A Good photo has neat subjects, nice light, ok composition, nice tones etc- A masterpiece transports the viewer to the location as though they were right there alongside the photographer watching the scene unfold. Something In the photo will just draw you into it for a little closer look- a shadow that is placed in such a way as to cause your eye to seek out the light source, a water rainbow from a sprinkler which works on several levels, drawing on the viewer’s childhood experiences, then later as an adult feeling the warmth of the sun and desiring to cool off in the water- Sparkles on a river reminding us of walks along a stream in summer during noon day sun with lush green grass and ferns o n the banks and the glow of green in the leaves as the sun shines through them backlighting the…

Learnign to Really See Part 2

Nopt sure how far I’ll get with this as what I am reading is pretty deepish- Watchign John Berger’s youtube video called ‘about looking’ which states that once, paintings were singular works of art which hung in one place, were surrounded by one set of surroundings, and anyoen that wanted to swee them had ot see the same surroundings as everyoen else, so everyone’s visual experience was pretty much similiar- but nowadays, we reproduce soemthign like the Mona Lisa, and can send copies out all over the world, and when peopel view it, they are viewing the reproduciton in unique surroundings that are only visible to that person at that particular viewing time…

One thought I had, which I will mix my thoughts with Berger’s- on why photos fail to capture the ‘feeling’ that we have when out in the

Infusing Meaning into photographs

I always say I’m goign ot ‘finish’ these short articles later, but never really get around to doing so- I’m terrible that way I guess- I find a subject I think about, write some on it, then never compelte the entire thought- oh well-…

Anyways, thinking about what photographers strive to accomplish, I’ve decided that basically we are artistic peopel who wish to create in order to share our vision with the world. We see a scene, FEEL soem kind of emotion to it, and wish to impart that same feelign on others, and set out to try to accomplish this via composition, positioning, light, color, smeel, feel, touch, texture, patterns etc- We are tryign to give the viewer a glimpse into our soul if you will- it’s the very nature of art, to impart our essence to our chosen medium so that others can ex

Image Flow

Been learnign few things over the past few weeks, one of them about image flow, and how it affects the viewer- Seems that how a photo flows will have a direct impact on how a viewer responds to a photo or painting-…

The eye tends to begin in left upper corner, or 1/3 down or so, and move in a bit of a diagonal manner to the right, so naythign in upper left corner will be dominant, upper right will be confrontational, lower right will be comforting, lower left will be subordinate- Diagonals that go from bottom left to upper right will tend to create tension and dynamic movement- diagonals alognm hte baroque (left to right) wil lcreate rest and comfort

As you know, we most all tend to read left to right- we grow up viewing left to right, we scan scenes left to right usually, and it’s how we


Are your photos a relfection of YOUR vision? Do they say a little bit about you? or are they photos which when viewed are so so generic ‘scenery’ type photos that could have been taken by any one of a thousand other generic snapshooters?…

Are your photos dark and moody? Light and colorful? Heavy contrast, light contrast? Swell- but so aren’t hundreds of thousands of other photographer’s photos- Take a street photographer for isntance, soem photographer’s style is bold, direct, unapologetic- while others are timid, at a distance, or they look for light moments exclusively, or look for anger, or poverty or watever- these are the beginnings of style- but htere’s more to style- it’s also seeing and manipulating design elements in a photo that suit your style- color, line, form, shape, texture

Design Principles

Dominence: Mix thigns up by including a dominent element in an otherwise boring photo where everythign is the same ie: several same sized rectangles and one large circle ism uch more itnerestign than a photo where rectangles and circles are all roughly same size…

Balance: A large shape near center can be balanced by a small shape out near a corner on opposite side

Variance: Again, mix it up a bit- All red leaves on the groudn are boring, throw a bright green leaf into the middle and bam- more itneresting photo

Contrast: Look for biggest contrast to be centered aroudn your focal point- Avoid scenes where contrast overwhelms the whole photo (unless that is your artistic goal- but even then it needs to be expertly handled, otherwise it’s just chaos without purpose)

Unity: Avoid disjointed ele

Learning to really See

This is somethign I constantly have to keep reminding myself of (and which I often forget, and end up with just a bunch of so so shots)- When you come across a subject that grabs your attention, the first instinct is to grab the camera and try to capture what you were drawn by. However, rarely does the resulting photo portray what drew you to the scene/subject in the first place.…

When we look at a scene, or even glimpse a scene out of the corner of our eye that attracts our attention, our brain quickly gloms onto that center of itnerest that grabbed our attention in the first place, however, our camera is not able to do this- it simply records everythign, and thsi is why we often feel that our shiots don’t capture what we FELT abotu hte scene in the first place. To help overcoem the came

Harsh Light Photography

This too will be an ongoing post- hopefully picking up tips here and htere for shooting midday during harsh light- tghe ‘worst’ tiem of day to shoot-

Shadows- use them to your advantage soemhow- shadow of prison bars falling across a man’s face sends a powerful message of lost hope and despair- Shadow of eifel tower on ground perhaps falling across a toy dog helps to exploit the contrast of small and large, as well as beign powerful image of icon without actually showign hte icon itself-

What Catches Your Eye? How Does the Brain Work?

Shapes (Primary shapes such as triangles, squares, circles, patterns of shapes etc)
People (our minds are wired to look at people)…

Circles are very powerful and will grab attention and becoem main subject even if not meant to be main subject- Actively look for squares, circles, triangles-

When we view the world aroudn us, We ‘SEE’ differently than the camera sees- We see with emotion, memory, sense, feel, sensation etc- When we SEE a seen, we ‘experience’ the scene- When hte camera "SEES’ the seen, it simply records it WITHOUT all the superfluous stuff that we interject into a scene, which is why the camera’s ‘view’ of hte scene turns out much much different than what we saw/felt/experienced. And, while it’s true we can post process the static cold photo andm old and sha

Photography = Subtraction

In art, the artist starts with nothing and has to add to the canvas, in photography, the photographer starts with everythign and has to subtract for them ost part (of course a photographer must at times add too- such as add light, add diffuser, add props etc-) but for nature photography, one takes a scene and subtracts all the distractign elements and renders the scene down to just the important elements…

WHAT is your photo about? Wedding? How about the smiles between the couple as they share private moments/looks in their nervousness? How about looking for, and zeroing in on the daughter andm other sharing special moments, on daughter and father as the father proudly presents his daughter to hte crowd? Look for the relief after the ceremony has ended, zero in on it- capture the couple rel

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desktop tablet-landscape content-width tablet-portrait workstream-4-across phone-landscape phone-portrait