 Thinking on Paper
Why the Answer Is Often Already Inside You A month or so ago, I made an interesting discovery—or perhaps I should say, I rediscovered something people have been doing for centuries. Have you ever had a problem that seemed impossible to solve? Then you started explaining it to someone else, only to find yourself stopping halfway through the conversation and saying, “Never mind…I think I just figured it out.” The other person looks at you with a puzzled expression, and you thank them for helping solve your problem—even though they never said a word. I’ve done that more than once. That experience led me to wonder: If simply talking through a problem helps me find the answer, could I get the same result by writing the problem down? The answer, at least for me, was yes. I found that if I wrote as though I were explaining the problem to a trusted friend, my thoughts became clearer. Confusion began to disappear. Ideas I hadn’t considered suddenly appeared on the page. More often than not, the solution had been there all along—I simply hadn’t organized my thinking well enough to see it. Later, I discovered this practice has a long history. The Roman emperor Marcus Aurelius kept a personal journal—not to publish, but to think. His Meditations were simply conversations with himself, helping him sort through difficult decisions. Scientists, inventors, and writers have long kept notebooks for the same reason. Charles Darwin filled journals with observations and questions. Leonardo da Vinci left behind thousands of pages of sketches and written thoughts. They weren’t just recording ideas; they were developing them. More recently, psychologists have found that writing about our thoughts and problems reduces mental clutter. When our worries stay inside our heads, they compete with one another. Putting them on paper moves them into the open, where we can examine them more objectively. The paper doesn’t judge. It doesn’t interrupt. It doesn’t argue. It simply waits while we think. One of the most respected management thinkers of the last century, Peter Drucker, often emphasized that writing forces clarity. It’s difficult to hide fuzzy thinking once it appears on paper. I’ve begun calling this process Thinking on Paper. When faced with a difficult decision, I simply start writing. I describe the problem. I explain why it concerns me. I write down what I know, what I don’t know, what options I have, and what might happen with each choice. Sometimes I ask myself questions. Sometimes I argue both sides. Sometimes I simply keep writing until something finally clicks. The surprising part is that the answer often arrives quietly—not because I discovered new information, but because I finally saw what had been there all along. Write as if you’re explaining the problem to someone who truly wants to understand. Don’t worry about grammar. Don’t worry about handwriting. Don’t even worry about making sense at first. Just keep writing. You may discover that the person best qualified to solve your problem has been sitting in your chair all along. As the old saying goes, “The shortest pencil is longer than the longest memory.” I think I’d add one more thought: The blank sheet of paper may be one of the wisest friends you’ll ever have. There’s a quote from the German sociologist Niklas Luhmann that fits beautifully: “Writing is not the result of thinking. It is the medium in which thinking takes place.” I suspect that sentence captures exactly what you’ve discovered for yourself. ALL RIGHTS RESERVED ©2026
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 Finding Your Creative Time
A Thought for Artists Do you know when your most creative time occurs? Not when you have free time… Not when you’re in your studio… But when your mind seems to come alive with ideas. Have you ever noticed that there are certain times when creativity seems to flow effortlessly? Perhaps ideas seem to appear one after another. You can’t write them down fast enough. One idea leads to another, and before you know it, you’ve filled several notebook pages or a stack of index cards. Then, for days, nothing. Why does this happen? More importantly… Why does it happen at that particular time? What contributes to it? Is it the time of day? The quietness of the house? A walk you just took? Reading a good book? Listening to music? A conversation with a friend? Or perhaps simply allowing your mind the freedom to wander. Most of us never stop to ask these questions. We simply enjoy those creative moments when they happen and wonder why they don’t occur more often. Perhaps it’s time to become a student of our own creativity. ⸻ A Little History Throughout history, many creative people eventually discovered that they did their best work at certain times of the day. Ernest Hemingway preferred writing at first light each morning when his mind was clear. Maya Angelou worked during the quiet hours of the morning in a simple room free from distractions. Georgia O’Keeffe often painted early in the day when both the light and her concentration were at their best. Winston Churchill, on the other hand, often found his greatest clarity late at night. Different people. Different schedules. One common discovery. Each learned to recognize when creativity naturally appeared and then protected that time. Modern psychology refers to this as our natural rhythm or chronotype, recognizing that each person’s brain has periods when it performs at its best. Artists have probably known this for centuries—they simply gave it different names. ⸻ Your Challenge For the next 30 days, don’t try to force creativity. Instead… Watch for it. When one of those wonderful creative periods arrives, stop for just a moment and record what happened. Don’t worry about why. Simply collect the information. After several weeks, you may begin seeing patterns you never noticed before. ⸻ Your Creative Time Log Each time you experience a creative burst, record the following: Date Time Started Time Ended Energy Level (1–10) Where was I? What was I doing just before the ideas began? Examples: Reading Walking Driving Editing photographs Gardening Listening to music Having coffee Talking with someone Sitting quietly Watching the rain Then ask yourself: How many ideas came? Perhaps record: • Notebook pages written • Index cards filled • New project ideas • Photograph ideas • Titles • Sketches Finally… How did I feel? Calm? Focused? Excited? Peaceful? Unable to write fast enough? ⸻ What Are You Looking For? After a month, read through your notes. You may discover things such as • Most of your best ideas arrive after 9:00 p.m. • Reading before bed sparks creativity. • Long walks seem to unlock new ideas. • Rainy afternoons encourage deeper thinking. • Ideas appear after meaningful conversations. • Quiet surroundings help your imagination flourish. • Certain places seem to inspire you more than others. Once you begin recognizing these patterns, you’ll no longer be waiting for inspiration.You’ll be learning where and when inspiration usually finds you. ⸻ One Final Thought Artists spend years learning to observe light. Perhaps we should spend a little time learning to observe ourselves. Your greatest creative tool is not your camera…or your paintbrush…or your pencil. It is your mind. The better you understand how it works, the more often you’ll discover those remarkable moments when creativity quietly arrives. So rather than asking,“How can I become more creative?” Perhaps a better question is,“When am I naturally at my most creative, and how can I make room for more of those moments?”You may discover that your greatest source of inspiration has been there all along……simply waiting to be noticed. “My Creative Time usually begins around "____________________________________________.”  Feedback: The Courage to Grow
Recently, our art chat group spent nearly forty-five minutes discussing one word: feedback. It became one of those conversations that seemed to strike a nerve. Artists who normally say little opened up and shared their thoughts and feelings. The discussion reminded me that feedback is not merely about criticism—it is about growth. Dr. Sonke Ahrens writes in How to Take Smarter Notes: “Nothing motivates us more than the experience of becoming better at what we do. And the only chance to improve in something is getting timely and concrete feedback.” As artists, we often put pieces of ourselves into our work. A photograph, painting, poem, or sculpture is rarely just an object. It carries our time, our effort, our experiences, and sometimes even our vulnerabilities. Because of that, feedback can feel personal. Yet, feedback is one of the greatest gifts an artist can receive. Psychologist Carol Dweck refers to this willingness to learn as having a growth mindset. People with a growth mindset understand that abilities are not fixed. Skills can be developed, creativity can expand, and artistic vision can mature. They actively seek feedback because they see it as information, not judgment. The opposite is what Dweck calls a fixed mindset. In this mindset, feedback can feel threatening. Critiques are avoided because they may challenge our self-image or reveal weaknesses we would rather not see. It may feel safer in the short term, but it often limits our progress. I have found that some of my most meaningful improvements as a photographer came from moments when someone pointed out something I had overlooked. Sometimes it was a technical issue. Other times it was an observation that made me see my work in an entirely new way. At the time, I may not have fully appreciated the comments, but looking back, those moments often became stepping stones. Perhaps the lesson is this: Feedback is not a verdict. It is a conversation. It does not diminish our work; it invites us to see it from another perspective. Every comment does not need to be accepted, but every comment deserves consideration. Even feedback we ultimately reject can sharpen our understanding of our own intentions. As artists, we should seek opportunities to hear honest responses to our work and be willing to offer thoughtful feedback to others. In doing so, we create something larger than individual improvement—we build a community where learning and growth become shared experiences. The artist who continues to grow is not necessarily the most talented person in the room. More often, it is the person who remains curious enough and humble enough to ask: “What can we learn from this?” Feel free to chime in !  Three Old Men and Their Cameras
Arts & Heritage Center, North Augusta, SC April 6–30 One of the things I’ve tried to do in this exhibit is not just photograph places, but moments—those brief instances where something shifts, and if you’re paying attention, you catch it. As “Mr. Landscape,” most of my work leans toward the quiet side of black & white, but every so often, a scene demands a different kind of attention. I’ll be sharing more from the show throughout the month. All works are available for purchase. IGNITION This is a moment you don’t ease into—you feel it. The sudden burst of flame cuts through the stillness, turning a controlled process into something that feels almost primal. There’s a tension between precision and power here—human hands guiding something that could easily take on a life of its own. The surrounding lines and structure frame the scene, but it’s the fire that commands everything. For an instant, it becomes the center of gravity, pulling the eye and the moment toward it. In black & white, the contrast intensifies that experience. The flame becomes pure light—uncontained, unsoftened—set against the darker tones that try to hold it in place. “Ignition” is about that split second where intention meets action… and everything changes.  Three Old Men and Their Cameras
Arts & Heritage Center, North Augusta, SC April 6–30 What I’ve come to appreciate through this body of work is how often the landscape mirrors something deeper. As “Mr. Landscape” in this exhibit, my focus remains in black & white—where texture, form, and contrast reveal stories that might otherwise go unnoticed. I’ll continue sharing images from the show throughout the month. All works are available for purchase. ROCK AND HARD PLACE This tree doesn’t just grow—it endures. Rooted in unforgiving ground, surrounded by stone, it has found a way to rise, twist, and hold its place. There’s a visible tension here, as if every inch of growth came with resistance. And yet, it stands—not perfect, not untouched, but resolute. The weathered grain of the wood tells its own story. Time, pressure, and persistence have shaped it into something stronger than its surroundings might have allowed. In black & white, that struggle becomes more pronounced. Without color to soften it, the contrast reveals every line, every scar, every decision to keep going. “Rock and Hard Place” is a reflection of resilience—not the kind that avoids hardship, but the kind that grows because of it.  Three Old Men and Their Cameras
Arts & Heritage Center, North Augusta, SC April 6–30 Part of the enjoyment of this exhibit has been seeing how three photographers can approach the world so differently. While the others explore their own styles, my contribution—earning me the nickname “Mr. Landscape”—focuses on black & white imagery, where mood and meaning are often found in what’s stripped away. I’ll be sharing a selection of these images throughout the month. All works are available for purchase. DETACHED This image speaks to a quiet separation—of place, of presence, of moment. There’s a sense that something once connected has shifted, leaving behind only fragments of what was. The scene feels familiar, yet just out of reach, as if viewed through memory rather than reality. Edges blur, forms drift, and what should feel grounded instead feels suspended. In black & white, that distance becomes more pronounced. Without the anchor of color, the eye searches for clarity but instead finds ambiguity—a space where interpretation replaces certainty. “Detached” is less about what is seen, and more about what is felt in its absence—a subtle reminder of how easily we can move through a moment without ever fully holding onto it.  "ANCHORED IN LIGHT"
In this image, I was drawn not to detail, but to absence. By intentionally overexposing the scene, the distractions of color and texture fall away, leaving only what endures—the quiet strength of form and the stillness of presence. The boats, reduced to silhouettes, feel less like working vessels and more like witnesses, anchored not just to the dock, but to time itself. There is a solitude here that isn’t lonely, but reflective. A pause between departures. A moment where motion gives way to memory. Black and white allows the light to speak louder than the subject. What remains is a balance between what is seen and what is suggested—a reminder that sometimes, clarity is found not in what we reveal, but in what we choose to leave behind. Three Old Men and Their Cameras Arts & Heritage Center, North Augusta, SC April 6–30 I’m honored to be exhibiting alongside two fellow photographers in this show, each of us bringing a different perspective behind the lens. I’ve been tagged as “Mr. Landscape” for the exhibit—and as you’ll see in the coming posts, my work leans fully into black & white, where light, contrast, and simplicity carry the story. Over the next few weeks, I’ll be sharing images from the show—each one available for purchase. NORTH AUGUSTA ARTIST GUILD 2025 NAAG "FALL INTO ART" ANNUAL SHOW & SALE FROM NOV 10 - DEC 18TH 2025 @ ARTS & HERITAGE CENTER IN NORTH AUGUSTA, SC I’m honored to have three of my photographs included in this show, and the piece below received 1st Place in Photography. With this award — and after a long career of exhibiting and earning 96 ribbons along the way — I’ve decided to step back from most future exhibitions. I’ve been extremely blessed throughout this journey, and I feel it’s time to make room for the next generation of up-and-coming photographers.  🔥 Special September Art Sale – Arts & Heritage Center of North Augusta 🔥 I’ll be taking part in a special once-a-year inventory reduction show at the Arts & Heritage Center this September. Ten of my original pieces will be available at below-market prices — a rare chance to add my work to your collection at exceptional value. If you’ve ever considered owning one of my photographs, this is the month to do it. Stop by the Center in September, explore the show, and take home a piece of art before it’s gone.   This evocative image captures the haunting stillness of a once-bustling roadside motel—the “Crescent Motel,” now quietly decaying under the weight of time. The rusted, star-crowned sign leans defiantly in the tall grass, still reaching for attention beneath a sky thick with passing clouds. The vacant rooms in the background echo forgotten stories, silent now but not erased. Nature slowly reclaims the space, as vines climb and wildflowers bloom around what was once a symbol of refuge for travelers. A visual elegy to the fading American South, where the past still lingers in weathered steel and worn brick.
 This image, taken around 6 or 7 years ago, captures a serene and almost magical moment in time—a quiet grove of pecan trees bathing in golden light, their canopy casting dappled shadows over an old wooden cabin. It’s one of those scenes that you might miss if you simply drive by. But with a photographer’s eye, you see more than just trees and an old building—you see composition, color, emotion, and story.
Today, this very spot looks nothing like it once did. The cabin has collapsed, the grass and weeds have overtaken the landscape, and the once-stately pecan trees are now scarred with broken limbs. The beauty of that moment is gone—except in this photograph. That’s the power of photography. It preserves a place not just as it was, but as it felt. Moments like this remind us why it’s so important to take the shot when your gut tells you to. Photography isn’t just about documenting—it’s about elevating the everyday. And when people see this image hanging in a gallery and ask, “Where was this taken?”—and you answer, “Right here in your hometown”—they realize what they’ve been overlooking. That’s what photographers do: we help people see. --DS This image showcases a scenic mountain landscape with a mix of natural elements. The foreground is filled with lush green grass and various shrubs, while large rock formations, including a prominent angled slab of rock on the right, add dramatic texture to the scene. Dense evergreen trees, possibly firs or spruces, form a backdrop that stretches toward the horizon. The view opens up to a vast expanse of blue-hued mountains under a partly cloudy sky, suggesting a high elevation with cool, misty air. The lighting is soft, with sunlight diffused by the cloud cover, casting gentle shadows and enhancing the rich colors of the foliage and rocks. The overall scene evokes a sense of peace, solitude, and natural beauty — likely a location popular with hikers or nature photographers.  This image won a "Merritt Award" at the "Spring Fest" show at the Arts & Heritage Center in North Augusta last month. Something a little different for me.  I get this question a lot, just how big is that Angel Oak tree, well, this should help!  Which one appeals to you the most, Color or B&W ? A 18 x 24 framed matted print of this is now available at Aiken Center For the Arts, This is a little different take from my normal type of shooting, but it's good to step out once in a while. Title for this one is "AN ILLUSION OF REALITY " A percentage of the sale goes to the Aiken Center to help support them, their are a real treasure for Aiken.  #BODIELIGHTHOUSE,#BOOKCOVER,#IMPRESSIONSTIC, #ANILLUSIONOFREALITY#MINDSEYEPHOTOGRAPHY, #DSOWENS, #MINDSEYE,#FINEARTPHOTOGRAPHY, #BLACKANDWHITEPHOTOGRAPHY, #BOOKCOVER,#DSOWENSCOM,#HOTELART, #ARTDECO, #BNW, #FINEEYEPHOTOGRAPHY,#OUTBANKS,#EDISTO,#LANDSCAPES, #FORREST, #TREES, #PATHWAYS, #INTERIORDESIGN, #INTERIORDECO,#MINDSEYEPHOTOGRAPHY, #DSOWENS, #MINDSEYE,#FINEARTPHOTOGRAPHY, #BLACKANDWHITEPHOTOGRAPHY, #BOOKCOVER,#DSOWENSCOM,#HOTELART, #ARTDECO, #BNW, #FINEEYEPHOTOGRAPHY,#OUTBANKS,#EDISTO,#LANDSCAPES, #FORREST, #TREES, #PATHWAYS, #INTERIORDESIGN, #INTERIORDECO,
Found this flower blooming on the Edisto River at Aiken State Park, in May of this year, and thought how unusual it looked, something like a bottle brush, but different, so took some pics, and found out it's a "Itea virginica" commonly known as "Virginia Willow", or "Virginia Sweetspire". Photo # (state park-62)  #edistoriver,#aikenstatepark,#virginiawillow,#flowers, #blackandwhitephotography, #mindseyephotography,
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