This is another long one, but if you’ve ever struggled to understand Exposure Value Compensation (or never used it), this might help. Put the coffee on and settle in for a bit. Skipping past the inevitable moment when I’m walking around with my 600mm lens and someone asks if I’m compensating for something, the answer is generally yes. I am. But it’s …
Refine Your Mood in the Darkroom
In my last post (August 06), I discussed a few ways to improve the mood in our photographs, namely by finding stronger mood in the first place, usually by looking for more interesting light or more interesting weather. Just getting out there earlier and staying later helps. Some weatherproof gear and a willingness not to baby the camera so much …
Find the Light, Find the Mood.
“How do you photograph that great light?” is one of the top three questions I’m asked about how I make my photographs. It’s a good question because the camera sees light differently than we do, and unless you know what’s possible, you’ll struggle with retaining the mood of beautiful light. That struggle is more difficult for photographers who are still chained to …
What Makes An Image Work (Part 2)
Last Sunday I posted a photograph on the blog, and in The Contact Sheet email, inviting you to consider how I made one of my photographs. The exercise was a simple one, and I know some of you have seen it before but you can still learn from it. Look at the image and ask yourself what decisions I made …
What Makes An Image Work?
As a child, my cousin James had a reputation for taking things apart. I recall one Christmas when he dismantled down to the wiring every gift he was given. Remote-control cars? Give him 20 minutes, and there would be nothing left but a pile of tiny screws, little motors, and the tears of his mother who probably should have known better than …
One Photograph, Many Choices
Being able to dissect an image is a helpful skill. Looking at a photograph and identifying the various choices that led to the look and feel of that image, even when it’s your own (maybe especially when it’s your own) makes us stronger photographers that are more fluent in the visual language. I’ve been talking a lot lately about the …
Masking and Lightroom Presets
What I’m about to show you is my favourite discovery of the year in terms of my workflow. I tend to do a lot of the same kinds of adjustments to similar photographs, especially when creating a body of work. I might globally add some exposure and contrast, tweak some colours, and then apply a mask to my main subject …
Study The Work of Others
In my last article, I suggested studying the work of others as one path toward making your own work stronger. To shoot what things feel like requires that we first have feelings about things but also to understand what possibilities exist for translating feelings into photographs themselves. It’s a conversation that could get touchy-feely really quickly, but if it gets too far …
Better Editing, Better Photographs
Click play to watch this 8-minute video I’d love to hear from you on this. Where do you find your greatest challenges when it comes to choosing your best work and doing something with them, staying organized, and doing all the work that happens beyond the shutter? If you feel like talking about it, drop me a note in the …
Perspective and POV: Change Mine By Changing Yours.
I talk to myself when I am making photographs—mostly mumbling, and it’s always questions. Questions like the ones I addressed in the last email I sent you about time, including “Could I leave and find something else? Could I wait a little longer?” Questions about light as well: “Could I be more creative about this, perhaps by underexposing?” And there are …