For years I chased smiles. I still do. I love a great laugh for the spark and openness it brings to a subject. But laughter and smiles, universal as they are, do not tell the whole story or express the full emotional gamut of the human race (riddling, perplexed, labrynthical soul, as John Donne so well expressed it.) I use …
Seeing Colour
This image is a photograph of two black gondolas on black water. We do not see things as they are but as they look, and the brain will do whatever it can to untangle puzzles like this. So many people will walk past this scene and others like it and never see it. Not truly. They will see it at …
Vision-Driven Exposure: A Clarification
I wanted to follow up on my article about how I expose, to clarify a few things. If you’ve read that article, read on. If not, you might want to read it first. To make a few things clear, my last post was not a dismissal of craft. Craft has its place. Excellence matters. But there’s this thing about people …
Vision-Driven Exposures
This is my confession. I no longer use a light meter. I don’t spot meter. In fact most of the time I don’t even know what metering mode I’m on. My life as a digital photographer became infinitely easier when I abandoned those, put my camera back to manual and simply began exposing for what’s important. Whether you use a …
An Iconic Photograph, or a Photographed Icon?
Talk to any traveling photographer for long and the words “iconic photograph” will come tumbling out of their mouth as surely as a bus-load of tourists with selfie-sticks will spill out the moment you arrive at a destination and set up a tripod, thrilled to be there alone. As goals go, it sure beats wanting nothing more from our images …
Consider Your Colour Palette
One of the things you’ll notice consistently about the bodies of work of photographers who’ve been doing this a while, is that many of them, though not all, seem to work very intentionally to create a consistency within that body of work – some kind of unifying element. Often that element is on a theme, so it’d be a body …
Learn to Isolate More
Isolation: Use a Longer Lens The Visual Toolbox, Lesson 13 Nikon D800, 300mm, 1/400 @ f/11. ISO 800 This Whooper swan was photographed tight with a 300mm lens. Telephoto lenses, anything over a 35mm equivalent of 50-60mm, have the opposite effect of a wide angle, and the longer they get (200, 300, 600mm) the greater the difference. As telephoto lenses …
Learn To Isolate
This Red Crowned crane was among many, but isolated with a longer lens it creates more impact within the frame than it might have surrounded by context. POINT OF VIEW The first and most obvious way to isolate elements with the frame is the intentional use of point of view. What appears and does not appear, in front of, around, …
Chasing Photographic Style.
We value style, forms of expression so unique to shooters that you can identify their work immediately. Show me a Jill Greenberg photograph, or an Annie Leibovitz cover and their name comes to mind without a conscious thought, much less looking for the photo credit. So valued is the notion of style that it won’t be long before someone writes …
Tell Stronger Stories
Through the ages, myth and stories have been the primary vehicle for communicating meaning and truth. They are not merely the stuff of bedtime tales. The primary storytelling medium in our culture is the cinematic film, and given the billions of dollars attached to the film industry, and the royal status given to its stars, it should be clear how …