and technology, of course, but those are peripheral. I have no ambitions. I just try to acutely see what's around me, and shoot it, and then do something with it. It would be different if I had an art-director's vision, to set up a scene, to create images. I don't. I react to what's around me. That's one of the many paths in photography, a nice lazy path, just suiting my temperament. Pushing myself is too much work. Ta ta.

[mysticcowboy]

Earlier, I posted on how others can push themselves to be better. But that wasn't the question. How do *I* push *myself*? Answer: I don't. I try to learn technique and technology, of course, but those are peripheral. I have no ambitions. I just try to acutely see what's around me, and shoot it, and then do something with it. It would be different if I had an art-director's vision, to set up a scene, to create images. I don't. I react to what's around me. That's one of the many paths in photography, a nice lazy path, just suiting my temperament. Pushing myself is too much work. Ta ta.

Even for the reactive photographer small assignments can open up your seeing. Sit in one place for an hour. Shoot only from a dog's eye view level, or only at 30 degrees or more above eye level. Shoot only closeups for a day. Shoot only after you've looked at the scene from at least 5 angles. Shoot only black and white, or high key, or with a certain lens for a week. Reacting to situations is how I shoot at least half the time, but that too can be helped by focused practice. And, these assignments are only work if you want them to be. They can also become a game. All games have rules, and you get to make up your own.

[Ecaterin]

Even for the reactive photographer small assignments can open up your seeing. Sit in one place for an hour. Shoot only from a dog's eye view level, or only at 30 degrees or more above eye level. Shoot only closeups for a day. Shoot only after you've looked at the scene from at least 5 angles. Shoot only black and white, or high key, or with a certain lens for a week. Reacting to situations is how I shoot at least half the time, but that too can be helped by focused practice. And, these assignments are only work if you want them to be. They can also become a game. All games have rules, and you get to make up your own.

Mysticcowboy, I really like your contributions to this thread. I know that imposing limitations on my photography forces me to truly SEE things rather than gloss over them....but a list of what to limit is really cool. I think I'll put these on an index card

*hits "like" button several times!*

[Docrwm]

Are there any books you might recommend?

There are lots, but many of the more modern ones focus on VERY brief "hints" rather than developing depth of understanding. Scott Kelby's books are fun and if I want ideas for things they give many in very brief ways. However, to develop deeper understanding books like Blaker's "Field Photography" are better. Its out of date and has lots of film stuff that no longer applies in digital format but the essentials of optics, light, etc. are all there and its a good solid book. I also liked Peterson's "Understanding Exposure", which is more modern, and find it to be very illuminating Another that I was quite surprised to find so engrossing and helpful, albeit in spots, is Steel's "Sport & Action" which I found in a discount bookstore for something like $3. Its an edited work with loads of sports photographers offering what works for them and some outstanding insights from some.