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 →
I’ve been out of touch for a month. Sorry about that. I seem to be busier now than when I had a full-time career. Recently, I had the pleasure of heading out with my photography club to its annual “retreat”. A chance to immerse myself in all things photographic for a full weekend. We chose a destination that we could drive to in an afternoon, but also one that would require disconnecting from all the demands back home. It was wonderful. Continue reading →
To be a good photographer is to be a lifelong student of the craft. There is no such thing as a photographer that knows it all. Even if you are the most technically proficient expert around, the art of photography is something that needs attention for as long as you shoot.
I’ve noticed an evolution of my abilities and interests over the 4 years since I took to this seriously. I’m not bragging. Far from it. Some things have become second nature while others send me down a rabbit hole of discovery, wrong turns and sometimes an “ah-ha” moment. But the most mind-intensive introspection, for me, occurs when I’m examining the work of other photographers. I’ve come to realize that this is a good thing, even if it leaves me with more questions than answers. Continue reading →
Does your photography move you emotionally? Do other people comment on how it moves them? Is there a “wow” factor?
Experienced photographers who share their knowledge with new photographers spend a lot of time talking about composition and the “rules”. Leading lines, rule of thirds, negative space, etc. help to teach the eye what to look for when evaluating a scene. But they don’t spend a lot of time talking about why these rules matter at all.
I can only find one answer: it’s an effort to disrupt the composure of anyone who views the image. To get a reaction. Most often positively, sometimes with delight, and sometimes deliberately negatively. The “rules” provide a roadmap for the senses, and by extension, for the emotions. To be truly successful as a photographer, you have to tap into that emotion – yours and your viewers.
It seems there is a long-standing debate around photographing other people’s work. It’s a simple debate: what exactly is the photographer creating if the photograph includes an object or structure that has been created by someone else?
This debate arises mostly in relation to works that exist in public spaces. The originating works may already be labelled “works of art” or may be labelled “architecture”, “edifice”, “structures”, “building”, “hardscape”, “figure”, “carving”, “casting” or any of many names that don’t necessarily assign an aesthetic value.
And yet all of it was imagined by someone, designed by someone, built by someone and placed on display. Even if the work has another function, such as a building, there was a creative effort expended to provide that space. If a photographer takes an image of it, presents it as their own creation and maybe makes a profit from it, is that right? Disclaimer: this is not a legal review. Continue reading →
One of the joys of photography is simply the chance to talk to other photographers. So many topics to indulge, so many experiences to compare. And of course, best of all, the chance to admire good work.
I had the pleasure yesterday of attending a talk at our local camera club by Kas Stone, a Canadian photographer based in Nova Scotia. In addition to her work as a landscape and nature photographer, she regularly teaches, holds workshops and speaks to groups like ours about the art of photography. Continue reading →
It’s one of the ironies of photography that we spend ever increasing amounts of money to purchase better and better cameras and lenses, acquiring more and more automatic features to aid us in getting the best images possible.
And then what do we do? We turn everything off and shoot completely manually, because “that’s what pros do”. Think about that for a minute. Does that make sense to you? Give your head a shake.
I recently had a moment shooting an event where I had to do just that. Then I did a little experiment to find out just what I was missing by doing all the work myself. Read on for the results.