Dugouts in Ermakovo 3.0

The difference between my past and my present is that now I know what to shoot and how to shoot. Although I kind of knew then, too...I thought so. Then what is the difference? And the difference is in the breadth of consciousness and perceived reality. I mean, a lot of things are stealing my attention right now, and I just see them. This is basically the whole photographic development of seeing the world. Plus, it's all backed up by some kind of skills to transfer what you see into an image, well, and creative techniques (which are essentially the same thing). Therefore, looking at your old photos, you really want to visit the same places again and reshoot them in a new way.

But this doesn't always happen when you actually find yourself in the same place. Sometimes, on the contrary, you don't see anything at all. If in the past, with my "narrow vision" I saw and captured at least a few landscapes, then when I arrived with a new "wide vision" you wonder how I found anything here at all.

In fact, this happened to me only a couple of times, the other times I still saw "wide" and made the pictures more interesting than the previous ones.

It's very similar to some kind of simulation game where you need to pass levels, where as the level increases, the main character's abilities expand, the set of qualities previously unavailable increases, and maps open.

It seems that the key goal of self–development is to have as few things and events stealing attention as possible. In simple words: driving a car with enough experience no longer causes any emotions and excitement. And so it is in any field.

But how can you live if nothing bothers you?...Are you turning into a soulless robot?

In creativity, in my opinion, just the opposite is true, you need to develop attention and sensuality in yourself so that as much as possible of the surrounding plots steal your attention.

After all, if I don't feel anything, or I'm only worried about a beautiful aesthetic landscape, and I just don't see the rest, it means that my attention is poorly developed.

My wife told me that if I was locked up in four walls, I would even find something to take pictures of there! That's partly true.

Let me remind myself and everyone who reads me once again of one truth that I once reached on my own. Maybe someone knew it right away, maybe someone had already heard it somewhere, maybe it would seem nonsense to someone. But I have deduced this conclusion over several years, studying the metaphysics of photography. It's all about the memory code and transferring it to the result of creative activity.

This is the main answer to the question of why I take pictures. There can be many private answers, and they are different in each situation. Somewhere it's a photo report about an event on the creative assignment of the editorial staff, somewhere it's beautiful views for publication in a book or banner printing. It's all a job.

And for myself, I take pictures to get to know myself. This is a time machine, this is a memory diary, these are state of soul codes.

In any creative work, it is always a transmission (recording) his mental or emotional state in music, poetry, films, painting, sculpture, architecture, photography...

I am writing myself at this moment in time. I have made many confirmations of my discovery that through photography one can feel the condition of another person.

I'm not a scientist, I don't even have a college degree...I was just exploring myself, the world, and photography. There are no official scientific confirmations of my experiments and discoveries, but I don't need to. It was enough for me to understand it for myself.

Metaphysics is generally unscientific and unsubstantiated. Someone feels something, someone doesn't. ....I'm a long way from where I started. So over time, I began to see the world photographically so widely that I can photograph anything and anytime.

Moreover, to make it worthy of attention. Ordinary physics also works here – over the years, you begin to extract more precisely from the environment what might interest the viewer.

But you don't always have to work for the viewer. First of all, there must be a personal response....the response plus the soul state at the time of the response. That's the whole formula for good photography.

Returning to the beginning of the topic about the breadth of vision, I want to add that this can be considered from the point of view of the level of consciousness or in another way, the frequency at which you are.

This is how I often switch from one wave to another, but there is one big one that I can't get down from – it's just that breadth of vision.

On other vibrations, everything around you won't be so visible, but I don't know what's even higher there yet...