There’s been a lot of talk lately on the subject of limitations. Can a camera with fewer features actually make you a better photographer? Does the restraint of straight-out-of-camera photography force you to consider more deeply your creative choices? Were the autofocus woes of 2024 actually a blessing in disguise for some because they used that opportunity to learn new techniques and better anticipate the decisive moment? It seems counterintuitive, but can limitations actually improve your photography?
Many artists, including photographers, have discovered that constraints—whether intentional or unintentional—can actually improve creativity and technical skills. Composer Igor Stravinsky famously stated, “The more constraints one imposes, the more one frees oneself of the chains that shackle the spirit.” Simply put, less is more.
Photography, like any other art form, thrives on creative problem-solving. When you limit your tools, you’re forced to think outside-the-box. For example, if you self-imposed the limitation of using just one prime lens for an entire month, you’d quickly learn how to frame shots differently, how to move to get the best composition, and how to make the most of the gear you have. Instead of endlessly swapping lenses (or constantly zooming in-and-out), you’d refine your eye.
Film Simulation Recipes are an excellent example of how restrictions can fuel creativity. In order to choose the most appropriate Recipe for your style and the specific situation, you may have to consider more deeply the colors and light of the scene in front of you. This might help improve both your vision and execution.
Another benefit of limitations is technical improvement. When you take away some of your tools—perhaps some features that you’ve convinced yourself you need—it forces you to master the fundamentals. Let’s say you decide to shoot fully manual for a week. It might be frustrating for the first few days, but then your ability to judge exposure, your understanding of the exposure-triangle, and your manual-focus skills will skyrocket.
The same applies to using a single film simulation for a project. You’ll gain a deeper understanding of how color and tonality interact. You’ll learn when Classic Chrome’s Kodak-like palette works best, or when Velvia’s vibrant colors are more appropriate. The more experience you have with film simulations and Recipes, the better you will be at getting the most out of them.
Pablo Picasso once said, “If you have five elements available, use only four. If you have four elements, use only three.” Working within a framework forces us to be more deliberate, more thoughtful, and ultimately more innovative. This is where creativity lives. Orson Wells put it this way: “The enemy of art is the absence of limitations.”
If you want to push your photography further, try setting some limits. Use only one camera and one lens for a month. Or shoot only black and white for a week. Stick to a single Film Simulation Recipe for an entire project. Maybe try an older, less capable camera for awhile. Or disable a feature that you often rely on, like auto-ISO or IBIS. If a certain limitation is forced on you—you didn’t choose it—don’t fret; instead, let it propel you to greater heights. You might be surprised at just how much you grow as a photographer. In the end, art isn’t about having the most or best tools—it’s about how well you use the ones you have. Limitations aren’t roadblocks; they’re opportunities, stepping stones to mastery. Constraints aren’t just a path to creativity, they are the path.
I agree, sometimes less is more. I enjoy using my original Fujifilm FinePix X100 because there are so few decisions to make. There are only three color film simulations. Once I choose a film simulation, then about the only things I can change are Aperture, Shutter Speed, ISO, DR, WB Shift, Color, Sharpness, highlights, shadows, and noise reduction. It’s a lot more fun with less things to worry about.
Awesome! I appreciate the input!
Ho boy! I agree with you Ritchie 1000% 👌👍
Another excellent article my friend.
I embraced SOOC photography quite a while ago (before going to Fuji, in fact not long after switching to Digital), and tailored my gear around it.
SOOC photography as been liberating, and going back to manual control with my Fuji’s does have significantly improved my photography and style. It is quite visible when I’m reviewing my huge stock of images between my Fuji era and before. And even within my Fujifilm era I can see the evolution (style, subjects pick).
I especially like the journey with you Ritchie on that side, not being mainstream, even going against the mainstream.
But after all those years, it is nice though that this ‘way’ is recognised and leads to much silly debates like Full Frame vs…
I love using (special) manual lenses with unique design and flaws, going Infrared or Full Spectrum. Which all of them having dedicated constraints but give unique results.
While though IOS and IBIS is a must for me as with doing SOOC, going to Fuji get my gear lighter (most of the time) so I added another general constraints in my photography: doing everything handheld. Especially harder now I’m getting older and shakier.
So yeah I like my X-Pro3 (and I will keep it). I’m not using the rear LCD screen nevertheless (another constraints, going back to my analogue days, everything in the viewfinder). I found it a brilliant idea from Fujifilm, pushed by several of its X- Ambassadors like Bert Stephani (who I know well, and he went to Japan several times to speak with the designers and engineers while the X-Pro3 was conceptualised).
A lot of bashing around the X-Pro3 (ok the little connection strap linking the rear screen is a design issue and way too fragile, that’s granted), but when Leaica put on the market its newest M11-D (without rear screen), everybody said it was fantastic and brilliant!
Going back to analogue way, not being distracted, Blablabla !
So Fujii is doing it, it is ‘Mey’ or ‘Ney’ while Leica is doing it for way much more bucks and it is brilliant ?? Common guys be honest… But I’m glad still that both brand gas done.
Just waiting Fuji do at last a black & white only camera / sensor like Leica is doing.
Another welcomed constraint. And doing only B&W is serious one, even more!
I didn’t not care about all the winning / bashing in 2024 on the AF been ‘crippled’ which was in several cases, but you could do largely without it with proper workaround technics like you emphasis it Ritchie.
Ok, it forced Fujifilm to react sooner than latter or like had done Sony to make you pay for the firmware repair (bloody hell if had happened with Fujifilm).
That only positive aspect I found on this matter.
And I do not bothered / care of having IA implementated in AF of the last gen cameras. Several years before photographers were doing without it and still took great shots, even better ones than current photographers full of techs!
Hence while the lack of IBIS will be a huge downside for me for the coming GFX100RF, especially with a 100MP sensor (but I hope it will reduce significantly the price of the camera). I learned to cope of the lack of IBIS on my GFX50R, and I adapted / tailored my usage of it with great pleasure (I will keep my 50R).
And also the 100RF having a wide fixed lens (well quite logical to keep it small, light, not too much expensive and also with the lake of IBIS).
I will therefore more than welcome any additional constraints / design choices that will bring the 100RF along any additional manual controls it will add.
Simply please stop winning and wait for the final product!
If it is not suiting your way of doing, well just don’t buy it!
But stop judging a product even before it is out! Before people were not having all this rumours and the rest. They waited for the product to come and review it.
Earth is still spinning around itself and the sun…
Fujirumours put forward a nice article on constraints in regards of the coming 100RF written by Scott Reither: THE FUJIFILM GFX100RF: A BOLD VISION, A CREATIVE CHALLENGE.
Along your present excellent article / post Ritchie, again my congratulations for it, I’ll advise everyone to check out Scott’s one if not done already.
This is the article:
https://www.thecuratedlandscape.com/in-focus/the-fujifilm-gfx100rf-a-bold-vision-a-creative-challenge
Worth reading, for sure.