One of the best ways to improve your photography (other than by shooting lots) is to objectively examine your work and let others do so too.
It seems there are as many ways as there are people to deliver a critique for an image. Some concentrate on the technical, supposedly objective, aspects that anyone can see; some on the storyline; some on the overall presentation. Feedback can range from how the image makes the viewer feel, right through to steps to “fix” it.
This post gives you my take on critiques. It’s my opinion. My critique of critiques. Continue reading “Critiquing Photo Critiques”
A bit late with this post. It is summer, after all, here in Canada.
A couple of new announcements in July caught my attention because I use both products but also because they are clear examples of the changing face of photo editing.
Skylum announced the upcoming release of Luminar 4, scheduled for sometime in the fall. Originally released in 2017, the company and the product have gone through some interesting evolutions.
Topaz Labs released the next version of its Studio software, completely redesigning the interface, and redefining its associated pricing model.
Both products are standalone photo editors. Both products also provide plugin options for Adobe Lightroom and Photoshop. But that’s not what makes them interesting. Continue reading “The Changing Face of Photo Editing”
Lots of articles are written about gear, editing software, and training for both. Lots more are written about composition – rules and tips. Lighting, time of day, angle, selecting the subject – all of these receive wide commentary from writers, vloggers and trainers alike.
I can shoot an image, I can even stage a scene. But more often than I would like, I completely blank out when I bring the raw image onto the computer. I ask myself – now what? What’s the final look I want to achieve with this image? How should I present it?
To those photographers who always know what the result will be, even before they shoot, I applaud you. I’ve listened to photographers speak of their work in exquisite detail, outlining every capture and adjustment decision and why they made it. I envy them.
I have friends who deliberately do minimal edits. I have others who retouch to the point of the original piece serving only as a framework for a piece of art. Frankly, I rarely like either extreme. So I guess I’ve made my first decision – establishing a boundary around my edits.
Why is it so hard to know what to do next? A few random thoughts come to mind. Continue reading “Knowing What To Do (with an Image)”
Twice a month, we have the pleasure of listening to amateur and professional photographers talk about their work at our local camera club. It’s typically entertaining, sometimes thought provoking, but truthfully, only rarely compelling.
What do I mean by compelling? For me, that means photography with a clear message, obvious story and emotional reaction. Compelling may show human beings, other lifeforms, places on earth (or not on earth), human activities, the impact of human activities and on and on. But in all cases, there’s has to be something about the work, the way it is presented that is different from what I’ve seen before.
While the familiar can also be compelling – for me, any shots of mountain ranges or oceans, for example – the unfamiliar is another way to get my attention.
In a recent visit, a pro photographer by the name of Dave Sandford definitely got my attention. Along with stunning photographs, Dave told story after story after story and backed it up with undeniable proof. That proof was video. Continue reading “How to Produce Compelling Photography – Shoot Video Too”
I recently became aware of an effort in Ontario to establish a museum of photography. It’s intended to house artifacts and images relating to the history of photography in my home province.
In this day and age of instant history, with uploads to Facebook and a multitude of other social media platforms, with cloud storage options and sharing galore, I wondered what place there might be for a physical museum of photography. So I set out to find out. Continue reading “Recording History”
A while ago, I began hearing a term that I wasn’t familar with: lookup tables (LUTs). Curious, I “looked up” the definition, and was mildly puzzled to see it defined as a series of values in table format that helps you interpret or translate another set of values.
What does that have to do with photography? As it turns out, every part of a digital image is a set of values – for size, dimensions, camera settings, colour space, etc. We’ve long had the ability to manipulate any one value to our liking through the sliders we see in modern editing software. Now it seems we also have the ability to redefine broad swaths of data at once. Find out how. Continue reading “Looking at Lookup Tables (LUTs)”
One of the hardest lessons I’ve had to learn as a photographer is not to limit myself to the immediate reaction I have when looking at a scene or subject. There is potential in every situation, even those that to the human eye and the camera initially look like disasters.
A friend of mine invited me to join her to try to shoot car light trails from a highway overpass at dusk, achieving both the capture of the sunset and the movement of the cars through light trails. Here’s what happened. Continue reading “Believe”