Having Not Gone Farther: On Regret & Creativity
I regret very few things in life, if by “regret” we mean the desire to undo the past, to have done things differently. I don’t regret loving with a full heart when my brain was nothing but red flags, and that same heart later fell broken at my feet for having taken the chance. I don’t regret the missteps I …
One Foot in the Grave? An Update.
Not quite a week ago, I had my right foot amputated and dropped that news on many of you somewhat abruptly. Sorry about that. As I observed at the time, there’s just really no way of easing into a conversation like that. If you missed this and you’re wondering what’s going on, you can read the whole story here to …
Amputated. A Personal Note.
I had my foot amputated yesterday morning. I wrote this a couple weeks ago knowing that my head might not be in the space to do so in the days after the surgery, so I can’t tell you how it went just yet, or how I’m feeling about it all, but I can bring you up to date. I don’t …
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 …
Tell Me a (Better) Story
Ask photographers (or God help you, the internet) what makes a good photograph and it won’t be long before someone says, “a good photograph tells a story.” I don’t think that’s true. Not always. I think there are spectacular photographs that tell no story at all. They leave an impression. They elicit an emotional response. Others provide information. And if …
Cooking a Better Photograph
How is it that two photographers can stand in the same place and make two very different photographs? What accounts for the frustrating reality that, in that moment, one photographer can make something truly compelling and beautiful while the results of the other’s efforts are underwhelming? Surely it can’t be just better gear. Sometimes it’s different gear. Different gear represents different possibilities, …
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 …
Masking In Lightroom, An Introduction
I love the masking tool in Lightroom Classic and it has seen some changes over the last few iterations, some of them pretty significant. I was asked recently about this and it seemed like something you might be interested in if you’re a Lightroom user. If you do any dodging and burning at all, the new AI functions are game …