For 2017, I am host a number of in-person and online workshops. From learning about creating amazing black and white images to mastering your digital printing to finding how to create more meaningful work, there are several workshops to consider.

“I feel very fortunate to have met, worked and studied with Daniel Gregory. He’s thoughtful, engaging, and talented both technically and creatively.  I’ve had the chance to learn from him both one-on-one and in a group setting. He is a wonderful teacher and mentor.”

Jeff Merriman-Cohen

Latest Blog Post

Black and White Workshop Details

There is something magical about working in black and white. I think it part it is because the process harkens back to some of the foundations of photography. All the way back to those very first photographic images, black and white photos have always been a part of...

Creative Live Photoshop Week

I am jazzed to be a part of CreativeoLive's Photoshop Week in May. I have been a huge fan of CreativeLive from the early days and can remember talking with Chase about what a great model it was for teaching and sharing information. If you aren't familiar with...

The Perceptive Photographer Podcast

Latest Episodes

Ep136 Is repetition bad?

At the risk of repeating myself more than once in this podcast, I raise a question about the value of repetition in the photographic process. When we are working creativity is there something in the process that repetition can help with and at the same time can it hinder? As we explore this topic, I think you will quickly discover that much of what can cause problems for us photographically is an over-reliance on repetition.

Be it in how we frame and compose to setting up a new portfolio; there is something to be said about the negative impacts of been there and done that. In this week’s podcast, we take a look at the places where our photographic process can become stale from repetition and some ideas to help move beyond those often repeated traps.  

Ep135 Unnecessary questions

I am working on a new lecture on visual literacy for later in October. As I was reviewing a number of different aspects of language in photography, I occurred to me that we often phrase questions in our creative practice that can impact our approach to our photographs and photography. 

As I spent more time thinking about this, I came up with a few phrases that in my opinion could be shifted to cause a difference in your approach to your creative practice.

What could I do to make this better? This question leads to a conversation that is more about what someone else might do rather than getting to the real root of what we want to know about an image. When we ask this question, we often know that something is off, but we aren’t sure. A more insightful question might be What do you see in this image? What do you feel when you look at this image? What do you think this image is about? All provide more context and boundaries for an answer. 
I wonder what would happen if…If you ever think this, you should go ahead and see what happens in your creative practice. It is at the edge of our wonderment of the possibilities do we discover amazing images and photographic ideas.
Is it possible? Much like, I wonder, the notion of possibility is something that shouldn’t be dismissed without investigation. The creative life and photography are all about seeing what is possible behind the camera. And, everything is impossible until it is done once. 
I’m sorry. There are a lot of reason that people apologize. Sometimes it is warranted, but in our creative practice, we should be unapologetic about our work. We have something to say and have the universal need to say whatever that is to the world. 

Ep134 Schrödinger’s cat and photography

I am a huge science junkie, but I have never been able to handle the math necessary to make it something more than an interest. I love to read all the books that explain the science but remove the math. Books like Godel, Escher and Bach, The Elegant Universe and other have always fascinated and inspired me. 

One of my favorite stories is about Schrödinger’s cat. Erwin Schrödinger explains the nature of a quantum superposition with a cat. You place a cat, a vile of poison, and a radioactive element into a box and close the lid. In the box is a hammer and Geiger counter. If the Geiger counter detects a single radioactive decayed atom, it drops the hammer to release the poison which kills the cat. The superposition is that until we open the box, we don’t know if the cast is dead or alive, so it is both. Once we observe the cat, the superposition collapses, and the state of the cat is now the reality. 

I got to thinking about how much of our photography and creative practice is based on the duality of our work, our response to our work and the very nature of photography are a lot like Schrödinger’s cat. Much of what we struggle with in our photography are things that exist in two or more states and only until we actually commit to the work, practice and understanding do they become clear and actionable. 

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