Burnt out on my x100f

Started 3 months ago | Discussions thread
Strangefinder
Strangefinder Senior Member • Posts: 1,228
Assagioli Re: Burnt out on my x100f
1

selrond wrote:

A little story of mine if I might:

I bought myself x100f about 2 years ago as my first camera ever, partly because of my long-time interest in hobby photography but mainly because our kid was born, and I wanted to capture the fleeting memories for years to come.

It was an investment.

What followed was the pure joy and excitement of learning to work with the camera, learning the basics of photography, work with the scene, the moment, the light, then editing and so on. I was documenting every family gathering, almost every day of our family life, etc. I was taking x100f with me everywhere. I loved it.

But then, after a year or so, I've noticed I use it less and less. Somehow the excitement wore off, or disappeared. I also started noticing the imperfections and limitations of the lens (f/2 closeup performance...). Suddenly, I was not finding interesting scenes / subjects to shoot. The film simulation colors got boring. The focal length got boring.

In parallel to the gradual boredom with x100f, I've started to look at various other focal lengths & thus bodies as well (X-T3, X-T4). In fact, I've even started saving up for the X-T4. I'm finding it to be really exciting to look at the output of various lenses and what I'd be able to do with them (GAS?)

My concern though is this:

What if the same thing repeats and I find myself with x100f & X-T4 with a couple of lenses and a couple of thousands spent on it, not finding joy in it like it seem to be now?

And - more generally - has anybody had a similar experience to mine? Being burnt out on photography / camera, not knowing why? (It's my hobby, I'm not forced to it).

I'm not even sure I ask the right thing, just tried to summarize what's going through my head for some time now.

Thank you for any help

Plenty of good advice already.

Given that you only have the X100F, rather than having accumulated gear, I think you’re in a position to benefit from new gear more than most, however.

As others have stated, it rarely addresses the core of the problem, but this is a relative experience, and sometimes something new (whether gear, or: subject, location, philosophy, technique, project) does stimulate you. Especially, out of contrast with your present skills and habits.

On the other hand, a plateau can signal an opportunity to heighten powers:

The Act of Will, Roberto Assagioli, 1973 via https://people.brandeis.edu/~teuber/thinking.html#FNT1

I. Louis Agassiz, Naturalist and Teacher

Some of the mystery of good teaching is illuminated in the following story told by a former student of the great nineteenth century naturalist, Louis Agassiz:

The tale runs that a new student presented himself to Agassiz one day, asking to be set to work. The naturalist took a fish from a jar in which it had been preserved, and laying it before the young student, bade him observe it carefully, and be ready to report on what he had noticed about the fish. There was nothing especially interesting about that fish - it was like many other fish he had seen before. He noticed that it had fins and scales and a mouth and eyes, yes, and a tail. In a half-hour he felt certain that he had observed all about the fish that there was to be perceived. But the naturalist remained away.

Time passed and the young man having nothing else to do began to grow restless and weary. He started out to hunt up the teacher, but he failed to find him, and so he had to return and gaze again at that wearisome fish. Another hour passed and he knew little more about the fish than he did in the first place. He went out to lunch, and when he returned it was still a case of watching the fish. He felt disgusted and wished he had never come to Agassiz, who, it seemed, was a stupid old man after all. Then, in order to kill time, he began to count the scales. This completed, he counted the spines of the fins. Then he began to draw a picture of the fish. In drawing the picture he noticed that the fish had no eyelids. He thus made the discovery as his teacher had expressed it often in lectures, "a pencil is the best of eyes."

Shortly after Agassiz returned, and after ascertaining what the young man had observed, he left rather disappointed, telling him to keep on looking and maybe he would see something. This put the boy on his mettle, and he began to work with his pencil, putting down little details that had escaped him before, but which now seemed very plain to him. He began to catch the secret of observation. Little by little he brought to light objects of interest about the fish. But this did not satisfy Agassiz, who kept him at work on the same fish for three whole days. At the end of that time the student really knew something about the fish, and better than all, had acquired the "knack" and habit of careful observation . . .

Years later, the student then attained to eminence, wrote, "That was the best zoological lesson I ever had - a lesson whose influence has extended to the details of every subsequent study; a legacy that the teacher left to me, as he left to many others, of inestimable value, which we could not buy, and with which we cannot part."

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