The Change That Could Transform Your Photography

There are many opinions and pieces of guidance imparted to new photographers. Many show up regularly, like how you should “make” photos rather than “take” them. Some of this advice is helpful, while other pieces might crush your creativity. Following the advice to avoid one common technique may unintentionally stunt your growth without you even realizing it.

The Questionable Approach

“Spray and pray” has become a ubiquitous term in photography circles, often encountered for the first time shortly after picking up a camera. It describes the technique of shooting as many frames as possible, often of varied subjects or compositions, in the hope that one turns out to be exceptional. While the phrase could be viewed as a neutral descriptor, it has taken on a near-pejorative tone, becoming shorthand for a lack of skill or intention. Many photographers, whether hobbyists or professionals, view the approach with a mix of disdain and frustration.

The phrase carries a weight that can subtly influence how we approach our craft. On the surface, the advice to avoid this technique seems like a reasonable suggestion to adopt a deliberate and thoughtful methodology. I believe this is how most photographers think about it. However, the implicit criticism within “spray and pray” can discourage experimentation and exploration. For beginners, the term may feel like a warning: avoid this technique at all costs or risk being branded as someone who doesn’t understand or appreciate the artistic side of photography.

The Impact of 'Spray and Pray'

There are undeniable benefits to the cautionary aspect of “spray and pray.” Focusing on intentionality in your photography and promoting careful consideration of composition, lighting, and timing before pressing the shutter are undoubtedly positive messages. This mindset can foster a greater connection to the scene and contribute to the satisfaction of capturing a well-executed shot. It can help ensure we’re telling the story, in a manner of speaking, and expressing our artistic vision.

However, the phrase also comes with a high cost. Actively avoiding “spray and pray” can instill a rigid need to achieve “the” shot, creating an all-or-nothing mentality. This pressure might lead to an unyielding focus on achieving flawless compositions, making photography much more stressful than it needs to be. Stress hinders creativity, and so the risk here is that a negative spiral develops: as the pressure of capturing “the shot” increases, photographers may feel worse and worse about their abilities, eventually questioning their pursuit of the art form altogether. Failed compositions become evidence of ineptitude rather than part of the natural process of learning and improving. For many, this can stifle the willingness to try new techniques or explore unfamiliar subjects and styles—essential elements of growth in any creative pursuit.

It’s worth reflecting on whether the term influences your own approach to photography. The idea of “spray and pray” might be subtly shaping your mindset, leading you to avoid compositions where success feels uncertain or out of control. You may unconsciously hold back from taking risks, fearing that a more exploratory approach could be perceived as unrefined or unintentional. At the same time, you might overly fixate on capturing perfection in a single frame, creating unnecessary pressure and detracting from the enjoyment of the process. Recognizing these potential influences is the first step to understanding whether they align with your goals as a photographer or if they are limiting your creative growth.

Consider how many professionals practice their photography. Their final portfolios showcase extraordinary precision and artistry, but the reality is that they take far more shots than they ever share. This is not a bad thing! A wildlife photographer, for instance, may shoot hundreds of frames of their subject to capture the perfect moment. Photographing seascapes or any moving water may yield a similar haul of raw images to get the desired shutter speed and effect.

While digital photography allows us the leeway to shoot as many frames as we need, trying different options is not new. When hiking up Half Dome, Ansel Adams brought 12 plates. He used three plates on a composition of Mount Clark during the hike up, two of which were ruined by the wind moving the camera. He made another four images before reaching his final location. He used three more plates there, using two to try out different compositions. With only two plates left, Adams turned his attention to Half Dome. He took time to set up his composition and made one image using a yellow filter. Feeling the yellow filter would achieve his desired effect, he used his last plate, this time with a red filter. It is only the last of these 12 plates that has become an iconic work: “Monolith, The Face of Half Dome.”

The key takeaway is this: It is unrealistic to think you’ll nail every shot in one attempt. A remarkable and robust body of work is built on iterations of “misses”—not failures, but stepping stones in your photographic journey.

A Different Approach

Instead of shying away from taking numerous shots, consider embracing a playful or experimental mindset without worrying about how many photos you’re taking. Play, at its core, is about engaging in an activity for its own sake without regard to the outcome. It’s something most photographers naturally gravitate toward, whether professionals or hobbyists shooting out of pure enjoyment.

Injecting playfulness into your photography can be as straightforward as you’d like it to be. Maybe it’s picking a location and wandering around it without a specific goal in mind, photographing whatever happens to catch your eye. Maybe it’s choosing one element to focus on when you go out, such as textures, shapes, or shadows. Maybe it’s choosing one subject and creating as many different compositions of it as you can. There are plenty of ideas online or in books if you need some help getting started.

If play feels too frivolous, consider approaching it more in terms of experimentation. Ask yourself “what if” questions and let your camera help you answer them. What if you moved so your subject was backlit? What if you changed your aspect ratio? What if you tried a vertical orientation rather than horizontal? What if you got low or high? What if you slowed the shutter to exaggerate motion? Experimenting isn’t about perfect results; it’s about learning what works—and what doesn’t—for you.

Even when an experiment succeeds, don’t stop there. Push further and try other approaches. Understand the consequence of each change on the photograph. Think about how you feel about that impact. The process can help you refine your photographic approach or discover new directions you’d like to pursue. For me, blending this methodical testing with artistic exploration builds a bridge from my analytical brain to my creative one. It can provide a framework for approaching a given subject intentionally while still allowing room to play or experiment within those boundaries.

Conclusion

Adopting a playful or experimental mindset can liberate your photography from the pressure of achieving a specific result. Yes, you will take more frames, but that’s not inherently a bad thing. By shifting focus from a narrow product or outcome to the joy of exploration, you might discover not only more satisfaction in the process but also a surprising boost in your creativity.

So, the next time you head out with your camera, let go of the fear of being labeled as someone who “sprays and prays.” Instead, take those extra shots, try something unexpected, and see where the journey takes you. Photography, in a very real way, is about discovery—not just of the world around you but of yourself too.