The Photography Exercise You Can Do Anywhere—Even Without a Camera

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Calm bay with forested shoreline and distant sailboat under overcast sky.

You can improve your photography anytime, anywhere—no camera needed! The idea sounds a little far-fetched, but research in other fields shows it works. Athletes, musicians, and even surgeons have used this type of exercise to sharpen their skills—so how can photographers take advantage of it, too?

The method is called mental practice, or visualization. Studies show that vividly imagining an action activates many of the same parts of the brain as performing it for real. Decades of research prove that rehearsing in your head builds fluency, confidence, and speed. For photographers, that means the chance to practice decisions about composition, timing, and settings anywhere, even when the camera stays in the bag.

The Science Behind Mental Practice

The idea that mental rehearsal can improve real-world performance has decades of evidence behind it. One of the earliest and most cited examples comes from Alan Richardson’s 1967 study on basketball free throws. Players were split into three groups: one practiced shooting daily, one did nothing, and one only visualized successful free throws. After 20 days, the group that practiced physically improved by 24%, and the visualization-only group improved almost as much, at 23%.

Neuroscience helps explain this. Brain imaging shows that vividly imagining an action activates many of the same motor pathways as actually performing it. Your brain treats the exercise as a simulation, reinforcing coordination, timing, and decision-making. That’s why mental practice is effective in fields where precision is critical, from sports to surgical training.

More recently, meta-analyses covering thousands of athletes across multiple sports confirm that mental imagery produces measurable gains in agility, strength, and reaction time. They also reveal practical guidance on time and frequency: sessions of roughly 10 minutes, three times per week, over an extended period produce the strongest improvements. This makes mental practice manageable and easy to integrate into a busy schedule.

The research further indicates that while novices often see the greatest gains, experienced practitioners still benefit. For beginners, mental practice builds foundational skills and decision-making. For more seasoned individuals, it refines speed, confidence, and adaptability—qualities directly relevant for photographers who want to move quickly and creatively in the field.

Photograph of Cafe Gato Rojo with green chairs in the foreground

The Value This Adds to Your Photography

Photography is as much about seeing and deciding as it is about pressing the shutter. Mental practice strengthens both the technical and creative parts of your brain, making the act of shooting feel smoother and more intuitive. By rehearsing in your head, you’re building confidence in your choices before you even arrive at a scene.

It helps you respond faster. When you’ve visualized potential compositions, lighting conditions, and camera settings, your mind is already familiar with the decisions you need to make. That means less hesitation, more focus on capturing the moment, and fewer missed opportunities.

Mental practice also fuels creativity. By imagining different ways to frame a scene, you start noticing patterns, contrasts, and possibilities that might otherwise slip by. You’re essentially giving your eye and your mind a rehearsal space, so when you’re behind the camera, your instincts are sharper, and you’re free to experiment without second-guessing yourself.

Even small, short mental exercises can make a noticeable difference. Spending a few minutes imagining a tricky lighting situation, an unusual perspective, or a fleeting street scene can improve how you see and capture similar moments in real life. The payoff is subtle but cumulative: over time, you’ll find your decisions feel more deliberate, your compositions stronger, and your workflow more fluid.

Photograph of winter grasses with trees visible through fog in the background

A Process for Mental Practice

The good news is that mental practice doesn’t take much time, and it’s easy to fold into your day. You don’t need a quiet room, a meditation cushion, or a big chunk of free time. A few minutes here and there is enough to make a difference. Think of it as giving your mind a short workout—something that strengthens your photography even when you can’t be out shooting.

To get started, aim for short, focused sessions. Research suggests that about 10 minutes, three times per week, is the sweet spot for building skills over time. If that feels like too much, start smaller. Even two or three minutes while you’re waiting for the kettle to boil or sitting on the train can help you build the habit.

Here’s a simple structure you can follow:

  1. Pick a scenario. Imagine a concrete situation you want to rehearse. It could be a scene you’re currently looking at, something you saw earlier that day, or maybe a location you would like to go to on your next outing. Just be sure to keep it specific, so that you have a clear mental target for your practice.

  2. Picture yourself there. Close your eyes and walk through the scene in your mind. Bring in as much detail as you can: what elements you’re seeing in the environment, how the sun or wind might feel, what you’re hearing, and even how the camera might feel in your hands. The more vividly you can imagine the experience across all of your senses, the more value you get out of the practice.

  3. Run through your process. Don’t just imagine the finished photo. Mentally step through your choices: where you’d stand, which focal length you’d use, how you’d set exposure, what trade-offs you’d make. Think about the mood or story you’d want to convey. Treat it as if you’re truly on location, going through the real steps.

  4. Reflect. Once you’ve pictured the sequence, imagine the resulting image. Review the process you walked through in the step above. Ask yourself what worked and what you’d change. If something felt off, or you’re curious about what a different set of choices might yield, reset and run through the scenario again with any tweaks in mind.

The more vividly you run through these steps, the more natural they’ll feel when you’re holding your camera for real.

Photograph of a couple standing at a railing along a waterway

Folding It Into Everyday Life

While the best results will come from dedicating time specifically for this sort of mental practice, it isn’t always practical. Fortunately, slipping this into your days or routines is easy. Base your mental actions on the routine above, but in the context of your typical activities. Here are a couple of ideas to get you started:

  • On your commute: Look out the window and imagine photographing the street outside. Would you prioritize shutter speed to freeze the motion of people and cars, or aperture to control depth of field? What subjects are standing out to you and would be worth photographing? What is the light doing during this particular commute?

  • Walking your dog: See a landscape scene or a little vignette, and picture where you’d stand. Would you set up a tripod? How might you move to get the arrangement of elements you’d prefer? What settings would be useful for conveying the story or message of that place?

  • Waiting in line: If nothing jumps out to you as an interesting photographic subject, use the opportunity to run through changing camera settings. Imagine how to adjust the ISO for your current environment, or switching focus modes to achieve a particular effect. Picture the exact dials and buttons on your camera, or how you access valuable items in your camera’s menu system.

These small exercises don’t take much time at all, but done on a regular basis they build familiarity and fluidity. The next time you’re shooting, the choices you’ve already rehearsed mentally will come more quickly and with less effort.

Conclusion

Mental practice won’t replace time with your camera in hand, but it does offer you the opportunity to engage your photography meaningfully in those lulls between shoots. Athletes and surgeons use visualization because it works. Photographers can take advantage of it, too. Adding short, focused sessions into your routine, or simply turning everyday moments into opportunities to rehearse your process, helps build up your technical and creative prowess over time. And the results will show up the next time you head out with your camera.

Think of the moments in your photography that feel rushed, tricky, or easy to miss. What kinds of situations do you believe would be most useful to rehearse in your head before you’re behind the camera?

Adam Matthews is an outdoor photographer based outside of Chicago, Illinois. He regularly enjoys photographing the many local forest preserves as well as the shores of Lake Michigan. He also makes a point of taking photos on any trip he happens to be on.

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4 Comments

For photographers, with the EYE, It is an minute by minute thing like day dreaming sort of. For me a hobbyist and able to do what I want as far as genre's go I think about captures most all the time. As landscapes go one knows about the suns movements through out the year starting around mid March it will rise and set 180 degrees but then it starts heading south to its longest day in June and again a 180 degree day in October but the heads north to the shortest day, on the 180 degree days not only will you get a sunrise and set opposite but a full moon set and rise. A little info the best day to capture the full moon over a city scape or out yonder landscape is the day before the full moon for you get setting sun glow off the foreground lighting it up for you think of the sun as your yellow/orange studio light. Instead of a sunrise with a big orange sun filling the sky with great clouds do a bracketed of 5 at +/- 2EV you will get a very small sun at rise and great clouds like along the east coast where aircraft vaper trails from at night are all over the sky and again no where the sun will rise to the southeast or the northeast depending on the day of the year

Then comes the Milky Way that starts in February but every other year a new moon comes at the first of the month then the next year at the end of the month. In February it is low and rises in the early morning hours say about 5 am very cold and going right Southeast to left Northeast and by July it will be again Southeast to Northeast but with a panorama you get a MW Arch where you get its top the path will be over your head and a little beyond a reason for even a 10mm lens to get pinpoint stars far above the trail in the stars. With this knowledge you are always thinking of a landscape under the arch and placement for your capture. Info a full moon rises in the same spot every full moon so you can plan an all night eclipse. Also you can plan around the new moon for a better weather night and your MW of 5 days before and after. Again in the early months if before the new moon you can capture a crescent moon that will look like a full full moon when doing a long exposure, last as the crescent/new moon rises the tide will go out leaving a clean beach with no foot prints. As the months roll on like June the MW will then rise just after sunset this is for those that can not get out there in February early hours. August to October yo get the vertical MW where your placement for capture gets that perfect to the heavens trail to heaven another reason for the widest lens 10 or12mm even a 14mm in portrait view or just tilting up some to get a longer higher trail.

All this is from using some apps on your phone/pad. To follow the sun all year is TPE where you just change the date yo see where it rises and sets on the horizon. The most used PhotoPills it has more info than there is room here. For most of the same info there is Planit Pro with an added tides section for us that can not read a tide chart in the News Paper but this one has it and the Sun, Moon and Milky Way in a sinewave at the bottom. People will think you are playing a game on your device while you look for information.

Every minute of every day and while you dream while sleep a photographer has this information floating around in a daydream like video. Even as one drives along the road we see a spot with a great foreground and mark it some where for a future return. Most have a camera while hiking on a walkabout and will see also a great spot if not then but for later. The coolest is map apps with even trails images someone from google hiked it that you can explore.

Last but no least todays telephoto lenses are a great as primes and Software is the key to your image so a lens that will go wide to far will help in framing but then cropping is another option will most all programs with resize to get that image. Your day dreams will be on a print soon.

Do not leave early but get there early for blue hours after the sun goes down or just before the sun rises there is a orange light only the camera will capture that you do not see!

Have your dreams started yet photographer?

#1 images of the Lunar Eclipse taken form my front porch looking over the top of my house and the foreground image a 10mm capture from a beach only a 10 min drive.
#2 Yes you can capture a MW under lights and this was in Cider Key a short walk from my motel room looking over the Gulf of Mexico.
#3 A beach in back of a hotel at NS Mayport Fl.
#4 Grand Canyon from in front of hotel room with a 12mm lens getting a panorama like with the top and bottom included back when a Panorama rig cost $900+ just know your lenses and play.

If you're interested in a deep dive into the subject of how the mind effects the body, read a book called "Becoming Supernatural" by Joe Dispenza.

Interesting ideas. I've never thought of applying visualization to photography because I'm not typically trying to direct or manipulate the outcome. If the lighting or subject are not cooperating, I don't make a picture. Nothing lost.

My experience with sports is different though. My favorites were skiing, racquetball, and golf, and the outcome was very important. I never enjoyed shooting high scores or making bad shots in golf. But the one thing I noticed about visualizing the golf ball in flight was that I needed to also feel the ball in flight. Feelings are as important as seeing. For imagining success in business, we need to imagine how it feels to have customers calling, or how it feels to be sitting on the beach in Hawaii as a result of all the money we've earned. The stronger the emotions connected to visualizing, the greater the chances for results.

I'll take a look at that book Ed Kunzelman ! That's a fascinating point about needing to feel along with visualizing. We are multi-sensory beings after all. I don't know if I could "feel" being a golf ball in flight, but feeling the weather or camera in my hand or something like that definitely makes a lot of sense.

I'm not feeling the golf ball itself, as in being smacked by a club or looking down from high in the air... I'm trying to experience the emotional feelings of what it's like to see the ball travel along the path that I had wanted. It's the feeling of success: pride, satisfaction, confidence, etc. If you combine the emotional feeling of success with the visualization of success and how that manifests such as getting an order or a great picture, the results tend to flow in that direction. That's why people who are always negative rarely see positive things happen. And people who are positive and confident see positive things happen. We just need to plant the seeds of how things feel in advance of before we get them. That's the essence of the book.