{"type":"rich","version":"1.0","provider_name":"Transistor","provider_url":"https://transistor.fm","author_name":"The Focus Trap","title":"204: Focus on How We See","html":"<iframe width=\"100%\" height=\"180\" frameborder=\"no\" scrolling=\"no\" seamless src=\"https://share.transistor.fm/e/b3b7dc94\"></iframe>","width":"100%","height":180,"duration":3623,"description":"\nWhat if you can make the photograph even if you can’t picture it first?\n\n\nIn this episode of The Focus Trap, Amy and Casey dig into aphantasia — Casey’s inability to picture images in her mind — and what it means for photography. But the conversation quickly gets bigger than visualization: How much of “seeing” a photograph happens in your head, and how much comes from experience, pattern recognition, and doing the same thing enough times to know what works?\n\nAmy can visualize in full 3D, but even she doesn’t walk around with finished photographs already formed in her head. She talks about the difference between having a shot list and actually visualizing a shot, why years of photographing agility let her anticipate framing and timing before the dog runs, and how learning to read a photograph is a skill built through experience, including plenty of experiments and dead ends nobody sees.\n\nCasey looks at the same questions from the opposite end of the visualization spectrum. She talks about scouting locations when she can’t mentally put a dog into the scene, editing when she can’t picture the finished photograph, and why the predictability of studio work suddenly makes a lot more sense. The more they pull apart what actually requires visualization and what comes from skill and experience, the more the answer keeps coming back to the same annoying thing: reps.\n\nThey also talk about:\n\nAphantasia, visual memory, and face blindness\nWhy shot lists aren’t necessarily visualization\nLearning to read a photograph instead of picturing the finished edit\nWhy the creative process is much less linear than social media makes it look\nWatching the edges of the frame instead of the subject\nUsing saturation, blur, and black and white to make your brain see a photo differently\nHow subject knowledge and anticipation can matter more than visualization\nUnderstanding how your brain works so you can find the tools that work for you\n\nAlong the way, there are conversations about Casey and...","thumbnail_url":"https://img.transistorcdn.com/i9-t6bWJUqtrhE7cw5SbHysIc3-qKUQLGJnjtYCHCGA/rs:fill:0:0:1/w:400/h:400/q:60/mb:500000/aHR0cHM6Ly9pbWct/dXBsb2FkLXByb2R1/Y3Rpb24udHJhbnNp/c3Rvci5mbS9iOGI5/NDA3NDdhOGVmNjRj/MmZmNmU2NjQ4Nzdk/ZGRlNi5wbmc.webp","thumbnail_width":300,"thumbnail_height":300}