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Lessons from the Masters: Sally Mann

19 Nov

The post Lessons from the Masters: Sally Mann appeared first on Digital Photography School. It was authored by Adam Welch.

Photography can be mischaracterized as a “safe” medium. More often than not, photographs are geared towards improving the way we view the world and ourselves. Generally speaking, photography appeals to the lighter side of our senses. Whether it’s the calm aesthetics of a serene landscape or a hauntingly sublime portrait of an elegant model, when we think of photography, we immediately think about all the ways it can make the world seem more beautiful and more safe.

Lessons from the Masters: Sally Mann

But the world isn’t always beautiful. The world isn’t always the safe and secure menagerie of perfection we often see displayed in the photographs on social media and other corners of the internet. For all its effectual nature, photography, which displays only the conventionally pristine faces of our world, is at best, a blissful half-truth and at worse, blatant hypocrisy. We are surrounded by uncomfortable realities that are easier ignored than embraced or even acknowledged.

This leads me to the work and life of a photographer who is surrounded by as much controversy as she is by her works enigmatic magnetism. In this edition of “Lessons from the Masters,” we take a close look at the photography of Sally Mann. We see why and how she has become such an oddly iconic herald of the merits of unconventional photographic content.

Mann’s photographs epitomize the harsh internal conflicts we all face in our work and our lives as we walk the fine line between tactful self-expression and creative freedom. We’re going to find out what lessons we can learn and apply (or avoid) to grow as photographers.

Who is Sally Mann?

Photo: Michelle Hood [CC BY-SA 3.0]

In 1951, the girl who becomes Sally Mann was born in the small southern town of Lexington, Virginia where she still lives today.

Her path to photography was first facilitated through her physician father (also an artist) with whom Sally would have an admittedly complex relationship throughout her life. She holds a BA and an MA in creative writing from Hollins University in Virginia. It is remarkable to note that Sally Mann has never formally trained in the craft of photography.

Although she has produced work across all photographic mediums, she gravitates toward photographing things closest to her home in the southern United States. The large body of her photographs centers around the investigation of death, sensuality, history, childhood, and the visceral (often painful) realities of life.

Many of her most known photos are products of antiquated photographic techniques such as wet plate collodion. She captures these using an antique 8×10 view camera with equally-aged lenses. Incidentally, this type of photography plays an enormous role in one of the most important lessons we will learn from Mann.

Sally Mann has published numerous books of her photographs as well as produced multiple major exhibitions and is a Guggenheim fellow. She has been the subject of two documentary films with one nominated for an Academy Award and the other an Emmy.

In 2001, Mann was named “America’s Best Photographer” by Times magazine.

The following two images are from Sally Mann’s A Thousand Crossings exhibition.

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“Deep South, Untitled (Concrete Grave)”, (1998) Gelatin silver print . . . . . . #sallymann #athousandcrossings #gelatinsilverprint #analogphotography #blackandwhite #photography #print #darkroom #highmuseumofart #ngadc #peabodyessexmuseum

A post shared by A Thousand Crossings (@a_thousand_crossings) on Nov 4, 2019 at 11:32am PST

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“Untitled (Self-Portrait)”, (2006- 2012) Grid of nine ambrotypes. . . . . . . #sallymann #athousandcrossings #analog #photography #ambrotype #glass #plate #negative #ambrotypephotography #analogphotography #selfportrait #process

A post shared by A Thousand Crossings (@a_thousand_crossings) on Sep 19, 2019 at 11:07am PDT

Now, let’s look at some lessons we can learn from Sally Mann.

Photographic opportunities are everywhere

We are fortunate today as photographers in that we can make photographs at literally any time. Through the progression of photographic techniques, our cameras have become smaller, cheaper, and generally more qualitative than ever before.

And yet, we sometimes find ourselves at a loss for what to photograph.

Lessons from the Masters: Sally Mann

I’ll admit, I’m guilty of this mental photo block myself. Sometimes we can convince ourselves that we need to “go somewhere” to make photos. It’s easy to forget that it’s not necessarily the location or the subject matter that makes for a great photo. Instead, it’s how we inject our own creativity into the making of the photo that truly matters.

In the case of Sally Mann, the majority of her work takes place on and around her property, with concentrations on simple subject matter.

The lesson:

The next time you feel like there’s nothing to photograph, remember to look a little deeper at the things surrounding you at any given moment. Light transforms textures and can produce incredibly dynamic compositions from even the most common subjects.

As a measure of solidarity, I made three photos using my cell phone here in the room where I’m currently writing. They are incredibly basic objects: my hand, a spoon, and a book, with the entire process only consuming about ten minutes. I made all of these using available window light and then quickly processed them in Adobe Lightroom Mobile.

Lessons from the Masters: Sally Mann

Much like Ed Weston and his simplistic photos of common objects, Sally Mann teaches us that it can pay to look deeper at the things we encounter every day.

Embrace the flaws

Nothing is or ever will be perfect, especially our photographs. Coming to terms with the truth that perfection is unattainable is a constant difficulty that we all must face as photographers. Sally Mann takes this one step further by actively welcoming flaws and imperfections into her work.

Many of Mann’s most iconic works carry a measure of impurity, which somehow lends itself to completing the total impact of the photo.

From one of my own photo projects. A sheet of 4×5 film shot in the Mojave desert and developed from the back of my car. Complete with dirt, scratches and water spots.

Sally Mann refers to this mercurial facet of her work as the “angel of uncertainty” in reference to the somewhat unpredictable nature of the photographic processes she employs. It’s this complete surrender to the happenstances of the work that gives Sally Mann’s photos their unique qualities.

The lesson:

Try to strike a balance between proficiency and cautioned spontaneity when you make your photographs. Keep in mind that a “perfect” photo doesn’t exist and try not to become so preoccupied with your technique that the creative nature of your work suffers.

Allow yourself to be yourself, and that will shine through in your photos. Welcome all the little intricacies and glitches, which come along with making photographs, and you will likely find more enjoyment from the images you make.

Recognize the power of photography

As much as Sally Mann’s work is revered by some it is reviled by others. Her expressions of death, decay and especially her highly controversial images of her children have made here somewhat of a polarized figure. It speaks to the incredible power held within photographs which can move people in a multitude of directions.

Photo by Adam Welch

The lesson:

Photography is not just a two-dimensional art form. The power of photography can transcend the medium itself with many legendary photos serving as a model for social and environmental change.

To that end, we must always remember that our work can affect our viewers on levels we might not fully comprehend.

It’s true that we can impact the lives of those who see our photos in a positive way. Yet, it is also true that our photos can have the opposite effect and can potentially cause pain. In the case of Sally Mann, the public reception may include entirely different attitudes than was originally intended.

In closing…

No matter if you’re a professional or hobbyist, being a photographer today means constant reminders that our photographs could always be better. If we only had this or that piece of gear, or maybe if we travel to this place or that, our images will somehow finally reach that magical Nirvana we always hoped they could achieve.

And then we have Sally Mann – a photographer that has managed to become arguably one of the most influential photo makers of the last fifty years.

She seems to defy the conventions of today’s photographic climate by shooting close to and in her home using tools and techniques that are more than a century old.

Her work is famous – and at times, infamous.

In fact, many of her more notable works can’t even be shown within this article. Yet, the work of Sally Mann reminds us all that we are making photographs with similar intentions; to express ourselves using whatever means satisfy us most.

Perhaps the greatest lesson we can learn from Sally Mann is that we all share a common complexity best translated through photographs in the absence of words. That somehow we find perfection through imperfection, and that we are all mortal.

Lessons from the Masters: Imogen Cunningham

05 Apr

The post Lessons from the Masters: Imogen Cunningham appeared first on Digital Photography School. It was authored by Adam Welch.

It’s easy enough to develop the illusion that the legendary names venerated throughout the history of photography were somehow so different from ourselves. While’s it’s certainly true that the photographic climate has changed, we still share the same passion for the art as those who clicked shutters fifty years or even a century ago. Many of them faced the same challenges, inspirations, successes and failures as we do. Perhaps that’s why I love learning more about the giants of photography and applying lessons from their work to my photos.

In this installment of “Lessons from the Masters,” we’re going to take a closer look at the work of the estimable Imogen Cunningham. Her determination and herculean achievements placed her working alongside other formative photographers of the 20th century. The contributions she made to photography as an art helped shape the photographic landscape we know today.

Imogen Cunningham

Named after the heroine of the Shakespearean play Cymbeline, Imogen Cunningham entered this world on April 12th, 1883. Born to rather paradoxical parents (her father a spiritualist and her mother Methodist) in Portland, Oregon she was a self-described “ill-tempered” child.

When she was 18 years old, she saved enough money to purchase (via mail order) her first camera in 1903, a 4×5 type, along with a box of glass plate negatives. She then began teaching herself how to make photographs. Cunningham knew photography would be her life’s work although her path would not be a direct one.

Following her graduation from the University of Washington with a degree in Chemistry in 1907, Imogen worked with Edward Curtis at his Seattle studio. There, she honed her skills in the darkroom while printing his iconic images of Native Americans and the American West.

Two years later, Cunningham received a $ 500 grant which enabled her to continue her studies abroad in Germany. During this time she developed theories on photographic chemistry still practiced today.

On her return to the west coast from Europe, Imogen made a familiar pilgrimage which other notable artists of the time often made and ventured to New York City for a meeting with the legendary Alfred Stieglitz at his “291” gallery. Stieglitz introduced her to Gertrude Käsebier who was the first professional female commercial photographer at that time.

After this influential meeting, Imogen committed her energy to photography. She opened a studio in Seattle, Washington and soon made a name for herself through portraits.

It was this studio where Imogen made her living while finding time to delve into more personal work before relocating to California in 1917. Unfortunately for us, she left the majority of her photographs and negatives behind, so there isn’t a large wealth of examples from that period of her career. In 1929, the Film und Foto Exhibition in Stuttgart, Germany, included a ten-piece selection of Cunningham’s work. The fabled Group f/64 would form a few years later to which Imogen was a founding member. Other founding members included her friend Edward Weston as well as Henry Swift, John Paul Edwards, Sonja Noskowiak, Ansel Adams and Willard Van Dyke. Over the years, Imogen Cunningham’s body of work would be as eclectic as it was groundbreaking.

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After living an extraordinary life of photography, Imogen Cunningham passed away on June 23rd, 1976 in San Francisco, California at the age of 93.

Now that you know a little bit about the person, let’s dig a little deeper. We’ll look at a few of the many the lessons you can learn from the life, work, and attitude of Imogen Cunningham which can help to improve your photography.

Extend your range

Imogen Cunningham’s choice in subject matter was ‘diverse’ to say the least. From her earliest pictorial work to her self portraits and nudes, it’s safe to say that the idea of sticking to one subject or even one genre for that matter was not something that held back the creative spirit of Imogen Cunningham. She believed that photographs presented themselves to her organically.

She seldom went “looking for things to shoot,” instead preferring to allow the subject matter to appeal to her aesthetic awareness. I mean, come on, she was even one of the early practitioners of street photography before there was street photography!

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Many of Imogen’s most iconic photographs gravitated towards the use of light and shadow to present common scenes in an extraordinary way by accentuating texture and shapes. She could look past what a subject was to see what it could be. This beautifully simplistic aesthetic is one of the reasons so many Cunningham prints carry a timeless appeal.

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Sometimes we find ourselves concentrating so vigorously on obtaining a particular photograph that we overlook other opportunities to produce great work. While it’s true that we can and should visualize how we want the final image to appear, the process is often helped along if we remain flexible.

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Don’t allow yourself to be mired down by one particular subject or location. This is especially true for us today while bombarded by social media accounts producing visually similar photos according to a theme rather than personal expression. This leads to an almost unconscious dulling down of creativity.

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My own still life photo of lilies making use of light and texture to bring out the subtle elegance of a simple subject.

Photograph anything and everything that you please – even if might not fit with what you generally shoot.

Feel the fear…then do it anyway

One of my favorite quotes from Imogen Cunningham goes like this:

“…you can’t expect things to be smooth and easy and beautiful. You just have to work, find your way out, and do anything you can yourself.”

Without a doubt, Imogen was a strongly independent, capable and witty woman who pursued her work with an intensity of purpose. At the same time, she was human. She faced challenges, hardships, and fear just as we all do.

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The key to overcoming your self-doubt is to keep moving forward. I think that’s what Cunningham was getting at here. It’s not that we should strive to be fearless but instead work to be tireless in the face of fear or our lack of confidence.

When it comes to photography, there will always be areas where we don’t feel as knowledgeable or proficient as we would like. However, that shouldn’t reduce you to thinking you will always feel that way. Take it from Imogen. Work hard and accept that you won’t always find yourself in easy situations. But never, never, never give up.

Interface with other photographers

Surrounded by other photographers, like many other defining artists of her time, Imogen loved discussing all aspects of photo work. As a founding member of Group f/64, she understood the value of sharing ideas and concepts with other photographers who approached the medium with the same zeal as she did. They learned from one another and worked to further the craft.

One of the most enlightening and enjoyable things I have ever done in this regard was to start the ongoing ITOW (In Their Own Words) Project. This project consists of interviewing other photographers that I either know personally or interact with on social media. The insights gained through these discussions continue to help deepen my own appreciation for the way other people see photography.

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By Seth Doyle via Unsplash

Whenever possible, take the time to get to know other photographers and discuss photography openly and honestly. This doesn’t mean you have to strike up a conversation with anyone you see is carrying a camera, but it’s always interesting to examine how other people go about making their images and why.

Worldwide communication has never been more extensive or readily available. We have the capability of connecting with people whom we would have never known existed otherwise. One of the greatest assets we have for growth in our work is by interacting with other people who appreciate the value of photography.

Parting thoughts on Imogen Cunningham

Having been fortunate enough to view some of Imogen’s original prints, it’s easy for me to understand why she was, and still is, one of the most influential and accomplished photographers of all time. Along with other pioneering photographers, we owe a debt of gratitude to Imogen for helping advance photography to the incredible medium we know today.

The lessons we can learn from her work extend well beyond the photographic. She helped show that beauty is found in places and objects we see every day and that we can accomplish almost any goal – no matter how distant it may seem.

I urge you to learn more about Imogen Cunningham, her photographs and her wonderful example of living a full life.

Author’s Note: I would like to extend my immense appreciation to The Imogen Cunningham Trust for permitting the use of many of the photographs presented in this article.

The post Lessons from the Masters: Imogen Cunningham appeared first on Digital Photography School. It was authored by Adam Welch.

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7 Lessons You Can Learn about Photography from Legendary Photographer, Diane Arbus

27 Jan

The post 7 Lessons You Can Learn about Photography from Legendary Photographer, Diane Arbus appeared first on Digital Photography School. It was authored by Anthony Epes.

I discovered the extraordinary photography of Diane Arbus early on in my career and was blown away by the candid portraits she created. They seemed to have a strong feeling of intimacy coming from the subject (apparent in photos like “Family on their lawn one Sunday.”)

Arbus (1923 – 1971), was an American photographer whose most famous subjects were often outsiders in society.

Journalist Arthur Lubow said of her work: “She was fascinated by people who were visibly creating their own identities—cross-dressers, nudists, sideshow performers, tattooed men, the nouveau riche, the movie-star fans—and by those who were trapped in a uniform that no longer provided any security or comfort.”

I was impressed with her photos. To capture the feelings and reveal aspects of the lives and personalities of her subjects is both challenging to do as a photographer, and rare.

So many photographers are concerned with the ‘surface’ of their subject’s appearance. However, to spend time delving into our subject’s persona gives us an incredible insight into the multiple human experiences of that person’s life.

In this article, I take an in-depth look at Arbus’s photographic approach and draw out simple but powerful lessons to help you develop your photography.

What I most admire about Arbus’s approach is that she spent a lot of time connecting with her subjects. They felt comfortable with her and were able to relax and reveal aspects of themselves and their lives.

I think this connection is what leads to such a feeling of intimacy within her photos. It’s almost as if you are right there with her, and with that person (her photo of the boy with the toy hand grenade is brilliantly evocative of kids.)

Arbus died in the 1970s, but her photographic legacy is still profound. After her death, her daughter collaborated with the artist Marvin Israel to produce a short documentary about her work, Masters of Photography: Diane Arbus, in which her words get spoken over her images.

It’s a fascinating view of her approach, and many of the quotes I’ve used in this article come from that film. I encourage you to look up her work and see for yourself.

From my observations of her work and reading about her life, here are some of the lessons I’ve drawn from her photography. Included are my own photos.

1. We shoot what we are

“What moves me about…what’s called technique…is that it comes from some mysterious deep place. I mean it can have something to do with the paper and the developer and all that stuff, but it comes mostly from some very deep choices somebody has made that take a long time and keep haunting them.” Diane Arbus

I love the photographic kit, and I love cameras, and I am a bit of a tech nerd. Never met a camera manual I didn’t enjoy reading!

Moreover, I am an advocate of learning to use your camera, learning to shoot on manual and having an excellent understanding of all your kit. That way, you are so familiar with it that you can completely forget about it and concentrate entirely on getting into a deep creative flow state.

I will say, creating interesting, compelling and unique images has very little to do with your camera, and everything to do with who you are as a human being.

I have seen too many technically perfect, but entirely boring photos, to know how true this is.

We are all different as human beings, and so our photographs must reflect who we are. Reflect what we’ve experienced in life, what we love and dislike, what excites us and ignites our imagination, and what totally and completely fascinates us.

When we take photos, we are drawing from this massive well of life experience and our unique personalities. That is why I love the quote (above) from Arbus. It shows that there is so much more to photography other than the camera you have and how well you can use it. It is meaningful, but still a small part of the photographic process.

When people look at my photographs, they often say – “oh, you like to photograph cities or people or pretty nature?”

I say, “no – I only have one subject, and that is light.”

My photographic obsession is intriguing and beautiful light. Almost everything I choose to photograph has somehow been transformed by light, and it bewitches me.

I have distinct memories, of being a small child laying under a tree in a Greek garden, seeing and feeling the dappled light falling over my face. Moreover, many of my memories of growing up in California are also of light. Of being out in nature all day, and climbing trees in the hot, yellow sunshine.

I love the way that everything is affected by light. How the same thing – a tree, for example – looks and feels one way when the light is flat and grey, and entirely another way when it’s bathed in the light yellow sunshine of a spring morning.

Light is something that moves me on a subliminal, subconscious level. I didn’t even realize that light was my obsession for many years. That’s because, as Arbus says, “our photographs are a reflection of our deeper selves.”

When you examine your photos what do you see about yourself? What do you notice about the innate aspects of your personality? Does it tell you about what you love and what captures your attention?

Where can these deep passions take you in your photography?

2. Find the perfect angle

“I work from awkwardness. By that I mean I don’t like to arrange things. If I stand in front of something, instead of arranging it, I arrange myself.” Diane Arbus

I often see people’s photos of fascinating subjects, but the photos themselves are boring. They missed the chance to create a dynamic photo, often because of where they positioned themselves.

It may sound obvious, but your job as a photographer is not to wait for the subject to come to you, nor is it to wait for the subject to become perfectly aligned with your camera.

Your job is to find the very best angle. The very best place to stand and arrange yourself so that you place your subject at its very best situation in your frame.

There is always one angle that is the best for your subject. You have to find that. It may sound obvious but it’s not something I see a lot of amateur photographers do.

Ask yourself: if the subject and my composition isn’t perfect, where can I move to try different angles and compositions? Can I move up, down, or around?

Am I able to climb on a chair or walk up that hill? Do I need to lie on the ground or reposition myself so that the light falls on their face? Can I catch a reflection in the glass?

You should always be thinking to yourself: What happens to the subject when I go over here…?

Once you’ve got that great shot, explore further and search for other good angles. See if you can go one better.

3. Photography is your license to be curious (even when it scares you)

“If I were just curious, it would be very hard to say to someone, ‘want to come to your house and have you talk to me and tell me the story of your life.’ I mean people are going to say, ‘You’re crazy.’ Plus they’re going to keep mighty guarded. But the camera is a kind of license. For a lot of people, they want to be paid that much attention and that’s a reasonable kind of attention to be paid.” Diane Arbus

Many photographers are scared to shoot strangers but would love to do it anyway. However, shooting people you don’t know can be a very confronting experience.

Often there is a big fear about what the person might do when they see a camera focused upon them, or when you pluck up the courage to ask their permission to shoot.

The most important thing to know here, and this comes from my own experience as well as from other photographers like Arbus, is that most people enjoy some attention.

Most people are happy to have you shoot them – or they don’t mind. Photographing someone is saying to them – I find you very interesting – and most people see that as a compliment.

Now we are in a different age to Arbus. When she was taking photographs, very few people had cameras. Whereas, now with our smartphones, cameras are everywhere.

What I love about Arbus is that she holds strong reverence for her subjects. The process of connecting and working with them was all about them and not about her feelings.

She talked at length about the fear and anxiety she felt about approaching subjects or going to their houses to photograph them.

It is inspiring to hear that she was always pushing herself to do more and not allowing her fear to hold her back. Although, on occasion, it did hold her back. However, she’d start over the following day or at the next opportunity.

We all experience fear, and it’s okay. Go with it and don’t let it stop you.

There’s another piece of advice I’d like to offer when photographing strangers, and this is what Diane Arbus also did, and excelled.

It all comes down to your attitude. Your potential subjects pick up on a sense of your energy when you point a camera at them.

Think about whether you are friendly and considerate. Do you smile and relax? Are you trying to connect with the person? Alternatively, are you shoving a camera in their face and being aggressive or are you only looking for a quick shot?

The biggest asset I have when photographing people all over the world, and where I don’t speak the language, is my smile. I often smile and lift my camera as if to say, “may I?”

People sometimes nod, or don’t respond but just stand still. If they say no or walk away, then I’ve got my answer.

If I am photographing people without them knowing and they see me, usually they walk away. However, if they want to connect, then I’ll show them the photo, smile and have a chat.

I work on projecting confidence in myself, and friendliness to my subject. The very worst that can happen is that someone wants me to delete the photo. How easy is this nowadays with digital cameras?

In fact, this has probably only happened once in the thirty years I’ve been taking photos. What typically happens is that they ask for a copy of the picture, which I gladly email.

Photography is also a license to connect with people. I have had so many interesting conversations, been taken to lunch and shown around new cities when people see that I am a photographer.

I tell people about my work, my books, and my projects, and people are curious. For them, it’s often an excellent opportunity to get to talk to someone new.

When my wife was pregnant and after our kids were born, she said the whole process changed her experience of London. Suddenly, instead of being ignored, she was stopped in the street, talked to in cafes and chatted to all over the city.

4. How to get to the reality of people

“There is a point where there is what you want people to know about you and what you can’t help people knowing about you.” Diane Arbus

Everyone has a mask that they show to the world. It’s so embedded in us that we don’t realize we are projecting it.

To show our true selves often makes us feel vulnerable. We don’t want to expose our worries, or what we believe to be our character flaws.

So we show the world an edited version of ourselves and an identity that we are happy to project (or not. Some people project anxiety or melancholy.)

We can always photograph a person on a surface level, posed in the way they’d prefer. But the fascination is to dive beneath the surface and find the place that tells us more truthfully about that person, and who they are.

As photographers, we want to get a sense of what it is like to be our subject and how they feel in that space and time. This is where I think Diane Arbus excelled – like in her photo “A young man with curlers at home on West 20th Street, N.Y.C.”

She had such a strong awareness of what people wanted to show, versus what their life really was, that she was able to get people to show their true selves.

So as photographers, it is awesome that we get the opportunities to explore and probe the masks that people put on. When we are patient enough, the mask drops and we can see the true human experience.

Getting your subject to show behind their mask can be simple. When shooting a portrait, have your subject hold the same pose for an extended period. After a while, they become bored of the pose or forget about it because they start thinking about something else, Suddenly, a real emotion or feeling comes pouring through.

It’s harder to do with some people than others. Some people used to being photographed, or who have a stronger attachment to their mask or ‘identity,’ try not to allow their true thoughts and feelings to come out.

This is where your patience comes into play.

Keep going. Stay with your subject and talk to them. Ask questions, move them around a bit, and see what develops.

Arbus had a fascination with her subjects and their ‘beingness.’ She didn’t try to manipulate them or change them but gave them space to be themselves.

She talked about how nice she was to people. She was warm and ingratiating, and that led to people relaxing and being themselves. Consequently, Arbus captured the clear, unvarnished experience of life.

Another big key for me, when shooting strangers, is to be respectful. It is their lives, their selves, that we are revealing to the world.

When Arbus said, “You see someone on the street and what you notice about them is the flaw,” it is about what is speaking to you about this person’s true humanity. Because humanity can be messy and difficult. We are complex beings. Discovering what makes each person who they are is a wonderful journey to take as a photographer.

Revealing the flaws, characters, and difficulties are often what connects us to each other in the first place. We all connect to the challenges of the human experience – and working to capture this in your photography is a very enriching process.

5. Don’t worry about your camera

“I get a great sense that they are different from me. I don’t feel that total identity with the machine. I mean, I can work it fine, although I’m not so great actually. Sometimes when I am winding it, it’ll get stuck, or something will go wrong and I just start clicking everything and then suddenly everything is alright again. That’s my feeling about machines, if you sort of look the other way they’ll get fixed. Except for certain ones.” Diane Arbus

As I mentioned above, I love my kit, and I love working out new cameras. However, I also recognize a camera is just a tool that enables me to capture my vision.

I have a pretty good smartphone and I take some brilliant photos with that. There are a lot of photographers, like Diane Arbus, who have focused on the subject over technical skill, and they have done just fine!

If learning technique to a very deep level isn’t your thing, don’t worry. Learn what you need to learn and just keep pushing yourself creatively.

6. Allow your fascination for your subject to blossom

“I would never choose a subject for what it means to me. I choose a subject and then what I feel about it, what it means, begins to unfold.” Diane Arbus

This quote is such an unusual piece of advice for me because it’s the exact opposite of how I photograph. Regardless, it’s also brilliant for me because I don’t believe just one photographer or teacher can teach you everything you need to know about your personal journey as a photographer.

My advice is to find the subjects that fascinate you the most. Find the places, people and things that you are in total awe of, and then use those feelings to create emotive, captivating images.

Still, I can see Arbus’s point about finding a subject and allowing your ideas and interest in the subject to unfold from there. Anything can be your subject given the right circumstances, and for me, you guessed it, that involves interesting light!

Perhaps you should take this lesson as more of a way to train yourself into finding something of fascination in whatever subject you come across.

It can also be a truly revolutionary approach to your photography if you have become entirely immune to a scene or find it difficult to see exciting things to photograph in your day-to-day life.

If you find yourself numb to the world around you, concentrating on a subject and working to open your awareness to finding a compelling aspect to your subject, will do wonders for your ability to see incredible images wherever you go.
Diane Arbus said, “The Chinese have a theory that you pass through boredom into fascination and I think it’s true.”

So there you go! Don’t worry about getting bored because it can lead to fascination, given enough time and perseverance.

7. Photography should make you an adventurer

“Once you become an adventurer, you’re geared to adventure, you seek out further adventures.” Marvin Israel

This is not a quote by Arbus, but the artist Marvin Israel who was very significant in Arbus’s life. He talked about how “Each photograph for Diane was an event.”

Israel talks about how moved she was by the experiences she had taking the photographs. That it wasn’t about the end photo at all, but everything that led up to taking the photo.

Arbus commented, “For me, the subject of the picture is always more important than the picture. I do have a feeling for the print, but I don’t have a holy feeling.”

For her, it was just being with her subjects, talking and connecting, the dialogue, the waiting, and the anticipation.

This is what is so tremendously exciting about the medium of photography. You are not alone in a room with your thoughts, creating. It’s not a passive experience. You are engaging with the world, you are creating connections, and you are diving into life.

This isn’t about traveling to far-flung places. It’s not even about doing big, crazy things. It’s about enjoying all aspects of taking the photo. It is an adventure in itself.

Moreover, it’s about taking yourself on an incredible learning journey and seeing where your passions take you.

I would love to know what you think of these ideas. Do any of these connect with you and get you thinking in new ways about your photography?

The post 7 Lessons You Can Learn about Photography from Legendary Photographer, Diane Arbus appeared first on Digital Photography School. It was authored by Anthony Epes.

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Lessons from the Masters: Morley Baer

18 Jan

The post Lessons from the Masters: Morley Baer appeared first on Digital Photography School. It was authored by Adam Welch.

Portrait of Morley Baer

Each time I find myself cruising down Highway 1 in California between Big Sur and San Francisco, the urge to make photographs instantly strikes me. It’s an easy feeling to encounter. The rocky beaches and rolling hills tend to beg for a lens. Accompanying this sense of photographic wanderlust is a recognition of walking in the footsteps of some of the greatest American photographers that the twentieth century ever produced. Names like Weston, Adams, and Cunningham all seem to linger in this area of the country. However, there’s another name connected to the deep photographic past of the west coast that you might not know quite so well but should: Morley Baer. In this installment of “Lessons from the Masters,” we’re going to take a closer look at the prolific work of Morley Baer and learn some valuable lessons about how he went about the business of photography that you can use to improve your images.

Morley Baer

Morley Baer came into this world on April 5th, 1916 in Toledo, Ohio. After graduating from the University of Michigan with a BA in English and an MA in Theatre Arts, he briefly worked in advertising in Chicago until fate pressed him into his life’s work. After seeing an exhibition of Edward Weston’s work, Baer became captivated by the medium of photography. He left his position with the advertising firm he worked to educate himself in the art of photography. After working in commercial photography briefly, he soon made the journey to Carmel, California to track down Edward Weston.

After serving in the Navy as war photographer from 1941 to 1946, Morley and his now wife Frances (also an artist and photographer) embarked on a decades-long exploration into photography in and around the Bay Area of California until finally settling in their home/studio near Garrapata Beach. Baer became one of the most desirable architectural photographers of his time. His landscape and seascape works are also still widely regarded as some of the finest photographic representations of the west coast of California ever to be recorded on film.

Here are some, but certainly not all, of the lessons you can’t learn from Morley Baer.

Total proficiency with the tools you use

For the main body of his landscape and architectural studies, Baer used one camera and one camera only; the Ansco 8x10S view camera. In our modern day photography jungle, we are constantly harangued by the marketing mentality that if our cameras are not the newest, then they are somehow lacking. Of course, that’s just an opinion.

In any case, Morley was an expert operator of his Ansco to the point when it became almost an appendage and an extension of his physicality. Similar in practice to Ed Weston, the fact that Baer became so monogamous with his singular 8×10 view camera speaks volumes to us today.

Portrait of Morley Baer and his Ansco by David Fullagar

Whatever your camera or tools, make yourself so familiar with their functions that you can control them without hesitation. The adage “the best camera is the one you have with you” is not enough. We must strive to become absolute masters of the tools we use to make our photographs. The tool is secondary to the ability of the user. No matter what gear you happen to be using it is essential that you understand how to use it and use it well.

Find what works best for you

Not only was Baer’s proficiency of his 8×10 camera finely tuned in, but he was also quite fixed in the way he presented his photographs. Morley was a darkroom master printer, and he virtually always printed his photographs using the contact method and seldom used an enlarger. This meant the negative was exposed directly in contact with the paper resulting in an image the same size as the negative. Contact printing remains one of the most simple and pure forms of printing even today. Regardless of its merits or limitations, this was the vehicle Baer found worked best for him and his creative expression.

By Morley Baer

While we should all continue to learn and grow with our photography, there must also be a conscious recognition of the methods and techniques that tend to produce the best results time and time again. Hone in on the processes that allow you to reach your fullest potential and pay no mind to whether or not they are popular or follow certain “rules.” When it comes to photography the so-called “rules” are there to guide us, not limit our flight.

Healthy competition can help you grow

Every so often I get an email or a Facebook message from someone asking whether or not they should enter a particular photography contest. I’ve always had a love-hate relationship with the idea of grading one photograph against another. This is because I feel it causes us to miss the purpose of photography altogether. At the same time, a photograph is a visual medium, and as photographers possess an inescapably inherent narcissism; we want our work seen by others.

By Adam Welch

I mentioned earlier that Baer’s wife, Frances, was also a camera jockey. Not only did she make photographs herself, but she was also remarkably accomplished in her own right to the point where Morley and Frances were essentially domestic competitors with their photography. There is a famous tale of them reaching an agreement for rights to photograph scenes when they were on road trips. The agreement they reached thereby declared that everything on the left side of the road belonged to the driver while everything on the right belonged to the passenger.

It’s important for us to reach a certain level of catharsis with our photography so that we produce work that is representative of our vision. At the same time, healthy (and I do stress the “healthy” part) competition with other photographers not only keeps our creative juices flowing but also serves to engage us with our fellow shooters. We learn and better ourselves through interaction with the work we love and respect. With the correct perspective, competition with our peers promotes dynamic artistic growth.

Parting words on Morley Baer

As with all esteemed photographers, seeing the work in person brings about a level of appreciation that cannot be obtained by merely viewing a photograph on a computer screen. I’ve recently been fortunate enough to visit select galleries in and around the areas where Morley Baer lived and operated. As usual, it’s easy to look and see the beauty of Baer’s photographs, but as perpetual students of photography, we should always seek to find what we can learn from those whose work we admire.

The lessons listed here are just a few to glean from Morley. Digest them and put them into practice with your own work. However, don’t stop there. Learn all you can, when you can and where you can. Never stop exploring the incredible world of photography.

You may also find the following articles interesting:

Lessons you can learn from master photographers – Minor White, Ansel Adams, and Syl Arena

More Lessons from the Masters of Photography: Edward Weston

Lessons from the Masters: Robert Capa and Jerry Uelsmann

More Lessons from the Photography Masters: David Burnett and Vivian Maier

Cartier-Bresson and Stieglitz – Study the Masters of Photography to Become a Better Photographer

Masters of Photography: Bruce Davidson, Master of the Subway

The post Lessons from the Masters: Morley Baer appeared first on Digital Photography School. It was authored by Adam Welch.

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More Lessons from the Masters of Photography: Edward Weston

15 May

In any art form, we have those who seem to transcend the medium itself. Those who by their very accomplishments earn the respect and admiration of those who view their work. We call these esteemed individuals “Masters”. In photography, there great names that we hold high because their photographs move us on some emotional, nearly spiritual plain. We see these people as masters of photography not simply because of their level of technical skill but how their application of those skills makes us feel. At the same time, we strive to reach that same level of proficiency.

In this installment of Lessons from the Masters of Photography, we are going to examine the work of Edward Weston. We will look at the photographs and also the man to see what valuable lessons they can teach us about photography.

Edward Weston

Edward Weston by Fred Archer- 1915

Weston was born in Highland Park, IL on March 24th, 1886. He began photography at the relatively young age of 16 when he was given a No. 2 Bulls-Eye camera by his father. The camera used 3 ½ inch roll film and Weston used the incredible little box to make photographs around Chicago where he spent a large portion of his childhood.

After moving to California in 1906, he worked as a surveyor and began working in photography essentially as a “door-to-door” photographer. A couple of years later, Weston would return to Illinois to attend the Illinois College of Photography where he became proficient in darkroom and camera techniques. Finally, in 1911, he opened his first studio in Tropico, California. The rest, as they say, is history.

Edward West went on to become one of the most dominating forces in the world of photography and is now considered by many to be one of the first great American photo makers. His work ranges from landscapes to fine art nudes and still life. In this article, we’re going to look at a few of the many lessons you can learn from the great Ed Weston, one of the Masters of Photography.

There are no Rules

How many times have you stopped yourself from placing a horizon dead center in a composition because it isn’t generally considered correct? Have you worn out the Rule of Thirds?

Do you always want to retain detail in the shadows each and every time? If you ever don’t make a photo in a certain way because it isn’t the “correct way”, then you are limiting yourself and your work…and Ed Weston would likely agree with me.

More Lessons from the Masters of Photography: Edward Weston - man looking up on a forest of tall trees

Weston believed there were no set “rules” to composition, He saw photography as a progression in self expression and would photograph the scene or subject based on what he felt, not necessarily based on any set rules.

When you photograph, always remember that while there a few technical constraints the majority of the creative side of your photograph is completely up to you. Be like Edward Weston and don’t hold back just because what you want to do is unique.

Beauty is Everywhere

If you look at some of Weston’s most celebrated works, you’ll see that they consist of everyday items that you might have in your home right this second; lettuce, sea shells, even a toilet. In fact, what is considered to be one of his most famous photographs is nothing more than a bell pepper.

More Lessons from the Masters of Photography: Edward Weston - pepper #30

Pepper #30 by Edward Weston, 1930/Image courtesy Sotheby’s

Weston made the everyday commonality of objects disappear. One of my favorite quotes by him is as follows:

“This then: to photograph a rock, have it look like a rock, but be more than a rock. Significant presentation – not interpretation.”

What’s Weston telling us here? Is he just being overly dramatic as some of us photographers tend to be (as my hand slowly raises)? Or is he saying that we should see the things around us not only as what they are but also what they could be?

sand dunes - More Lessons from the Masters of Photography: Edward Weston

Dunes, Oceano By Edward Weston, 1936

Beauty and therefore photographic material surrounds us all. Don’t overlook something because it appears simple. Instead, attempt to see its beauty photographically and learn to use your camera to show that quality in your work.

Use Simple Techniques in a Grand Way

Something I found surprising as I learned more about Weston is that most of (if not all) of his photographs were contact prints. This means that the negative is placed directly on top of or in very close contact with the printing paper. A contact print is the same size as the negative it is birthed from and in the case of Weston that was usually 8×10 inches.

silhouette of a camera on a tripod - More Lessons from the Masters of Photography: Edward Weston

Can you imagine that? All these great photographs were printed with extremely simple methods using nothing more than a negative, a piece of paper sandwiched in a wooden box, and light. The magic happened when Weston would add in the most important thing of all; his immense skill.

You see, Weston might have used simple tools, but the way in which he used them made all the difference. In your photography, never forget that amazing things can come very very simple means. The important thing is learning how to use the tools you do have expertly. Don’t believe me? That Pepper #30 from earlier…it was shot in a tin funnel on Weston’s kitchen table.

Some Final Thoughts on Edward Weston

I realize as I close out this article that it is March 24th, Edward Weston’s birthday. Oddly fitting as I think back on the legacy and lessons he left us to help better ourselves as photographers.

Weston was a master of making the simple profound. He used simple techniques and wasn’t afraid to bend the accepted “rules” in order to get the photography he saw fit. As you continue on your photographic journey I urge you to learn more about Edward Weston and his wonderful work as you discover more ways to become a better photo maker.

Read other dPS articles on the masters of photography here:

More Lessons from the Photography Masters: David Burnett and Vivian Maier
Lessons from the Masters: Robert Capa and Jerry Uelsmann
Cartier-Bresson and Stieglitz – Study the Masters of Photography to Become a Better Photographer
Masters of Photography: Bruce Davidson, Master of the Subway
Masters of Photography – Yousuf Karsh Portrait Photographer
Masters of Photography – Ansel Adams
Photography Lessons I Learned Growing Up Around Ansel Adams

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10 Photography Lessons I’ve Learned Over 10 Years

09 Apr

When learning any new skill, it’s universally agreed that you need to put time into it to grow. There’s a popular theory by Malcolm Gladwell that it takes 10,000 hours to master any skill. That theory is pretty controversial these days, but the number of hours isn’t important. What’s important is that you must put time into learning a skill if you want to become better at it.

Photography is no exception. Ask any of the photographers you admire how long they have been developing their photography skills, they will all tell you that it’s taken them years.

So, how do you speed this learning process up? There are a few ways, but one of them is to learn from other’s mistakes and successes. Every photographer starts out as a beginner, so it would make sense that others have learned a few lessons along the way from which you can benefit.

10 photography lessons 07

I’m no photography master by any stretch, but I’ve learned a few valuable lessons in the 10 years since I picked up a camera. Here are a few of them.

1. Great light beats a great subject every time

If you’re anything like me, you’ve probably had the experience of visiting a gorgeous location with grand visions of the stunning photos you’re going to come home with, only to be bitterly disappointed and wonder what you did wrong. On the flip-side, you’ve likely been pleasantly surprised by the beautiful photos you’ve taken of a very ordinary scene or subject.

So, what is the one thing that makes a great photo above anything else? Great light. This is the reason why I will often return to the same location to photograph the same scene repeatedly. The scene hasn’t changed, but the light will never be the same twice. Learn to predict, look for, and create great light.

10 photography lessons 06

2. Shoot for love, not likes

Social media has changed the world we live in, which is a great thing for photographers. Of course, there are negatives to this as well. The biggest drawback, in my opinion, is the eternal quest for likes. Not a single one of us is immune to it.

It’s flattering and gives a nice ego-boost when someone “likes” your photo on Instagram or Facebook. But it can become a dangerous obsession when you begin to shoot or edit your photos with the motivation of getting more likes.

Sure, we all change and develop our style over time, and this is partly influenced by current trends. Just try to stay focused on shooting what you love, and don’t let the desire for validation on social media make you shoot for likes.

3. Post-processing is part of your artistic expression – learn it well

It’s no secret we live in a digital age. Despite Photoshop having some pretty negative connotations at times, post-processing your photos in the digital darkroom is a necessity, and the sooner you learn it, the sooner your photography will really take off.

10 photography lessons 04

Capturing your photos well in-camera is only half of the process. As a visual artist, what happens to those RAW images is entirely up to you. If you don’t know how to edit them well, then you’re short-changing yourself.

You don’t need to become a professional retoucher, just start with the basics and learn them well. Post-production software is cheap these days, and you can learn how to use it for free. There’s no excuse. Your inner artist will thank you for it.

4. Keep your gear simple

My gear has fluctuated from a single point-and-shoot to a bag heavy enough to crush a camel, and everything in-between. When I switched from a large Nikon full frame kit to Sony mirrorless a couple years ago, I intentionally simplified my gear, and I’ve kept it that way.

There are three reasons for this. Firstly, as a landscape and travel photographer, I don’t want or need large or heavy gear. Secondly, I’m more likely to consider a new purchase more seriously. And thirdly, simplifying your gear (especially lenses) forces you to develop your creativity.

10 photography lessons 03

One of the best exercises you can do for your photography is to go out with your camera and only one prime lens and shoot with just that setup. You don’t need anywhere near as much gear as you think.

5. Make friends with other creatives

For most of us, photography is a solitary pursuit. That’s part of the attraction. Even for an extrovert like me, getting out by myself to explore with my camera is one of my favorite things to do. However, networking with other creative people has a number of benefits that you should try to make the most of as well.

You can do so online, but doing it in person is even better. These creatives could be photographers, but they don’t have to be. They could be filmmakers, painters, illustrators, cake decorators, or musicians. It doesn’t matter what their outlet is or how you spend your time together. Just find other people who will inspire and motivate you, and who you can do the same for. The benefits will surprise you.

6. Hold off trying to make money as long as possible

10 photography lessons 05

Do a quick Google for “how to make money with photography” and you will be drowning in the sea of photo-selling tactics. There’s no question, you can make money selling photography, but that doesn’t mean you should.

I’m not going to go into the pros and cons of trying to turn your photography into a business. I will say, however, that you should try not to rush into monetizing your passion. Turning a hobby into a business (even just a side-hustle) changes things. It can be very satisfying, but mixing art and money isn’t for everyone. Just keep enjoying your hobby as long as you can.

7. Comparison will cripple you and steal your passion

This is in some ways an extension of #2 above. If you spend any time at all on Instagram, you will see there is a massive amount of very talented photographers out there. It’s easy to get discouraged by comparing your photography to that of others.

Again, nobody is immune to this. I often catch myself being overly critical of my own photography because I’m not just viewing the work of others, but comparing mine to it. Nothing good comes from this.

10 photography lessons 02

It’s great to be inspired by the work of others, but if it’s stealing your love for your own photos, it’s turned into something else. Comparison can be a very useful tool, but only if you’re comparing yourself to yesterday.

8. Invest in your craft

Unless your gear was gifted, borrowed, or stolen, then you understand that photography will cost you some of your hard-earned pesos. You can spend a little, or you can spend a LOT.

There are some things that will give you a far better return on your investment than others, though. For example, good lenses are a far better investment than a new camera body. The thing that will give you the best return on investment, in my opinion, is photography education.

There are a lot of great free resources out there, but as the saying goes, you get what you pay for. You can learn a hell of a lot from very affordable ebooks and online courses. And if you really want your photography to flourish, take a workshop with a master. You’ll never wish you hadn’t made the investment.

10 photography lessons 08

9. Start a blog

You might be thinking, “The world doesn’t really need another blog”, and you’d be right. But you’re not doing this for the world are you?

When I started my travel photography blog back in 2010, I never had any visions of millions of readers, I just wanted somewhere I could share photos of my travels and stories of my adventures. I wanted a medium other than Facebook, where I could choose how it looked. It was one of the best things I have ever done.

It’s since grown into somewhere that I now teach travel photography, but it’s still my photo blog, and it’s been a hugely creative outlet for me. I recommend Pro Blogger’s free Start A Blog course (by dPS’s very own Darren Rowse).

10. Your best image is yet to be made

10 photography lessons 01

As I mentioned in #7 above, it’s easy to get discouraged from time-to-time in photography. This happens for a number of reasons, but there’s one thing that I have learned which helps me get back on the horse when I feel like I’m wasting my time. I remember that I still haven’t made my best photo yet.

Of course, there is no such thing as a “best photo”, because photography is an art, not a science. What I’m getting at is that if you keep going, keep learning, keep practicing, you will keep making images that you think might be your best image yet. There will be dry periods, but push through them, try something different, get out of the rut, and you’ll come out the other side and continue to make images that remind you why you do it.

Conclusion

I hope you can take away something to help you in these photography lessons which I’ve picked up over the years. Do you have any pearls of wisdom that you’d like to share with other dPS readers? What have you learned that has made you a better photographer?

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3 Lessons I Learned by Doing a Self-Portrait Project

18 Mar

As photographers, we often spend most of our time behind the camera rather than in front of it. I certainly was no exception! However, this past year, I made a conscious effort to put myself in front of my own camera more often including doing a self-portrait project. I was surprised by the ways in which those experiences have shaped the way that I now interact with my clients as a photographer.

Here are three of the lessons that I learned through my self-portrait project, as well as the ways that they’ve helped me become a better photographer.

3 Lessons I Learned by Doing a Self-Portrait Project

1. Being photographed is really awkward!

As I began my self-portrait project, one of the first things I noticed was how absolutely awkward it was to be in front of the camera. I initially started out tethering my camera but decided that I really wanted to emulate the way that my clients feel in front of the camera as much as possible, so I ended up simply using a remote.

The remote method was much more challenging and much stranger! I knew what types of posing would be most flattering in theory, but I discovered that when I was in front of the camera, sometimes the posing instructions that I’d typically use left me with a lot of questions.

When I gently rest my hand on my neck, should my fingers be open or closed? Where exactly should my hand be on my neck so that I don’t look like I’m strangling myself? When I’m looking to the side of the camera, exactly how far to the side should I look?

3 Lessons I Learned by Doing a Self-Portrait Project

Put yourself in the subject’s shoes

As photographers, we’re around cameras and photography equipment regularly – it’s just a part of our lives. It can be easy to forget that this is often not the case for our clients. Often times, clients have portraits done annually (if even that often) and may arrive for a session feeling just about as comfortable as they might at the dentist.

They know they want to end up with images that are both flattering and capture their personalities, but they aren’t quite sure how to make that happen.

Since I’ve been experimenting with self-portraits and experiencing that awkwardness first hand, I’ve started nearly every session with a brief conversation where I essentially say, “Hey, I know that having your photo taken can feel really awkward. I might ask you to stand or move your body in ways that feel strange and unnatural to you, but try to trust me – I’m on your team, and want to deliver photos that you will absolutely love!”

It’s so simple, but even just acknowledging that sometimes portrait sessions might feel a little strange and uncomfortable can go a long way towards making them much less strange and uncomfortable.

3 Lessons I Learned by Doing a Self-Portrait Project

2. Posing and wardrobe are really important

My personal photography style typically tends more towards lifestyle/documentary than styled sessions. As such, I don’t often give a ton of complicated posing directions or wardrobe instructions for my sessions.

To model that, I tried taking self-portraits in a whole variety of clothing options. I captured myself wearing everything from a hoodie sweatshirt to a dressy sweater and scarf. I tried taking portraits with my hair up as well as down, and I experimented with heavy makeup as well as no makeup. Also, I tried posing in the ways that I usually sit or stand, followed by some of my “go-to” gentle posing techniques for women.

I knew that both posing and wardrobe/styling were important, but I’m not sure that I realized just how important they were until I was able to see some side-by-side images of myself in different poses and the same pose with different clothing choices.

3 Lessons I Learned by Doing a Self-Portrait Project

The long sleeves here are important to put more emphasis on my face, as opposed to the arms like the image on the left.

Make specific wardrobe and posing suggestions

I now find myself being a bit more specific when clients ask for clothing suggestions. For example, prior to my self-portrait project, I probably would have told clients, “The most important factor is to wear something you feel comfortable in. As a general rule, most people look great in jewel tones.”

Now, I’d be more likely to say something like, “The most important factor is wearing something that you feel comfortable and confident in! When it comes to portraits, I recommend that you wear a jewel-toned jacket or cardigan with a solid black, grey, or white tank top or t-shirt underneath, which allows us so much versatility in your images.”

3 Lessons I Learned by Doing a Self-Portrait Project

Similarly, I’ve found myself giving more detailed instructions when it comes to posing, often even using my own body to demonstrate exactly what I mean. Most clients were excited to receive more specific instructions to follow – it leaves less open to interpretation, which in turn makes them feel more confident that they’ll love the end result of our session.

3. Positive affirmation is absolutely crucial

Since I wasn’t working with my camera tethered to my laptop, I had absolutely no idea how things were looking as I was shooting, so hearing comments from people as they walked by was huge! When one of my daughters walked by and said,”Oops! I can’t see your head!”, I knew I had to stop and make adjustments right away.

3 Lessons I Learned by Doing a Self-Portrait Project

Any sort of feedback like that was helpful, but when someone positively affirmed how the images were looking, it held a lot more importance than I would have thought!

For example, one afternoon a neighbor friend drove by and hollered something positive out her window as I was working on a self-portrait in the front yard. That simple comment gave me a huge confidence boost, and the next images in the set were significantly better than any of the ones I’d taken previously.

Conclusion

I’m an introvert by nature, and can sometimes have a tendency to go inside my head while I’m working. My brain is sometimes going a mile a minute, and I can forget to communicate what I’m thinking or seeing to those in front of my lens.

Since practicing self-portraits, I have really focused on positively affirming my family, friends, and clients as they’re in front of my lens. Telling them what an amazing job they’re doing with super awkward posing makes a difference. Commenting on how much you love the images so far is huge as well. Commenting on real attributes that make the person in front of your camera feel incredible makes a huge difference.

Give your friends, family, and clients the necessary feedback and positive affirmations that will allow their confidence in front of the camera to grow, and it will be a game changer for your sessions!

Have you ever done a self-portrait project? If so, what did you learn? Please share your experience and self-portraits in the comments section below.

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5 Lessons I Learned by Doing Still Life Photography

22 Dec

Still life is a particular style of photography that slowly lured me into its clutches. The gateway drug was, of course, food photography, and before I knew it, my weekends were spent combing secondhand shops for props and buying up linen in all different shades.

5 Lessons I Learned by Doing Still Life Photography

The popularity of Instagram has given rise to images of every different kind of food, drink, dessert, cake, and cocktail. You name it, someone is shooting it, adding a filter and posting online before they even taste it. Except for the one thing it really shows, is how hard it is to compose and take a good still life image, especially with a cell phone. There are a lot of really awful shots out there. Someone even made a hilarious video about the effort needed to get a good shot.

Of all of the techniques I have learned in my photography journey, none has taught me as much as doing still life work.

5 Lessons I Learned by Doing Still Life Photography

My first venture into still life – an Easter challenge that needed your hands in the image. This was before I had a wireless remote.

#1 – Slow Down, Breathe and Take Your Time

You need three things for a good still life shot – light, good composition and a subject. Pretty much the same as for any photographic image really. But one of the best things about still life is you can take as much time as you like. Usually shot inside with some control over the conditions and with a static subject, this gives you the freedom to be really present and experiment.

As seen in the video link above, the composition is a key element. Do you shoot the subject isolated? Will props help you tell more of a story? Is there a particular mood you are going for? How can you achieve that?

I bought these gerberas and shot them every day for a week until they were past their best. Each flower had its own distinct shape and character that needed time to bring out its best

What angle is most effective? Close-up or include more environment? Will flat lay (overhead) or side on be best?

Because you have more control over the conditions you can allow a lot of time and shoot the same subject in many different ways in one shoot. You may come out with one great shot or several good ones. It will certainly teach you a lot about how difficult it is to get a good shot.

My studio is my spare bedroom, one window, and a fold away craft table. Of course, a cat getting in the way!

2 – Composition is Key

Being a nature and landscape photographer originally, I am used to shooting things on a big scale. Lots of pretty mountains, lakes or sea, cloud-filled skies, and so on. A handy foreground element like a rock or driftwood or tussock is included for scale and to ground the image.

So when I tried to shoot much smaller things up close it was a bit of a shock to find how difficult it was to compose those images well.

One black background, one silver spoon, and some raspberries.

It is interesting to learn how a subtle difference in angle can affect the outcome of the image. How close or far away your camera is can completely change the balance of the subject within the frame. How scale becomes really important and a tool to be leveraged for the most effective images.

I spent hours taking so many shots, discarding nearly all of them over and over again until I figured out my problem. Complexity. I made the rookie mistake of trying to include too many elements, which threw off the balance of the composition. It was crowded and messy and the subject was overpowered by all the extra stuff I was shoving in the frame.

A black background, a silver spoon, and some raspberries. Taken at a different angle, closer up, more intimate and inviting. Subtle differences.

This is where lesson one really started to make sense. By taking the time to slow down, breathe and see my subject, see the possibilities, feel the story it was trying to tell me, I shot a lot less, but my keeper rate vastly improved.

The trick was keeping it simple and strong.

3 – See the Possibilities

This step naturally emerges after steps one and two. Once you take time to be in the moment with your subject, position it within the lighting you have, turn it this way and that, then it will show you its best side.

If you give yourself and your subject time to get to know each other, then its secrets will be revealed. It might be an onion, or it could even be a portrait, the same rule applies. If you take the time to get to know your subject, you begin to see different possibilities. Perhaps this background over here is less cluttered, maybe this plate enhances the natural color better, that rustic board gives a great farmhouse appeal.

Be the garlic clove! Feel the garlic clove! Hear its story.

I know, it sounds a bit zen and probably a bit corny, but it doesn’t make it any less true. Yes, you can take two seconds to position a shiny red apple and shoot it and have a perfectly acceptable image.

But what else might you end up with if you took 20 minutes, positioning the apple at different angles, on different surfaces? Maybe you cut it open or take a big bite out of it? Pose it with a glass of cider? Maybe you have a handful that looks great arranged in a decorative bowl?

The focus of this shot is the funny squiggle of butter on the bagel, but the story is Sunday Morning Brunch. Yes, it was delicious too!

Unless you give yourself time to relax and let the possibilities make themselves known to you, rather than focussing on one outcome, taking that shot and moving on, you will miss out on lots of opportunities. Plus you limit your chances to learn and grow as well.

I failed consistently when starting out with still life photography and it was really frustrating, but it made me work even harder. Once I did get it, the quality of my work improved faster than expected, which was a nice bonus.

4 – Go Abstract

It is easier to shoot something whole and give it obvious context so that the viewer doesn’t have to think about what they are seeing.

But how much more intriguing would your work become if the viewer did have to take some time to think about what they were seeing? Where it teased at the edge of their consciousness that they should know what the object is but couldn’t quite figure it out? What if your image stuck with them and niggled away in the back of their mind? Where they actually remember it out of the many hundreds of images seen that day scrolling past on their phone?

A metal bench in the city but taken side on and obvious context removed with the focus on the lines and the circles instead.

Don’t be afraid to go abstract. To shoot something in a way that hides its original shape, form, or purpose. Be as obscure as you like so long as it’s interesting and arresting. Obscurity for the sake of it may put people off rather than engaging them.

A piece of glacier iceberg taken up close from a boat to capture the intense blue color and the texture of the bubbles froze within the ice.

Again taking the time to look at your subject, seeing its possibilities and angles, and being creative all apply here. This tip you can easily take out into the world. There are many small intricate elements adorning the world if you take time to see them, interesting shapes revealed when you hide the obvious context. The devil is in the details, have fun finding them.

A wonderful art deco stairwell.

5 – Props

Props are an essential part of still life photography. They set the scene, the color tone, the mood and the feel of the image you are creating. Learning to prop and style a shot well was the hardest thing for me about still life. It’s difficult to do well without enough options to work with.

This doesn’t mean you need hundreds of dishes and bowls and towels and fabric and cutlery (though it’s easy to end up with them). But a few carefully chosen options that give you flexibility are a good choice.

Most of my still life prop collection. Enough variety to be useful and flexible.

This is not the only style of photography that benefits from props: portraits, engagement, wedding, children, pets, and family photography all benefit from the use of props. Anytime you have people in your image, having something for them to interact with can help engage them better.

What about the color and style of clothing they are wearing? Hair color or style? Makeup? Shoes? How much fun can be had just with a brightly colored umbrella?

A model dressed as Red Riding Hood, wearing a bright red velvet hooded cloak and faux medieval outfit. Shot at an old estate using a broken wooden gate as a prop.

These are all elements that can enhance or cause distractions in your image. What is the story you are telling? What mood are you trying to evoke? Therefore what style or color clothing is going to work best? This is something to think about and discuss with any clients in advance.

Conclusion

Before I started shooting still life photography I used to be in too much of a hurry. I would settle for the obvious shot and leave frustrated because it was boring, predictable and not different enough. Now I take time to prepare properly and give myself plenty of time to shoot. Looking for creative options and being prepared to experiment is fun and exciting.

Now I shoot a lot less, but the quality of my work has improved and I know when I have achieved a keeper shot. My ability to compose and style an image has improved. Including other elements to tell a story has added depth and nuance to my images that was previously lacking.

5 Lessons I Learned by Doing Still Life Photography

The good thing is that these benefits apply to almost any form of photography, some more than others, obviously. Do you just want a quick snap or do you want to engage your viewer fully? What is the story you are trying to tell? What emotion do you want to share? How can you connect with the viewer and make your image stand out from the Instagram or Facebook crowd? What sets your work apart from the millions of images posted online every day?

It does actually matter how much work and thought you put into crafting your image. Like any new skill, it will take time to learn. I challenge you to give it a go for a few months and then compare your new work to your older stuff and see the difference.

The post 5 Lessons I Learned by Doing Still Life Photography by Stacey Hill appeared first on Digital Photography School.

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10 Lessons from a Guy Who Quit His Job to be a Full-Time Photographer

29 Sep

Every decision you’ve ever made, each image you’ve ever shot, and each chance you’ve taken, has brought you to where you are now as a photographer. Think about that for a second. Regardless of what your goals might be or where you want to go with your photography, it all comes down to a series of moves. So really, all of your success and all of your failures are a beautiful mix of causes and effects. One action yielding one outcome big or small. For most of us, our love for all things photography points to one end and that ever-burning question of “How can I be a full-time photographer?”

If you’ve ever wanted to know what it takes to quit your job and become a professional photographer or how it feels to turn your love of photography into sustainable income, then this is your lucky day. I’m about to share with you some lessons I’ve learned during my three-year journey to become “one of those people”; someone who managed to turn their passion for photography into a full-time job and kiss the rat race goodbye. A few of these lessons are ones you might expect and a few might not be so obvious. So, sit back and get ready to hear some real-world advice from someone who actually made their dream happen, and how you can follow if you choose.

#1 – You have to want it more than anything

It’s easy to say you want something. But have you ever truly desired to make something happen? I’m talking about the kind of want that consumes your very being. Well, maybe not that dramatic but it’s not far off. If you are going to “make it” at anything then you will have to want it more than anything else.