In this episode of the podcast, I dig into an idea that feels increasingly important in a culture built around constant sharing. Not every good photograph needs to be shared. That may sound counterintuitive, especially when so much of contemporary photography is tied to visibility, platforms, and audience response. But making a photograph and sharing a photograph are two very different acts.For many photographers today, the question of where an image will be posted arrives almost immediately after the shutter is pressed. Sometimes it even arrives before. That subtle shift can quietly change our relationship to photography. The act of sharing begins to define the act of seeing. Over time, photographs can start to feel less like a process of exploration and more like a product designed for approval.Some photographs are meant to function as visual notes. They help us understand light, place, or emotion. They clarify what we are drawn to and what we are still wrestling with.These images might be strong, but their purpose is internal rather than public.They move our work forward even if no one else ever sees them.There are also photographs that are emotionally close. We might make images that are more closely related to memory, vulnerability, or personal experience which often carry a different weight. We can opt to keep those images close to home so to speak as a way of honoring the moment of seeing.
Not to completely rag on social media and photographs, but right now the algorithms reward familiarity. They favor images that resemble what has already succeeded. If every good photograph must be shared, then experimentation becomes a no go. We will slowly stop taking risk to make more interesting work. We stop taking risk in the editing of images, the selection of images and ultimately in the sharing of images.
Remember, editing is not just about selecting the strongest images. It is about shaping meaning. A body of work is defined as much by what is excluded as by what is included. Choosing not to share a photograph is still an editorial decision.
I love sharing work so I by no means am trying to say that sharing is unimportant. Sharing connects us. It builds conversation and community. But it works best when it is intentional rather than automatic. When sharing becomes a choice instead of a reflex, it regains its power.
I think it is worth redefining what success looks like in photography. A successful photograph is not always one that is widely seen or highly praised. Sometimes it is an image that teaches you something, shifts your attention, or reminds you why you enjoy making photographs in the first place.
Letting some images live only with you does not diminish them. In many cases, it strengthens your relationship to photography. It allows the act of seeing to exist without expectation. And in a world that constantly asks us to show everything, there is quiet value in choosing to hold some things back.

In this episode of The Perceptive Photographer, I talk about book ideas for the holiday season, especially for photographers and creative folks. Thanks to a listener, David, I once again share some of my favorite reads or books for giving ranging from creative practice and photography theory to memoirs and photo books. The goal of this week’s episode (561) is to hopefully help you find meaningful books for yourself or the photographers in your life. so without future adieu here is a list:

Creativity / General Art & Practice

1. 12 Notes on Life and Creativity — Quincy Jones
2. Bird by Bird — Anne Lamott
3. The Secret Lives of Color — Kassia St. Clair
4. The Meaning in the Making — Sean Tucker

Photography Conversations, Interviews, Thought

1. Interviews and Conversations, 1951–1998 — Henri Cartier-Bresson (Aperture)
2. Ping Pong Conversations — Alec Soth & Francesco Zanot
3. Memorable Fancies — Minor White
4. Photosoup Education — Steamway Foundation Trust
5. Photosoup Enterprise — Steamway Foundation Trust
6. Photosoup 2022 — Steamway Foundation Trust

Photography Theory / Essays

1. The Photographer’s Eye — John Szarkowski
2. Beauty in Photography — Robert Adams
3. Why People Photograph — Robert Adams
4. Why Photographs Work — George Barr

Photobooks / Monographs

1. Illuminance — Rinko Kawauchi
2. Songbook (called “Songbird” once in the transcript, but the correct title is Songbook) — Alec Soth
3. The Notion of Family — LaToya Ruby Frazier
4. House Hunting — Todd Hido
5. In Dialogue — Dawoud Bey & Carrie Mae Weems
6. The Ballad of Sexual Dependency (re-release) — Nan Goldin

Additional Mentions 

• Galen Rowell 
• Cindy Sherman
• Fred Herzog
• Sally Mann 

If you are looking to buy a book you can ‘t go wrong with

PhotoEye.com

Bookshop.org

Abe’s Books

In this episode of the podcast, I explore the notion of what it means for a photograph to be something it wants versus something I like. We all spend time thinking about what we want our photos to be or be about. We might even have some unintentional expectations that develop long before we click the shutter. Those expectations can be a problem because once the photo is made, it becomes something different than what we thought we photographed. So this week, we are going to dig into what it means to let a photograph be its own thing.
I have started to think that every photograph we make can carry its own internal logic or way of being.

Each image, good or bad, has structure, rhythms, weights, and a pull that is inside the frame. We can choose to fight that structure or enhance it. I always say to follow the light in an image. Work with what you have, not what you might want to have. How do the tones relate to one another? How do you make them something else? Is there a gesture or a space that pushes and pulls in unexpected ways?

If we think of our photographs more as partners in the process, does the picture know more about what to focus on in processing than we might?

At the root of all this are our intentions. The thinking about what we should do versus what we can do versus what image is doing. That intention often comes from a memory of the moment. We remember taking the shoot and what all went into that. And yes, all of that is valuable, but none of it lives inside the photograph. If we try to force the image to match our memory rather than honor its reality, we can miss out on something really cool.

The question then becomes, what do we do in those positions? Well, I think you can ask yourself a simple question: what is this photograph already doing well without me touching a thing? Before I move a single slider or adjust a single tone, I want to get a sense of the image. That sense tells me what to do rather than the other way around. This allows for things like minor mistakes to become important to the image, and it asks whether the so-called flaw is actually what gives the photograph its interest.

To all this, our editing becomes a conversation rather than a correction. I am collaborating with the picture. I respond. It esponds. We discover the image rather than follow my old formula for getting it done. If you give it a shot, you might be surprised that the photograph often reveals the one you didn’t expect, but the one you needed.

this episode of the podcast we dig into the idea of editing as translation. I have been thinking a lot about what really happens once the shutter is pressed and the file shows up on the screen. For so many photographers, editing is framed as a technical chore. It is often reduced to slider management or a list of corrections that must be made before an image can be considered finished. But for me, editing has always felt more like the work of a translator who is trying to bring a lived moment into a new language that a viewer can understand.

When I am standing in a place with a camera in my hand, I am surrounded by a flood of experience. I notice the sound of wind through leaves, the cool air on my neck, or the way the light draws a soft edge along the side of a building. I feel my own emotional state and whatever thoughts were drifting through me at the time. All of that sensation creates a kind of internal atmosphere that shapes why I press the shutter. But the camera does not understand any of that. The camera gives me its own version of the moment. It gives me clipped highlights or deep shadows or a color that is slightly off from what I remember. It captures the literal details but it does not capture the truth of the experience.

This is where editing steps in. Editing is the bridge between what I lived and what the photograph needs to say. I am not fixing problems so much as interpreting the story. I am choosing which parts of the moment were essential and which parts can fade away. It might be the warmth of late afternoon light or the tension in a deep shadow or the subtle calm in a soft horizon. These decisions are not technical choices in my mind. They are emotional ones.

Color is one of the places where this translation becomes very clear. A shift toward cooler tones might bring forward the quiet or lonely part of a scene. A gentle warm lift in the highlights might echo the softness of a memory. Even simple choices about contrast or clarity can shape the voice of the image. Editing becomes a conversation with myself about what I felt and what I want the viewer to feel.

Sometimes the translation is easy. The image opens up with just a few adjustments. Other times I wrestle with a photograph that refuses to come together. That usually tells me something important. It often means that I did not fully understand what I was responding to in the moment. The photograph becomes a reminder that translation requires clarity. If I did not know what mattered when I pressed the shutter, it is very hard to bring that intention back later.

What I love about thinking of editing as translation is that it frees me from the idea that there is a correct way to edit. Instead, there is only the question of whether the photograph carries the same emotional weight as the experience that created it. My goal is not to make a perfect file. My goal is to make a true one.

As you listen to the episode, I invite you to think about your own images and the moments behind them. Think about which photographs feel authentic and which ones feel unfinished. Ask yourself what you were sensing during the moment of capture and how you might bring those sensations back to the surface during editing. When we approach editing as translation, the work becomes more personal, more expressive, and far more connected to the heart of why we make photographs in the first place.

Photography has always lived in that strange space between solitude and connection. This week on The Perceptive Photographer, we are exploring the delicate balance between the solitude that shapes our work and the community that completes it. We will look at why so many photographers thrive in the quiet, how loneliness creeps into the process, and why sharing your work, even when it feels imperfect or unfinished, might be one of the most generous things you can do for your own creative process.

So much of the craft asks us to be alone: long walks with a camera, quiet hours in the car or the darkroom, early mornings before the world wakes up. Even when we are surrounded by people, the actual act of photographing is a solitary one. No one else can stand where you stand, feel what you feel, or decide when the moment is right. This gives us room to notice, really notice, the small shifts of light, the quiet gestures, the transitions and tensions that most people rush past. It is often in these moments that our best photographs show up.

However, what starts as quiet can slide into loneliness. You make work for months without anyone seeing it. You wrestle with images you are not sure anyone will understand. You develop ideas in your head with no sense of how they land in the world. Without realizing it, isolation can distort your relationship with your own photographs. You begin to think they are either far better or far worse than they really are.

This is where sharing becomes essential, not as a quest for validation but as the major step in the creative cycle.

A photograph is communication. The moment someone else encounters your image, you can learn about what you intended and what the photograph actually communicates. You see what resonates. You discover what was invisible to you because you were too close to the making.

Sharing builds connection. It builds the kind of community that reminds you that your way of seeing, the quiet and personal way you move through the world, has value. More importantly, sharing helps your work take up space outside the loneliness that created it. It allows your images to have a life beyond your hard drive and beyond your doubts. Photographs can comfort, challenge, surprise, or inspire people in ways you may never know. They can become part of someone else’s story, not just your own.

We might make the work alone, but we understand it together.

As photographers, it is easy to get caught up in the technical parts of our craft: camera settings, lenses, editing workflows, and all the details that make up the process. Every once in a while, though, something reminds us that the real heart of photography lies beyond the gear and the techniques. In episode 557 of The Perceptive Photographer, I shared how a simple act of cleaning my studio turned into a moment of rediscovery. I came across my well-worn copy of Galen Rowell’s The Inner Game of Outdoor Photography, a book that has shaped not just my approach to images but the way I see the world. That encounter led me to reflect on how passion, intention, and empathy are what truly give photography its soul.

Passion is the energy that keeps us creating, but compassion, the ability to see and feel with the heart, is what gives our work depth. Rowell reminds us that a great photograph does not just record what is in front of us; it reveals how we feel about it. When we let empathy guide our lens, we move from simply taking pictures to making connections. Whether you are photographing a stranger, a landscape, or your own backyard, being present and emotionally honest allows your images to resonate on a universal level. The most memorable photographs often carry traces of the photographer’s own vulnerability and curiosity.

In the end, photography is as much about self-discovery as it is about expression. Developing a personal style is not about perfecting technique but about refining your intention and learning to trust your emotional instincts. When you photograph with honesty and awareness, your voice naturally begins to emerge. As you continue your creative journey, lead with empathy, stay grounded in your passion, and remember that your best work will always come from the heart.

In this week’s podcast, we talk about burnout verse resting. Creative burnout and creative rest may look similar on the surface, but they come from very different places. Burnout is the slow unraveling of connection to your work . It shows up when the camera feels heavy, ideas feel stale, and even looking at images becomes tiring. It often shows up after long periods of constant output or comparison, when making photographs becomes more about productivity than discovery.

Creative rest, on the other hand, is a conscious act of stepping back. It’s not quitting or losing interest; it’s giving your creative mind the quiet space it needs to breathe. Rest might mean spending time with other art forms, walking without your camera, revisiting old prints, or simply allowing yourself to not make anything for a while.

Photography, like all creative practices, moves in cycles. The pause between moments like the space between frames on a roll of film. Learning to tell the difference between burnout and rest lets us return to the work with more clarity, joy, and curiosity. Rest isn’t the absence of creativity. It’s the soil that allows creativity to grow again.

In this magical episode, cause it has 555 as the episode number, we are looking at the everyday of life, because in photography, it is easy to fall for the idea that creativity lives somewhere else. We scroll through endless images of faraway places and imagine that if we could just get there, we’d finally make the work that matters. But often, the most profound photographs come from right where we are. They grow out of the people we love, the light we see every morning, and the small moments that quietly shape our days.

When we start to see the familiar as something worth our full attention, everything changes. Photographing what we know asks more of us. It pushes us to slow down, to look again, and to really notice what is already in front of us. That noticing is where connection begins. The street corner you walk every day, the kitchen table, the morning routine—these are places filled with history and meaning. They become mirrors for who we are and how we move through the world.

The great photographers knew this truth. Walker Evans found the American story in roadside signs and porches. Helen Levitt found poetry in her neighbors’ gestures. Sally Mann turned her own family and backyard into a meditation on time and love. None of them chased novelty. They simply paid deep attention.

Working close to home is not always easy. The repetition can dull our senses and make us believe there’s nothing left to see. But if we stay curious, if we keep returning with an open heart, the familiar reveals new layers. The light shifts, the seasons move, the people change. Each visit is a reminder that nothing ever stays the same.

In the end, photographing the familiar is not about finding something new to shoot. It’s about learning to see again. It’s about realizing that inspiration has been here all along, waiting for us to notice.

As the days get shorter, I find myself paying more attention to how light changes this time of year. The low angle of the sun, the long shadows, and the quiet warmth that hangs in the air all ask for a slower kind of seeing. In this week’s episode of The Perceptive Photographer, I talk about using this shift in light as an opportunity think about how we approach our work and to build a small quick body of work.

Rather than chasing dramatic scenes, I try to get you think about noticing how light itself becomes the subject. It might be the way it falls through a window, glows across a field, or touches a face at the end of the day. By returning to the same place over several weeks, you can start to feel how light shapes emotion, color, and time. This isn’t about making perfect images. It is about paying attention to the rhythm of the season and how it reflects what is happening inside us. Autumn light carries both beauty and melancholy, a reminder that everything changes. Sometimes the best photograph is simply the one that helps us notice that truth.

In this episode, I wanted to slow down and reflect on five essential but straightforward ideas that can help keep your creative life moving forward. So much of what we do as photographers, artists, and makers comes with pressure always to do more, do better, and never fall short. But often, the real growth happens in the small, imperfect, and even uncomfortable moments of our process.
The first idea is about finishing. It is better to complete a project that might not be your best than to leave it half done. There is a real value in seeing something through. Finishing teaches you things that perfection never will. Done work creates momentum, and momentum is what keeps us creating.
The second idea is that progress is rarely a straight line. Some days the work flows easily, and other days it feels impossible. Learning to accept that uneven rhythm helps you stay grounded and keep going even when the results are unclear.
Third, boredom is not the enemy. When the work feels repetitive, it might mean you are standing on the edge of discovery. Sometimes staying with the boredom leads to a deeper understanding of your craft.
Fourth, feedback is information, not identity. Whether it comes from others or from your own inner critic, feedback is simply part of the creative process. Take what helps, let the rest go, and remember that you are always more than the work you produce.
And finally, small actions matter. Showing up for a few minutes each day can build more over time than waiting for the perfect conditions to start. Consistency creates space for growth, and growth is what keeps the creative life alive.
If you have ever felt stuck, uncertain, or caught in the cycle of perfection, this episode is for you.

In this episode of the Perceptive Photographer podcast, I discuss what it truly means to trust your eye as a photographer. It is a similar concept to reading and writing. When we learn to read and write, we start by copying letters, following patterns, and sounding out words. Over time, that repetition gives us the ability not only to read but to understand and interpret meaning. Photography works in a similar way. Just because we can make a photograph does not mean we can thoroughly read or understand what it says. Learning to trust your eye is about developing that deeper literacy, the ability to see beyond the surface and into the meaning of what draws you in.

In the beginning, most photographers imitate. I have discussed this in a past podcast. And have a whole workshop dedicated to this process. Many of us start to learn by copying others. It might be replicating their techniques or emulating a style we admire. I think it is an important part of the process. It helps teach us the grammar and vocabulary of photography, but only part of that overall language.

Eventually, when we start to wonder why an image that looks “right” still feels incomplete, we begin to recognize that our own way of seeing might be more unique than we gave ourselves credit for. Trusting your eye begins when you start to believe that how you see the world has value, even if it doesn’t look like anyone else’s work.
Your eye is more than composition or technical skill. Trusting your eye is about listening when something tells you this is worth the click. You may not even know why you want to make the click, but trust means noticing what makes you want to click. It could be a particular kind of light, color, gesture, subject, subject matter or emotion. By paying attention to this spark, you can build the foundation of trusting yourself.

For me, the more I trust my eye, the more doubt I can feel. The goal again is to trust in the click and know that as we learn to read and understand our work more because we “trust the process,” our confidence can grow. The act of photographing what feels right, even when you cannot explain why, is how trust develops. Doubt does not go away, but it becomes quieter.
Trusting your eye is not about being right or wrong, good or bad. It is simply realizing that something is important enough to you that you acknowledge it and honor it in the camera. In that way, photography becomes less about proving what you know and more about understanding what you see.

In this week’s episode of The Perceptive Photographer Podcast In conversation series, I sit down with my good friend Ken Carlson again to talk about something that many photographers eventually face: the move from making single images to creating projects that hold together as a body of work. For a lot of us, there comes a moment when the thrill of a single ribbon from the camera club or one-off standout shot isn’t quite enough anymore. Instead, we start to wonder what it would mean to say something larger with our photographs to build sequences, narratives, or collections that carry more weight and meaning.

as our conversation progresses, Ken offers some concrete steps to consider that can help any photographer begin to shape a project: finding the motivation, writing a statement of intent, gathering assets and influences, sequencing, and even writing about the images themselves. In our ranting and raving, we try to dig into how clarity of purpose becomes an anchor when projects stall, how to deal with the fear of starting, and why flexibility is key as a project shifts and grows.

We also talk about the role of community and mentorship. Having a cohort, a mentor, or even a trusted friend to give feedback can make the difference between abandoning an idea and carrying it through to the finish line. Ken shares stories of photographers who discovered new confidence and vision through collaborative projects, while I reflect on the ways structure and deadlines can keep us from drifting off course. Together, we consider how both tough love and encouragement are essential ingredients for growth.

If you’ve ever thought about putting together a zine, a book, a portfolio, or a long-term project, this episode is for you. It’s about more than just collecting pictures. It’s about intention, clarity, persistence, and learning to trust the process. Along the way, you’ll also hear a few stories about gallery shows, MFA programs, the lessons of sequencing, and even a couple of asides about dogs and coffee.

So, grab a cup of coffee, tea, or something stronger and settle in for an adventure into building photographic projects with intention.

In Episode 551 of The Perceptive Photographer, I share how what I don’t know often means more than what I do. The pressure to know exactly what belongs in a photograph can be overwhelming, but I have found that leaving space for the unknown creates stronger images and deeper connections.

Rules like the horizon line or the rule of thirds can be useful, but they are not requirements. Breaking them often opens the door to new discoveries. When I stop trying to control every detail, unexpected gestures, shadows, and moments emerge that carry more weight than anything I could have planned.

I have also learned that I cannot control how people see my work. Each viewer brings their own story, and the gap between my intention and their perception is where the real magic lives. By leaving things unsaid, I invite them into the photograph to find their own meaning.

Not everyone will respond to my images, and that is fine. Photography is not about approval. It is about creating openings for curiosity and conversation. Embracing the unknown allows me to trust my own voice and create work that feels authentic and alive.

When I pick up my camera, I remind myself to ask: What am I willing to leave unknown? The answer often leads me to photographs that are more powerful than anything I thought I needed to control.

In this episode of the Perceptive Photographer podcast, I explore the idea of silence or being quiet as an essential part of our photographic practice. With constant noise, distraction, and visual clutter, silence is more about being present and learning that when we let go of noise, we make the space where true seeing begins.

By slowing down and inviting silence into our practice, we start to notice details that usually slip by. There is also an emotional quality to silence. When we are quiet both inwardly and outwardly, we create space to connect to our subject and subject matter. We stop rushing to capture, produce, or perform, and instead allow the moment to unfold on its own terms. Photography becomes less about chasing an image and more about being present enough to receive it.

Working in stillness slows us down, encourages more intentional choices, and helps us listen to what an image is trying to say. Even in critique, silence holds power. Rather than rushing to explain or justify, letting a photograph speak for itself often reveals more than at first glance.

This can be really hard because we are surrounded by external noise, such as likes, comments, and gear debates, and internal noise, such as self-doubt, overthinking, and perfectionism. Choosing silence is a way to step away from that chatter and reconnect with why we picked up the camera in the first place.

If you want to bring this into your own practice, here are a few ideas to try:

• Take a photo walk without headphones or podcasts.
• Sit with one subject for longer than you are comfortable before you make a frame.
• Practice a silent critique by looking at your own work without judgment or explanation, simply observing what is there.

Silence is not empty. It is presence, patience, and attention. It can be a partner in helping us see more clearly and connect more deeply with our photographs.

So here is the question I will leave you with: Where in your photography could you invite more silence?

When it comes to growth in photography, it’s easy to get caught up in the wrong metrics. It coudl be likes, followers, number of frames, new gear or whatever. Even though we’ve shot so many frames this week, the real question is: do those things actually reflect what matters in your work?

In this week’s episode, I dig into the idea of measuring progress in ways that might make for better growth in our photographic practice. 

The Metrics That Don’t Matter (As Much as We Think)

While there’s nothing inherently wrong with keeping an eye on unusual numbers, such as the number of frames I took today, mine is zero for the day so far. However, I am still working on posting content this morning. I think it is essential to remember what matters to us when we are working. Does a spike in Instagram likes mean you’re growing as an artist? A new lens doesn’t automatically create more meaningful images. Even producing hundreds of photographs doesn’t guarantee that you’re making work that resonates.

What Might Be Worth Measuring Instead

Instead of obsessing over numbers, what if we tracked things that really deepen our photography?

• Consistency: Did you show up with your camera this week, even when you didn’t feel like it?
• Exploration: Did you try a new subject, technique, or way of seeing the world?
• Connection: Did your work spark a conversation, an emotion, or a memory—for you or someone else?
• Voice: Is your photography starting to look and feel more like you, rather than like everyone else?

These are harder to quantify, but far more valuable in the long run.

Process Over Product

Sometimes the most critical progress happens in the small, quiet moments: showing up, paying attention, trusting your instincts, or sticking with a project even when it feels messy. Those are the kinds of measures that often lead to lasting creative growth. 

When it all comes together, ask yourself this: What do I really want my photography to give me? When you ask that question and focus on that answer, you will likely be measuring the correct things.

In this episode of the podcast, I got to dig a little into how much we hear about the importance of telling a story through photography. As I was thinking about it recently, I remembered sitting in an English class years ago, learning about Freytag’s Pyramid—that classic story arc with an introduction, rising action, climax, falling action, and resolution. Stories have a rhythm and flow, a sense of movement from beginning to end. As story tellers in our photography, it got me to think about can one frame carry the weight of an entire arc, or does a single image usually focus on one essential moment within that larger framework? A photograph might be the climax, the quiet introduction, or even the resolution. Thinking about where your work falls in that kind of structure can shift the way you approach making images.

Once I went down that rabbit hole, I started looking at other story frameworks. The Hero’s Journey—with its call to adventure and return home. Pixar’s famous six-sentence storytelling method. The Seven-Point structure. Simon Sinek’s Golden Circle. Each offers a different way of shaping meaning and connection. Understanding those frameworks can help us understand the why we make our work, how to interpret or work or, better yet, how to frame up a composition before we even click the shutter.

The point isn’t that every photograph needs to map perfectly onto one of these frameworks. It’s that story structures give us a language to think about our work differently. They can spark new questions: What role is this photograph playing? What part of the story is it trying to tell? How might a series of images fill in the missing pieces?

When you start to see your images through the lens of story, you may discover new opportunities for connection to your work.

For episode 547, I’ve been thinking a lot about how we keep our photography both exciting and sustainable. Too often, we either make things so easy that we get bored, or we push so hard that we burn out. Somewhere in between is the sweet spot I like to call your creative “spice level.”

This idea came to me over Thai food. If you’ve ever ordered curry, you know how “medium spice” means something different everywhere. What’s mild for me might be scorching for you. Creativity works the same way. Too bland and you’re uninspired. Too spicy and you’re overwhelmed. The goal is finding that middle ground where you’re challenged enough to grow, but not so much that you want to quit.

For me, the first step is noticing my own thresholds. Some projects feel like a breeze, others feel impossible. Paying attention to my energy, when I’m excited to pick up the camera versus when I’m dragging my feet, helps me understand where I’m at. Your spice level is yours alone, and it’s not worth comparing it to anyone else’s.

Of course, it’s tempting to stay in that safe, comfortable zone. I call this being “efficiently lazy,” doing what’s familiar because it works. But real growth usually happens just beyond that. It might mean trying a new technique, shooting in a different genre, or tackling something you’ve been avoiding. Not so hard that it breaks you, but just enough to stretch.

One thing that helps me is writing it down. I’ll list out the areas of my practice, technical craft, vision, voice, and rate how easy or hard they feel right now. Seeing it on paper gives me perspective. It also reminds me that spice levels change. What feels overwhelming today might feel easy six months from now.

And because photography can be lonely work, I’ve learned not to do this in isolation. Sharing struggles with a friend, checking in with a community, or even sticking a reminder on the wall keeps me grounded when self-doubt creeps in.

So what’s your spice level right now? Maybe it’s a six, maybe a four. Wherever you are, notice it, adjust it, and trust that it will keep shifting as you grow. The magic really does happen in that middle ground, where you’re challenged, engaged, and still in love with the work.

In this episode of the podcast, we dig into storytelling with multiple images. Think about the last time you looked through a photobook or exhibition. Chances are it wasn’t just one photo that stuck with you, but the way the series unfolded—the rhythm of quiet and busy moments, the recurring themes, the way the story began and ended.

A strong sequence transforms images into something bigger than themselves. The relationships between photos create meaning, tension, and resolution. A single striking image might impress, but a series invites the viewer to linger, imagine, and feel.

Building a sequence is a lot like editing a film or composing music. Rhythm and pacing matter. A string of wide, expansive landscapes feels cinematic and open, while a cluster of intimate details pulls the viewer inward. Flow also comes from how images transition into each other. You can use light to dark, busy to minimal, or warm to cool. Really anything can be used to transition images so long as we udnerstasdn the transitions. Even subtle visuals like similar shapes, gestures, or colors can tie images together like a melody in music. I think if you work on telling a story with more than one image, you might be surprised where you end up. If the thought of it sounds too daunting and you can’t imagine making a cohesive body work, give this little exercise a try.

Build a Mini Story

1. Pick 6–8 images from your archive.
2. Forget about whether they’re your “best” single shots.
3. Arrange them into a sequence with a beginning, middle, and end.
4. Pay attention to rhythm, flow, and repetition.

Photography freezes moments, but storytelling connects them. When we stop thinking only in terms of single images and start considering how they work together, we open the door to something more in the way we see

Photography freezes moments, but storytelling connects them. When we stop thinking only in terms of single images and start considering how they work together, we open the door to deeper creative expression.

In photography, there are the skills you know you need, and then there are the skills you don’t think you’ll ever use. In episode 545 of the podcast, I spin up the idea that you should spend some time learning or dipping your toes into an area that you don’t normally focus on in your work.
It’s easy to stay in the lane of what feels comfortable: the camera settings you know, the type of light you always shoot in, the subjects you naturally gravitate toward. But the truth is, the most growth often comes from learning skills that at first seem unnecessary. Those are the extra arrows in your quiver, you know the ones you don’t reach for every day, but when the moment comes, you’re glad they’re there.
Take lighting, for example. Even if you primarily work with natural light, taking a class on artificial lighting gives you a deeper understanding of how light behaves. That knowledge doesn’t just stay in the studio—it makes you better at reading and shaping the light outdoors, too. Or think about portraiture. You may not consider yourself a portrait photographer, but studying gesture, posture, and posing can help you tell stronger stories in landscapes, street scenes, and documentary work. The same goes for history of photography. By immersing yourself in the photographs, movements, and ideas that came before, it can add to your inspiration and help you see your own work in a broader context.
After 15 minutes, I hope you see that the more arrows you carry, the more prepared you are for whatever shows up in front of the camera.

If you are like me, you know the frustration of returning from a day out wtih the camera to find that the images do not match the magic of the moment. In this episode of The Perceptive Photographer, I dig into seeing and looking, a challenge that every photographer faces. It often comes from moving too quickly, letting the camera dictate choices, or assuming the viewer will feel what you felt. Closing that gap begins with slowing down and committing to a more intentional way of working.

Intentionality starts with clarity. Before making a photograph, you recognize precisely what draws you in and why it matters. That recognition shapes how you frame, what you include, and what you leave out. The boundaries of the frame are absolute; everything the viewer understands about the scene comes from what you choose to put there. Without a clear subject and a purposeful composition, the emotional thread between you and your audience begins to fray.

Trusting your instincts becomes the compass. There is a distinct moment when a composition clicks, when the subject, light, and balance align to express exactly what you intend. Staying with a scene, working it from different angles, and refining until that alignment appears gives the photograph its strength. In that process, you resist the temptation to rush or rely on post-processing as a fix. Instead, the camera becomes a partner in realizing your vision, not a safety net for indecision.

Your perspective is shaped by every experience you have had. No one else will respond to a scene in the same way, and that is the heart of your photographic voice. Embracing that perspective without chasing what others might do infuses authenticity into your work. When you give yourself time, attention, and permission to be deliberate, your photographs become more than records; they become reflections of the way you truly experience the world.

If you’ve ever looked at one of your photos and wondered, “What does this mean?”—you’re not alone. In episode 543 of The Perceptive Photographer, I dug this very question through the lens of thoughtful critique, drawing inspiration from Sylvan Barnet’s A Short Guide to Writing About Art. I try to focus on how to move beyond simply describing what’s in a photograph and begin to understand what your images are saying.

As Barnet points out, there is a difference between analysis and description. Instead of just listing what’s in the frame, try looking at how those elements work together to create meaning. 

It’s not about having the “right” answer in your analysis, It’s more about uncovering the layers of intention, emotion, and experience that are already present in your work. Meaning doesn’t just come from you as the photographer—it also comes from the viewer. Your images carry your intentions, but they also invite interpretation, which is what a lot of what Ken and I talked about in the Death of the Author conversation from the July 31, 2025, podcast. That tension between what you meant and what someone else sees is where things get interesting. Rather than trying to control the narrative, allow room for ambiguity and accept the assumption, much like a critic would, that your work has meaning. 

Don’t try to force meaning into every single frame. Instead, look at your work over time. Meaning often becomes clearer when you step back and see your images as part of a project or portfolio. When photographs work together, they can tell a deeper storie. Just remember that critique isn’t about judgment, but rather it’s a tool for growth, discovery, and connection. 

‘If I put something out there that is truly meaningful to me, that truly engages with me, I want to be understood.’

If you’ve ever shared a photograph and felt that nobody “got it,” you’re not alone. we’ve all been there. In this conversation of The Perceptive Photographer, Ken Carlson and I dig into Roland Barthes’ famous essay, The Death of the Author, and what it means for us as photographers today.

The essay, written in 1967, argues that once a work is released into the world, the creator’s intention no longer determines its meaning. The audience does. In Barthes’ words: “The birth of the reader must be at the cost of the death of the author.”

For photographers, this can be both frustrating and liberating. We pour ourselves into an image or series of images, only to have someone interpret it in ways we never expected (both good and bad). I can’t tell you the number of times I have had someone say to me, but that’s not what my work is about. What are they seeing. For me that is where the magic happens. Our images come alive in someone else’s imagination. They become a creative force all their own.

Barthes’ essay isn’t a commandment—it’s a reminder. Photography isn’t a monologue; it’s a conversation. Your job is to make the work, put it into the world, and stay open to the messy, beautiful ways people respond.

As usual Ken and I end up taking photographs, movies, titles and more. I hope you enjoy the conversation, and the next time someone sees something unexpected in your photo, resist the urge to correct them. Your image is doing what it’s supposed to do. It is connecting with people.

Want more conversations like this? Check out The Perceptive Photographer Podcast for new episodes every Monday and new conversations about once or twice a month on Thrusdays.

In episode 542, I explored a topic that I have discussed on more than one occasion. While it’s easy to skip over naming your work—maybe leaving images untitled or defaulting to file names. They’re a powerful way to deepen your understanding of your work and offer viewers a richer way into your images.

One hesitation I often hear is, “Won’t a title limit how others see my photo?” I get it. We want our images to speak freely. But a well-considered title doesn’t shut interpretation down—it opens it up. A title is like the name of a book or a painting—it gives you a way in without telling you exactly what to think. Think about two books I have on color: The Secret Lives of Color and Color and Meaning. Same general subject, but those titles immediately set a tone. Your titles can do that too. A good title invites curiosity, emotion, or interpretation without dictating terms. It’s a lens, not a lock.

What Titles Reveal About You

For photographers, titles aren’t just about the audience—they’re also a way to reflect back what matters to you. When you start titling your work, you might notice themes that keep showing up—solitude in your landscapes, strength in your portraits, memory in your still lifes. A simple name can uncover what you’re really drawn to. It helps clarify what the image means to you, and how you might want to group or present it. Consider a barn photograph. You could call it Red Barn, 1923, Pride of the Valley, or Last Light Before the Storm. Each one reveals a different facet of your experience and intention. Not every title has to be shared. Some might live only in your Lightroom catalog, others on a gallery wall. Maybe you title your images when they go into a portfolio, but not when you post them online. That’s totally fine. The point isn’t that every image needs a title—it’s that titling is another creative tool at your disposal. Use it how and when it supports your goals. You might even go back years later and find that a title you once loved no longer fits. That’s okay too—your relationship to the image can evolve, and your titles can evolve with it.

If titling feels awkward or forced, try treating it as a creative exercise. Write five to ten different titles for the same image. Let yourself get weird, poetic, literal, emotional, or even nonsensical. See how each one changes how you feel about the photo. This isn’t about finding “the one”—it’s about seeing the work through different lenses and tapping into new layers of meaning. Sometimes you’ll land on something that surprises you. Sometimes the title reveals what the image was really about all along. It’s a low-stakes, high-reward way to engage more deeply with your own work.

Different types of titles reveal different things. Descriptive titles like Sunset Over Lake Washington tell us what we’re seeing. Emotive titles like Longing for Home guide us toward a feeling. Narrative titles like The Day We Said Goodbye offer a moment or story. Humorous or abstract titles—Duck, Duck, Goose! or Penguin Power give us a smile. None are better or worse, but each offers a different entry point.

At the end of the day, titling your photographs is less about classification and more about connection—both with your images and your audience. It’s a way to slow down and reflect, to notice patterns, and to give form to meaning. Even if you never share the title, the process of creating one can give you clarity and insight. It can also make your work feel more complete, more intentional, more you. So the next time you finish editing a photo, pause and ask: “What would I call this?” You might be surprised at what bubbles to the surface.

In episode 541 of the podcast, I dig into something that’s been a swirl of ideas, conversations and reactions from different things over the past few weeks. Each one was a little about balance, symmetry and living in an imperfect world. All those got me thinking about the notions of wabi sabi. It’s a Japanese aesthetic rooted in Zen Buddhism, and it’s all about finding beauty in imperfection, impermanence, and the natural cycles of life. For me, it’s become more than a concept—it’s a shift in how I approach photography, and honestly, how I move through the world.

Wabi sabi is about seeing beauty in things that are worn, aged, incomplete, or a little rough around the edges. It’s the cracked teacup, the faded sign, the rusted hinge. It’s the sense that something’s been lived in, weathered, and still has dignity and grace.

In photography, it’s not about giving up on craft. It’s about letting authenticity guide us behind the camera.

Perfection Isn’t the Point

So much of what we’re taught in photography pushes us toward the “perfect shot.” Clean compositions, straight lines, even lighting, perfect balance. But the more I photograph, the more I realize that perfection can at times flatten the emotion out of an image. Sure it is perfect, but it feels sort of soulless. Sometimes we chase those ideals because we want to feel like we’re in control, or because we’re trying to create a sense of calm. But the world isn’t always calm. It’s messy, unpredictable, and full of tension. The cracks, the tilt, the shadows that don’t quite cooperate—that’s where the real energy shows up.

There’s something powerful about the quiet, background details we often pass over. A small crack in the wall, an old sticker on a lamppost, the way moss grows on a forgotten step. Those things aren’t screaming for attention, but they hold a certain weight. They tell stories. They make you pause. I’ve found that the more I slow down and let myself really look, the more I notice these details—and the more they show up in my work in a meaningful way.

One of the things That rusted-out truck or broken down fence? It’s not just a subject—it’s a timeline. A memory. A history. Photography gives us a way to hold those moments, to document what time has done. More than anything, wabi sabi reminds us to slow down. Photography isn’t just about what we’re photographing—it’s about how we’re seeing. When I’m fully present, not trying to control everything, I start noticing stuff:. Things like the texture of a wall, the way the light skims across a surface, a beam of a shadow all become interesting subject matter. When I give myself the time to really see, the photographs that come out of that space tend to be the ones that mean the most to me.

If you want to dig deeper, Wabi Sabi for Artists, Designers, Poets & Philosophers by Leonard Koren is a great. It’s not dense and an really easy read. I’ve read it more than once, and every time I come back to it, I find something new.

Workshops Coming

If this way of seeing resonates with you, I’ve got a few workshops where we lean into exactly this kind of approach:

• Adventures in the Palouse (June 21–26, 2026): Big skies, quiet roads, and time to explore what draws you in.
• Small Towns of Eastern Washington (2026): Character, history, and all the little details that give a place its voice.
• Bandon, Oregon Intensive (2026): A week of walking the coastline, watching the tides, and noticing what often gets missed.
• Fine Art Printing Workshop (September 2025): One spot left—if you want to bring your imperfect, honest images into print, this is the place.

And if you haven’t subscribed to The Perceptive Photographer, it’s a good time to jump in. I’d love to keep this conversation going.

In this episode of The Perceptive Photographer, I explore three ideas that have been shaping my creative process lately: truth, wonder, and trust. A recent chat with my friend Bruce and a stack of good reading got me thinking about how these elements are often at the core of meaningful work. When they’re all in balance, photography becomes more than just technical execution—it becomes a space for curiosity, honesty, and growth.

It’s easy to get caught up in gear and technique (guilty as charged), but sometimes we need to step back and allow ourselves to play, make mistakes, and stay open to what’s in front of us. That openness—that sense of wonder—is often where the real magic starts. And then there’s trust: trust in ourselves, in the process, and in the images that might not make sense yet but still feel right.

For me, photography works best when I’m not just trying to get it “right,” but when I’m chasing something true. That might be a feeling, a gesture, a quiet moment that lingers. I hope this episode encourages you to lean into your own voice and let truth, wonder, and trust guide your work too.

Key Takeaways:

• Balancing Craft and Wonder: We often get caught up in perfecting our technical skills—Lightroom, Photoshop, composition, you name it. But let’s not forget the magic of experimentation and the joy of unexpected moments. It’s all about finding that sweet spot between mastery and curiosity.
• Staying Present: Being in the moment is crucial. It’s where serendipity happens, where ideas collide, and where creativity thrives. My family and I live by the mantra “Wonders Never Cease,” and it’s a game-changer for how we see the world.
• Trusting Yourself: Embrace uncertainty and trust your instincts. Your unique perspective is what makes your work authentic and meaningful. Remember, creativity isn’t about perfection; it’s about exploration and vulnerability.
• Seeking Truth: Inspired by Al Pacino’s idea of a “moment of truth,” I delve into how our photographs can capture a personal truth. It’s not about universal truths but about what’s real and genuine to you in that moment.

In this week’s episode of the Perceptive Photographer podcast, I dig deep into a topic, prompted by a thoughtful question from a long-time listener, Dennis. His struggle is one I know many of us share: Are we creating for ourselves, or for others?

In this post, I want to break down the main themes from that episode, offering nuanced insights for photographers and creatives who are navigating this complex terrain. I’ll explore the impact of feedback, the role of ego, the influence of social media, and the importance of understanding both your audience and yourself.

The Duality of Artistic Motivation

At the heart of Dennis’s question is a tension I think every artist feels:
Personal Expression– The drive to create something meaningful to me, to explore my own ideas, emotions, and perspectives.
External Validation–The desire for recognition, approval, or even just acknowledgment from others.

It’s tempting to say, “I make art only for myself.” But if I’m honest, that’s rarely the whole truth. There’s an ego component—wanting to be seen, understood, and appreciated. The challenge is to recognize this duality without letting it undermine the authenticity of my work.

The Impact of Feedback—And How to Use It Wisely

Feedback is a double-edged sword. On one hand, it can help me grow and see my work from new perspectives. On the other, it can pull me away from my own vision, especially in the age of social media.

The Social Media Trap

I’ve seen—and experienced—how easy it is to start “gaming the algorithm.”
Chasing Likes– I might find myself posting images I know will get attention, even if they don’t resonate with me.
Losing My Voice–Over time, this can lead to a disconnect between what I want to create and what I actually produce.

When I put something personal into the world, negative feedback can feel like a personal attack. That’s natural, but it’s important to separate myself from my work.

Understanding Your Audience—And Your Role as the First Viewer

Even in editorial photography, where I’m hired to fulfill someone else’s vision, my unique style and perspective are what make my work valuable. But before anyone else sees my images, I’m the first audience. I’m the one who clicks the shutter, edits the file, and decides if it’s finished. Ego isn’t always a bad thing. It can drive me to push boundaries and share my work. But unchecked, it can make me defensive or overly focused on external validation.

The Value of Sharing

While it’s important to create for myself, sharing my work allows it to grow and take on new meanings. Others may see things I never intended, and that’s part of the creative journey.

Be honest about your motivations.
It’s okay to want both personal satisfaction and audience engagement.

Use feedback as a tool, not a compass.
Let it inform, but not control, your creative process.

Remember you are your first audience.
If your work doesn’t resonate with you, it’s unlikely to resonate with others.

Balance ego with openness.
Confidence is good, but humility keeps you growing.

Let your work live in the world.
Sharing is part of the creative process, and it can lead to unexpected growth.

The question of who we make our work for isn’t one I expect to answer once and for all. It’s a tension I revisit with every project, every photo, every share. What matters most is staying true to myself while remaining open to the world around me. That’s where the real magic—and growth—happens.

In this episode of The Perceptive Photographer, I spent some time digging into a concept that’s easy to overlook but deeply important: the point of entry in photography. It’s that first moment of connection—the thing that makes you stop, raise your camera, and engage. Sometimes it’s obvious: striking light, bold color, or an expressive face. But often it’s more subtle, like a mood, a memory, or something you can’t quite explain. That entry point isn’t just a visual cue—it’s a clue to why you make the work you do.

When you start to notice what consistently pulls you into a scene, you begin to recognize your tendencies, your voice, and what matters to you emotionally and creatively. It shapes how you compose, what you leave in or out of the frame, and how your work is experienced by others. I’ve found that slowing down—pausing before I click the shutter and asking what’s actually catching my eye—makes a huge difference. It turns the act of photographing from reactive to intentional. Over time, those small observations build up into a deeper sense of clarity about your process and your perspective.

What makes this even more interesting is that no two photographers have the same point of entry. We each bring our histories, biases, and emotions to the act of seeing, and that’s what gives photography its richness. That’s why I always encourage conversations, critiques, and sharing work with others. When you can articulate why you were drawn to something—whether it’s a subject, a color, or a feeling—you’re well on your way to making more honest, more resonant images. So next time you’re out with your camera, take a moment to notice that first spark. That’s where your real work begins.

In this week’s episode of The Perceptive Photographer, I take some time to reflect on the people who shape us, the dual nature of photography, and the internal compass that guides our creative work. Episode 537 feels especially personal as I honor my mentor, Seth Thompson, and revisit the big questions that keep me engaged behind the camera.

Seth isn’t just someone who taught me how to see color—he teaches me how to think about it, how to push beyond the surface of an image, how to chase deeper meaning. Even now, his influence runs through everything I do. Mentorship, I realize, isn’t just about gaining skills—it’s about learning how to see and how to be as an artist. And at some point, it becomes our turn to pay it forward.

I also talk about the duality of photography—how every image straddles the line between nonfiction and fiction. Yes, we capture real moments, but we also make choices that shape those moments: framing, color, tonality, sequencing. Black and white often abstracts; color anchors. What matters is recognizing what story we’re telling—and why.

This episode also circles around clarity—specifically, getting clear on the core themes in your work. I share a simple exercise I use to uncover those recurring threads—words or ideas that quietly (or loudly) show up again and again in the images I make. Knowing what drives you creatively doesn’t limit you—it gives you direction when you need it most.

There are a few exciting things on the horizon too. The Unseen Mystery Show opens July 8 at Image City Photography Gallery in Rochester, NY, featuring work from my meaningful image workshop group. I’m currently teaching a workshop in the Palouse, and 2026 dates are now set. Plus, I’m kicking off a new In Conversation series—bonus podcast episodes with fellow photographers about process, practice, and perspective.

At the end of the episode, I touch on something I’ll explore more soon: the question of audience. Who do we make our work for, and how does that shape what we create? It’s not a simple answer, but it’s one worth wrestling with.

As always, thanks for listening—and for being part of this community. I hope this episode gives you something to think about as you continue making, reflecting, and growing in your own work.

—Daniel

As a photographer, I’ve often found myself drawn to the allure of the “bucket list” shot—the iconic landscape, the famous cityscape, the image that everyone seems to want in their portfolio. In this episode of the Perceptive Photographerpodcast, I explore why this mindset can actually hold us back, and how shifting our focus to personal expression opens up a deeper, more fulfilling path in our photography.

The problem with chasing trophy shots is that it narrows our field of view. When I’m focused on getting the shot, I can easily miss the quiet, fleeting moments unfolding around me—subtle gestures, shifts in light, or unexpected details that carry far more personal meaning. True creativity comes from responding to these moments as they happen. It’s not about recreating someone else’s vision, but about staying present, being open to surprise, and allowing my emotional response to guide the photograph. In doing so, my work feels more honest and connected to my experience of the world.

Even the language we use to describe photography can shape how we approach it. Terms Sontag discusses in On Photography like “shooting,” “capturing,” or “taking” suggest a kind of conquest or collection. Instead, I think of photography as an act of “making” or “creating” — building something that reflects how I see, feel, and engage with the world. The world doesn’t need another version of the same iconic scene; it needs our unique perspectives and stories. When we move beyond the bucket list mentality and embrace personal expression, photography becomes more than a record of where we’ve been—it becomes a reflection of who we are.

In Episode 535 of The Perceptive Photographer, I explore a topic that’s been on my mind for weeks: the art and practice of seeing in photography. Not gear. Not technique. Just the fundamental skill of observation and connection. One of the highest compliment I can get on a photograph is: “That’s a well-seen image.” It tells me I noticed something others might have missed—and that I was able to translate that moment into something that resonates.

But real seeing goes beyond just having a good eye. Too often, I’ve found myself reacting to a scene—snapping a frame because something caught my attention—without fully understanding why. And often, those images end up feeling a little flat or disconnected.

The “What Do I See?” Exercise

To break that pattern, I started doing something incredibly simple: I began asking myself—over and over—“What do I see?”

Step 1: Start with the Obvious

When I first arrive at a scene, I begin by naming what’s clearly in front of me:

• Objects.
• Color
• Shapes and Textures

Step 2: Go Deeper—No Repeats

After that first pass, I ask again—but I don’t allow myself to repeat anything. This forces me to notice more:

• Relationships
• Light and Shadow
• Negative Space

That extra layer of awareness changes everything. I start to notice how the wind shifts the grass or how the sky’s color reflects in a puddle I didn’t even register at first.

Step 3: Shift Your Perspective

Eventually, I stop just cataloging and start really engaging. That’s when I ask:

• Why did this scene catch my eye?
• What am I feeling right now?
• What if I moved? Changed my lens? Waited for different light?

How it changes the photographs

I think it give me a more intentional compositions. When I’m clear on what I see—and why—I can make stronger compositional choices. I’m no longer reacting; I’m creating. It has changed my editing and processing, because I’ve already identified what matters, post-processing becomes focused and purposeful. I’m not guessing—I’m refining. Finally, the more I practice seeing, the more connected I feel—to the moment, the image, and myself. If this kind of intentional seeing speaks to you, consider joining one of my workshops. I’m running the Meaningful Image workshop again in October, and I host free webinars throughout the year. Sometimes, just sharing what we see with others helps us see more clearly ourselves.

Want to hear more about workshops, webinars, or behind-the-scenes thoughts on photography? Sign up for my newsletter.

In this week’s episode of The Perceptive Photographer, I explored something that doesn’t always get the love it deserves—mundane photography. You know, the kind of work that isn’t flashy or dramatic. It’s not towering landscapes or intense street moments. It’s ferns on the forest floor. The corner of a quiet room. The way sunlight hits the sink at 3 p.m.

These might seem like boring subjects on the surface, but for me, they’re often the most rewarding.

Why Mundane Photography Matters

We tend to think that great photographs require great subjects. But I believe the opposite is often true: great photographers find meaning in whatever is in front of them. The so-called “mundane” isn’t boring unless we decide it is. When we bring curiosity, attention, and care to what we photograph, the subject transforms—and so do we.

Some of my favorite images have come from returning to the same familiar scenes—photographing the same patch of ground, the same fern, the same soft morning light over and over again. They might not win contests, but they matter to me. And that’s the real story.

Shifting Your Perspective

When a photo falls flat, I don’t blame the subject. I ask myself: Was I truly engaged? Did I take the time to see it fully? Often, a shift in mindset—approaching a scene with fresh eyes or deeper curiosity—makes all the difference.

The techniques matter too: framing, composition, how the light falls, the colors you notice (or choose to leave out). But the biggest tool you have is your presence.

Personal Connection Is the Story

Not every photograph needs a complicated narrative. Sometimes, the most powerful images come from a place of quiet connection. That little moment that made you pause—that’s enough. Let the emotion carry the image. Keep it simple. Trust that if it moved you, it might move someone else too.

Want to Go Deeper?

If this resonates with you, you might be interested in my Meaningful Image workshop. It’s an eight-month journey where we dig into ideas just like this—working to develop a deeper connection to our work and a stronger photographic voice.

And if you’re not already subscribed to The Perceptive Photographer, I hope you’ll check it out. There’s a new episode every week, and I love having you along for the ride.

In this episode of The Perceptive Photographer, I talk about the connection between form and content—especially during editing and sequencing. These stages shape how our photographs are experienced, and understanding this relationship is key to making work that resonates.

A photograph doesn’t hold our memories—it only shows what’s in the frame. While we may have deep personal stories behind our images, the viewer brings their own interpretation based solely on what they see. That’s why I focus on visual clarity when editing, not just emotional attachment.

Sequencing helps build meaning across images. A single frame might hint at an idea, but together, photographs can tell a fuller story. I lay out images like a storyboard, looking for rhythm, flow, and connection—sometimes even tension or contrast.

This approach also influences how I shoot. I find myself thinking more about the bigger picture—what kind of story I’m trying to tell, and what supporting images I might need. I still leave room for discovery, but I shoot with more intention and awareness of how each frame might fit into something larger.

Ultimately, aim for clarity. photographs want to connect, to carry meaning, and to feel honest.

In the latest episode of The Perceptive Photographer, I dive into the often-overlooked balance between the rational and irrational aspects of photography—and how wisdom emerges when we learn to navigate both. On the rational side, we have the technical tools: aperture, shutter speed, ISO—each essential for crafting a well-exposed image. But there’s a danger in getting stuck there, chasing technical perfection at the expense of emotional resonance.

The irrational side of photography is where creativity thrives. It’s instinctual, personal, even a bit messy—and that’s the point. When we let go of rigid expectations and trust our gut, photography becomes more than visual documentation; it becomes a form of self-expression. That’s where wisdom comes in: the kind earned through experience, reflection, and risk-taking. True photographic growth happens when we’re willing to break rules, embrace imperfection, and stay open to learning—not just from books or tutorials, but from our own evolving perspective. So let yourself wander a little. The best photographs often come not from precision, but from presence.

In this episode, we dive into The Americans, Robert Frank’s groundbreaking photo book that reshaped the way we think about documentary and street photography. Frank was born in 1927 in Switzerland. Growing up with Nazism, he had deep skepticism of authority. After moving to American in 1947, Frank received a Guggenheim Fellowship in 1955 and set off on a cross-country journey to photograph everyday American life.

Over the course of 10,000 miles, 28,000 images he selected a core 83 images that cut through the facade of 1950s to reveal a country grappling with race, isolation, and inequality. Unlike the crisp, idealized photography of the time, Frank’s work was grainy, off-center, and emotionally charged. It shocked critics and was considered un-American when it was released but ultimately influenced generations of photographers to come.

One of the stories that has always stuck with me that Frank shares about his trip was the very formative moment Little Rock, Arkansas, where he was arrested—suspected simply for being a foreigner with a camera and a New York license plate. In jail, he spoke with a Black man also detained, likely for something just as arbitrary and under some bullish*t Jim Crow law. The man showed him kindness, and the encounter left a lasting mark. Though Frank didn’t photograph that moment, it seeped into the emotional current of The Americans—a body of work not just about looking, but about really seeing the complicated soul of us as country.

As I look at the book today to prepare of the podcast, I am still struck at how much of what Frank was photographing thematically in the 1950’s are the same issues we face today. They might have a different look, but we still are dealing with racism, loneliness, consumerism and what it means to be better to each other.

In the latest episode of The Perceptive Photographer, I found myself thinking about Steve Jobs. You know that classic moment in his presentations when he’d pause, turn back, and say, “Oh, just one more thing…”? It was his signature move—something small that ended up being hugely impactful. And it got me thinking about photography.

That idea—just one more thing—has stuck with me. It’s become a way to look and critique my own work, and in this week’s podcast, I dig into how paying attention to one more detail, one more adjustment, one more question can fundamentally shift the power and clarity of a photograph. That “one more thing” doesn’t always mean doing more. Sometimes it’s about refining. Sometimes it’s about taking something away.

Questions I’ve Been Asking Myself Lately

In the episode, I posed a few questions that I’ve been leaning on lately. I thought I’d share them here in case they’re helpful for your own work:

1. If I could change one thing about this photograph, what would it be?
   This is my go-to when something feels “almost” right. It helps me figure out whether it’s a technical tweak or a deeper emotional shift that’s needed.
2. What’s the one thing I want people to see in this image?
   This question gets to the heart of intention. If someone scrolls past this photo, what do I want to stick with them?
3. If I could ask one question about this photograph, what would it be?
   This one flips the perspective and gets me thinking like a viewer. What story am I telling? What do I hope someone feels or wonders when they look at it?

Clarity and Intention: The Ongoing Work

One of the biggest takeaways for me lately is how valuable it is to clarify what I’m trying to say with a photograph. That doesn’t mean spelling it out—but it does mean being honest with myself about what I want the image to do. When I take the time to articulate that, either to myself or in writing, the photograph almost always improves.

Here are a few ways I try to stay intentional:

• Simplify the frame – What doesn’t need to be here?
• Zoom in on the details – What could I make just a little better?
• Pause before I press the shutter – Why this image, right now?

Book Club News

Also check out the launch of my new Photography Book Club. I’m really excited about creating a space to read, reflect, and talk about photography in a more intentional way. Whether it’s through the book club, a workshop, or just chatting through email or social media, I hope you’ll find ways to dig deeper into your own work, too.

In the latest episode of The Perceptive Photographer, I found myself diving into the heart of photography — not just its surface beauty or technical perfection, but the deeper meanings that lie beneath each image. Too often, we rush to label photographs as “good” or “bad,” but real growth comes when we ask better, more thoughtful questions about the work we encounter (and create).

Book Club

As part of that spirit of deeper exploration, I’m excited to announce a new project: the launch of a Photography Book Club! This club is for anyone who loves photography and believes that engaging with great writing can sharpen our vision and understanding. Each month, we’ll dive into a different photography-related book, starting in June with Camera Lucida by Roland Barthes — a classic that explores the emotional and philosophical side of photography. Later selections will include works by Geoff Dyer, Robert Adams, and Susan Sontag, offering a wide range of voices and ideas to enrich our conversations.

Upcoming Studio Days

If you’re looking for more hands-on learning, I’m also opening up a series of Studio Days here in the Pacific Northwest. These sessions are a chance for you to visit my studio, get personalized help with editing, critiques, and printing, and connect with other photographers in a relaxed, supportive environment. We’ll work together, share ideas, and enjoy lunch and refreshments while we dig deeper into our creative processes.

Moving Beyond “Good” or “Bad”

One of the themes I keep returning to — both in the podcast and in my own work — is the idea that “good” and “bad” are often unhelpful ways to talk about art. They’re subjective judgments that can limit our ability to see a photograph’s deeper meaning.

I was reminded of this when recently rereading Gilda Williams’ How to Write About Contemporary Art. In one section, she suggests asking a few simple but profound questions when encountering a work of art:

• What is it?
  Focus on describing the content and the formal elements. What’s actually there in the frame?
• What might it mean?
  Open yourself up to multiple interpretations. Resist the urge to pin down a single, “correct” answer.
• So what?
  Think about the photograph’s relevance. Why does it matter? What larger conversations might it be part of?

These questions have helped me slow down and engage more thoughtfully — not only with other people’s work but also with my own. Hopefully, they’ll help you too.

Thanks for reading — and I hope to see you at a Studio Day or in the Book Club soon!

In this episode of The Perceptive Photographer podcast, I dive into a topic that often goes overlooked in our digital world: the significance of print sizes in photography. I think you’ll find that how we choose to print our images can fundamentally change how they’re seen—and felt. If you really want to dig in to this more, I’m also running a workshop on fine art printing, where we’ll explore all of this in much more depth. If you’ve ever wondered how to take your digital files and make beautiful physical prints, this is for you. You don’t have to be a print expert—just curious and ready to learn. That workshop is September 9-12, 2025 details under the workshop link on my website.

We’ve experienced a major shift in photography. Most images are now viewed on screens—phones, tablets, laptops. And while that’s incredibly convenient, it’s also changed how we experience photographs.

• Screen Size Limitations: When we view an image on a phone, it’s confined to a few inches. That’s a far cry from standing in front of a large print where you can get lost in the details.
• Physical Interaction: Holding a print, flipping through a portfolio, or standing in front of a framed image offers something entirely different—something more tactile, more emotional.

Why Print Size Matters

Even if you don’t print your work often, I believe understanding print size is essential. It influences how much detail is visible, how a viewer interacts with the image, and how the image communicates.

Intimacy vs. Grandeur

• Smaller Prints: These invite intimacy. They ask the viewer to come closer and spend time with the image. They’re great for portraits or images meant to create a personal, quiet connection.
• Larger Prints: These are more communal. They let multiple people view the image at once and from a distance. They’re perfect for landscapes, architecture, and images rich with texture and tone.

Viewing Experience and Composition

When I’m behind the camera, I often ask myself questions like:

• Am I aiming for intimacy or something grand?
• Do I want the image to feel personal or shareable?

The answers affect how I compose the photograph. If I know an image will be printed large, I might look for more fine detail or wider depth. If I’m printing small, I focus more on clarity and impact in a tighter frame.

The Power of the Physical Print

There’s something powerful about seeing your work printed. It changes your relationship with the image. It becomes real in a new way. Here are a couple things I always encourage photographers to try:

• Print at Different Sizes: You might be surprised how an image changes based on its size.
• Think About Viewing Distance: If your print will be seen from far away, it needs strong structure and clarity. If it’ll be viewed up close, you can embrace fine detail and subtlety.

A Few Takeaways

• Think Ahead: Consider your print goals when you’re composing in-camera. It can shape your entire approach.
• Print a Few: Experiment. Print some of your work at different sizes and see how it changes.
• Join a Workshop: Whether mine or someone else’s, hands-on learning with prints is a game-changer.

Final Thoughts

I truly believe that thinking about print size—even if you don’t always print—can deepen your photographic practice. It helps you become more intentional and reflective about your work. Size impacts intimacy, detail, and interaction, and by engaging with those ideas, we create more meaningful photographs.

Embracing the Art of Seeing: Overcoming Overthinking in Photography

In this latest episode of the Perceptive Photographer Podcast, I dig into a common challenge many photographers face: the transition from enjoying photography as a creative outlet to overthinking the process in pursuit of “better” photographs. This shift can often lead to a disconnect between what photographers see and what they believe they should be capturing. Let’s break down the key insights and actionable advice from this episode to help you foster a deeper connection to the act of seeing and creating.

Many of us start our photographic journey with joy and spontaneity. We pick up our cameras and photograph what we find interesting, enjoying the experience without the burden of technical considerations. This initial phase is crucial as it allows us to connect with our subjects more intuitively.

As we seek to improve our craft, we often become bogged down by arbitrary rules and expectations about what constitutes a “good” photograph. This is where the overthinking begins. We start analyzing every aspect of our images, from composition to technical perfection, and in doing so, we lose the essence of the moment.

One of the main points this week is the importance of being present in the moment while photographing. Instead of getting caught up in the mechanics of composition—such as the rule of thirds or ensuring that lines are straight—focus on the unique qualities of the scene in front of you. Trust your instincts and allow the act of seeing to guide your photographic process.

Many photographers struggle with the balance between seeing and thinking. When we become too analytical, we may question how to create meaningful work without a clear understanding of that meaning. This can lead to frustration and confusion.

To counteract this tendency, allow yourself to be present in the moment, fully experiencing the scene before you. Recognize the uniqueness of both the subject and your own perspective. By doing so, you can create photographs that resonate on a deeper level, capturing not just the visual elements but also the emotional experience of the moment.

Failure is an inevitable part of the photographic journey. Even the most accomplished photographers produce a significant number of unsuccessful images. The key is to learn from these experiences rather than be discouraged by them.

Take the time to study your own work and the work of others. This is not about creating rigid rules but developing a deeper understanding of your vision and style. Reflect on what you see and may overlook in your photographic practice.

Ultimately, photography is about the experience of seeing and being present in the moment. Trust your instincts and focus on capturing the essence of what you observe rather than getting lost in the technicalities of composition. By doing so, you can create photographs that are not only visually compelling but also deeply connected to your own experiences and emotions.

I encourage you, “Don’t overthink it—just go make some amazing photographs.”

Welcome to episode 526 of the Perceptive Photographer Podcast. I want to share these insights with you, focusing on the distinction between photographing individual subjects (things) and the relationships between those subjects within a frame. 

This episode is about understanding how elements within a photograph relate to one another and how your relationship with the subject can influence the final image.

The Meaningful Image Workshop

Before we dive into the main topic, I want to mention an exciting opportunity for those looking to deepen their photographic practice: the Meaningful Image Workshop. This online course is approximately nine months and is designed to help you discover your unique voice, vision, and style as a photographer. If interested, visit my website for more information and registration details.

Understanding “Things” in Photography

When discussing “things” in photography, we refer to individual things or subjects that capture our interest. These could be anything from a shadow cast by a tree to a person sipping coffee. The focus here is on isolating a single subject and making it the centerpiece of your photograph.

Exploring “Relationships” in Photography

When we talk relationships, our purpose shifts the focus to how elements interact within the frame and how you relate to the things in the frame.. This includes considering spatial relationships, context, purpose, and emotion. Understanding these relationships is crucial for creating compelling photographs.

Photography is not simply an either-or scenario of a thing or a relationship. It is most often boht. A balance of capturing interesting subjects and understanding the relationships that exist within the frame. You can create more meaningful and compelling images by approaching your work with intention and considering how framing, interpretation, and subject matter come together.

I hope this weeks podcast of “things” and “relationships” in photography has inspired you to think more deeply about your photographic practice. Remember, the key to creating resonant images lies in understanding the individual elements and their relationships. Happy shooting!

In this episode of the Perceptive Photographer Podcast, we discuss the impact of the “New Topographic—A Man-altered Landscape” exhibition on modern landscape photography.

The New Topographics opened in 1975 at the George Eastman House, curated by William Jenkins. Unlike traditional landscape photography from earlier in the 20th century, employing romantic lighting and composition to evoke feelings of awe and beauty, the new topographic presented a stark, documentary-style approach. Instead, the new topographics focused on the man-altered landscapes resulting from human activity, such as urban sprawl, industrial sites, and suburban development.

This approach meant viewers were forced to confront an uncomfortable set of truths about the state of the environment and the impact of human activity on the land. The photographs depicted mundane and unattractive scenes such as empty parking lots, urban sprawl, or strip malls that asked us to view beauty versus what we could see.

For me, one of the key aspects of the new topographics was the shift in the conversation to be more about environmental issues as a whole we do versus what we could save. The new topographics did not overtly make political statements, yet they compelled viewers to engage with the political implications of the photographed landscapes. By documenting the realities of urbanization and industrialization, these photographers forced us, as viewers, to confront the possible consequences of their actions on the environment.

I encourage you to reflect on their own photographic practices and the messages they wish to convey through their work. Not just as an attempt to be a new topographic photographer but rather as something that matters to you in your work. Are you drawn to the untouched beauty of nature, or do you find yourself more interested in the impact of human activity on the environment?

The new topographic serves as a reminder of the importance of seeing the world around us and using photography as a tool for dialogue about what matters to us, even if what we end up photographing isn’t all pretty.

Well, after listening, I hope you better understand the nature of the New Topographic and how to think about your own work. If you are interested in exploring those themes more hands-on with some guidance, check out my Meaningful Imge Core course for 2025 on my website.

Welcome back to another episode of the Perceptive Photographer podcast, as we continue our exploration of the distinctions between simplicity and minimalism in photography. If you missed the first part, I highly recommend catching up at some point with part one where I cover some of the more central differences between the two.

While simple compositions can be clean and balanced, minimalism takes it a step further by intentionally focusing on space, form, geometry, and shape. Every element in the frame should serve a purpose. When making an image ask yourself why each component is there and what it adds to the overall composition. Minimalism is about revealing the essence of your subject. Remove anything that doesn’t contribute to the viewer’s experience.

I like to think of it as a deconstruction of subject that is core to the final frame, which involves breaking down the environment to its most essential elements and only those elements. For example, in Hiroshi Sugimoto’s classic photograph, the horizon line is centered, and the image consists solely of sky and water, devoid of any distractions. By reducing elements, viewers focus on what truly matters in the frame.

Negative space is a cornerstone of minimalist photography. It creates a sense of openness and contemplation, allowing us to focus on the subject without the clutter of additional elements. Negative space is really about two things: isolating your subject, making it the focal point of the image and helping to define form and shape of the thing in the frame. . Negative space can evoke be an effective tool to evoke range of emotional responses, from calmness to loneliness. Be mindful of these nuances when composing your shots.It is also important to call out that successful minimalist photographers often exhibit a repetition of themes, forms, and processing styles, which helps convey their artistic vision. Elements like line, symmetry, and balance become more pronounced when distractions are removed. 

Minimalism is often appreciated for its profound psychological impact when we look at the image. The emotional responses elicited by negative space and minimal content can vary widely, depending on the viewer’s interpretation.Both simple and minimalist photographs have their own merits, and neither is inherently better than the other. The key is to explore minimalism in your work and consider the intentional choices you make in your compositions. As you delve into this style, remember the importance of intention, the power of negative space, and the emotional impact your images can have.

Welcome to another deep dive into the world of photography! In episode 523 of the Perceptive Photographer Podcast, released on March 17, 2025, I wanted to take a moment to honor my late brother on his birthday, which coincides with St. Patrick’s Day. I’ll be raising a toast with a glass of Midleton Irish whiskey in his memory tonight.

I had promised this two-part podcast as while back but just now am getting to it. So thanks to all the listeners waiting on the concepts of simplicity and minimalism in photography.

Historical Context of Minimalism

To truly grasp the essence of minimalism in photography, it’s essential to understand its roots. Minimalism as an art form emerged in the 1950s and 1960s as a reaction to the emotional intensity and spontaneity of abstract expressionism. Artists sought to strip away these elements, focusing instead on structure and order. This movement emphasized reducing elements to their most essential forms, a principle that has profoundly influenced minimalist photography.

Characteristics of Minimalist Photography

Minimalist photography is characterized by:
Negative Space: Utilizing empty spaces to draw attention to the subject.

Limited Color Palettes: Often monochromatic or using very few colors to maintain simplicity.
Geometric Shapes and Patterns: Emphasizing form and structure over content.

Two of the most well known minimalist photographers, Hiroshi Sugimoto and Michael Kenna, exemplify these characteristics in their work. Their images often invite viewers to engage with the form and structure, leading to a more contemplative experience.

Simplicity in Photography

In contrast, simplicity in photography aims to clean up distractions while still providing context. For instance: A portrait might use a shallow depth of field to focus on the subject while retaining enough background detail to convey the setting. Simple photographs often tell a story or convey an emotion, making them more accessible to a broader audience. Again with the core focus on the subject not the form, space and objets.

Key Differences Between Simplicity and Minimalism

While both approaches can yield meaningful results, they require different perspectives:

Narrative vs. Conceptual: Simple photography often tells a narrative or emotional story, while minimalism invites viewers to engage with the conceptual aspects of the image.

Context vs. Abstraction: Simple photographs provide context, whereas minimalism focuses on abstract representation of form and shape.

Actionable Tips

Identify Your Intentions

Before you start shooting, ask yourself what you want to convey with your photograph. Are you aiming to tell a story or evoke an emotion (simplicity), or are you focusing on the form and structure (minimalism)?

Use Negative Space Wisely

In minimalist photography, negative space is your best friend. It helps to draw attention to the subject and creates a sense of balance and harmony in the image.

Limit Your Color Palette

To achieve a minimalist look, stick to a limited color palette. This doesn’t necessarily mean black and white; you can use a few complementary colors to maintain simplicity.

Focus on Geometric Shapes and Patterns

Look for geometric shapes and patterns in your environment. These elements can add a sense of order and structure to your minimalist photographs.

Clean Up Distractions

For simple photography, focus on cleaning up distractions in your frame. Use techniques like a shallow depth of field to isolate your subject and keep the background uncluttered.

Reflect on Your Work

Take time to reflect on your photographic practices. Consider when to focus on simplicity versus minimalism in your work. Understanding the intention and context behind your photographs can significantly enhance their impact.

Upcoming Workshops

I’m am letting you know that some spaces have opened back in my my upcoming workshop, “Seeing Color,” where we’ll delve deeper into these concepts and explore how color can influence . You can register or reach out with any questions on my site.

Conclusion

As we wrap up this episode, I want to express my gratitude to all of you for your support and engagement. I look forward to continuing this discussion in the next episode, where we’ll further explore the nuances of simplicity and minimalism in photography. Until then, keep reflecting on your intentions and experimenting in your work.

I am participating in the Photoshop Creativity Summit at the end of the month and one of my sessions is on the processing of framing and getting your work onto the wall. That session has really had me thinking about the impact of finishing the work and what it means to finish the work. Over the years, I have made a lot of photographs that have been processed or even printed that just ended up on the hard drive or in a box.

Yet some of these images make it to the wall. When they do make it to the wall it has shifted my perspective and appreciation of those images so much more, so in today’s podcast, I spend sometime reflecting on and pondering the value of actually fully finishing the work.

In episode 521 of the Perceptive Photographer Podcast, I dive into the Hawthorne effect and its impact on photography. I chat about how observing and photographing can change our behavior and perception. Reflecting on my own experiences, I discuss how having a camera in hand alters my awareness and creative process. I also touch on the differences in photographing people versus landscapes. Don’t forget about the upcoming photography events, including the Photoshop Creativity Summit 2025 and the Meaningful Image Workshop. I encourage you to reflect on your own experiences and thank you for your continued support.

In this episode of “The Perceptive Photographer,” I celebrate the podcast’s ten-year anniversary, marking its 520th episode. I reflect on the significance of milestones in my photographic journey and the evolution over the years. I emphasize the importance of recognizing and celebrating achievements, no matter how big or small. I encourage you to look back at your past work to appreciate your progress and to celebrate your own creative milestones.

In this episode of the Perceptive Photographer podcast, I take a step back to reflect on the evolution of a photographer’s journey—your journey, my journey, and the ever-changing creative path we all walk. I share some of my own experiences that shifted my relationship with photography, and I explore the pressures that come with making images in today’s world.

Maybe you’ve felt it too—that weight of expectations, the pull of past successes or missed opportunities, or the feeling that you should be further along than you are. But what if, instead of holding onto those old benchmarks, you allowed yourself to be fully present with who you are right now? What if you gave yourself permission to take risks, to explore, to trust that growth doesn’t always look like a straight line?

This episode is an invitation for you to embrace your own creative evolution. To push beyond your comfort zone. To recognize just how far you’ve come and to step into the next phase of your artistic journey with openness and curiosity.

Let’s reflect together and keep moving forward as artists.

Don’t forget the upcoming Photoshop Creativity Summit, happening from March 23rd to 26th.

In this episode of The Perceptive Photographer, I explore the nature of knowledge—what we know, what we don’t know, and the even more elusive realm of what we don’t know we don’t know. This idea is especially relevant in the creative process, where growth often comes not just from refining our skills but from stepping into the unknown with curiosity and openness.

One of the key themes I discuss is the role of play and experimentation in creativity. As children, we naturally embrace play, testing ideas without fear of failure. Yet, as adults, we often lose that ability, held back by self-doubt, the fear of making mistakes, or the pressure to create something “successful” rather than simply exploring possibilities.

Creativity thrives in uncertainty, but that can be an uncomfortable space to inhabit. By intentionally seeking out moments of not knowing—whether it’s trying a new technique, exploring a different subject matter, or questioning our own assumptions—we create opportunities for deeper artistic growth.

I encourage you to embrace uncertainty, challenge your habits, and push beyond your comfort zones. The unknown isn’t something to fear; it’s where creativity truly comes alive.

Don’t forget the upcoming Photoshop Creativity Summit, happening from March 23rd to 26th.

In this episode of The Perceptive Photographer, I explore the idea of focus—not just in terms of sharpness or camera settings, but the deeper reasons behind why we take the photos we do. Using the classic journalistic questions—who, what, when, where, why, and how—I reflect on how these can help us connect more emotionally with our work. Photography isn’t just about capturing what’s in front of us; it’s about understanding our motivations, the emotions we bring to the moment, and how we translate that into meaningful images.

I talk about how our audience, whether real or imagined, shapes the way we shoot. I also consider the role of our emotional state—how our feelings influence composition, subject matter, and the stories we tell. While technical skills matter, I emphasize that photography is ultimately about expressing something personal. Balancing the mechanics with a deeper sense of purpose allows us to create work that feels both intentional and resonant.

Along with these ideas, I share details about an upcoming artist talk and gallery show in Seattle with fellow photographer Nikki. If you’re in the area, I’d love for you to join the conversation. After all, photography isn’t just about making images—it’s about connection, storytelling, and seeing the world in a way that’s uniquely your own.

In the latest episode of “The Perceptive Photographer,” I dip my toe back into the pool of critiquing photographs. Critique is more than just forming an opinion; it’s a structured approach to understanding and evaluating photographic work. In this episode, I’ll try to offer up some advice to help you improve your critique skills. We start with a Quick Look at critical Theory and m ethodology

• Critical Theory: This refers to the assumptions and ideas we bring to the critique. It has its roots in academic discussions, such as those from Frankfurt University, where it was initially developed to study Marxism and consumerism. In the art world, this concept helps us analyze and interpret various forms of artistic expression.
• Methodology: This encompasses the specific processes we use to analyze the work. Different methodologies can lead to varied interpretations of the same photograph, highlighting the subjective nature of art critique.

As I have discusses many times on the podcast, one my the core principle in the critique process is the importance of suspending judgment. It’s crucial to set aside initial assumptions about a photograph—whether you perceive it as good, bad, or interesting—until you’ve thoroughly examined it. This approach allows for a more objective analysis and helps prevent personal biases from clouding your critique.

Many of us, myself included, often seek to validate our initial beliefs about a photograph rather than objectively assess its merits. This tendency can lead to a skewed critique process, where we force our opinions onto the work instead of allowing the work to inform our understanding. It’s essential to approach critique with an open mind, letting the photograph guide your analysis. When critiquing a photograph, consider the questions you’re asking yourself and the motivations behind your critique. For instance:

• What am I trying to understand?
• Is it the technique, the concept, or the emotional impact of the work?

By clarifying these questions, you can better navigate your critique process and gain deeper insights into the work.Conclusion

Critiquing photographs can be a challenging process. By suspending judgment, asking the right questions, exploring different methodologies, and considering the context, you can approach critique with greater clarity and intention. Engaging in meaningful dialogue and participating in critique workshops can further enhance your skills and appreciation for the art of photography.

I hope episode 516 can help you improve your critique skills a bit. Always remember, the goal is not just to evaluate a photograph but to understand and appreciate the depth and complexity of the work.

Hey there, fellow photography enthusiasts! Welcome to another episode of “The Perceptive Photographer”. We’re diving into episode 508, which coincides with the hustle and bustle of Cyber Monday. While the world around us is caught up in the frenzy of consumerism, I want to offer you something else to focus your attention on over spending some cash on something you don’t need.

I have five exercises for you to try out to keep your creativity going this season.

Exercise 1: Finding Interest in the Mundane

Let’s kick things off with a quote from the legendary photographer Jay Maisel: “If you want to take more interesting photographs, be a more interesting person.” This exercise is all about transforming the mundane into something interesting.

How to Approach It:
Identify a Boring Subject: Choose something you typically find uninteresting—a person, place, or object, and make it interesting .Focus on what you see not on what it is.

Exercise 2: Exploring Texture

Next up, let’s delve into the world of texture. This exercise is all about making texture the star of your photograph.

How to Approach It:
Choose a Textured Subject and capture the Duality: Think about what the texture reveals and what it conceals.

Exercise 3: The 180-Degree Turn

For our third exercise, let’s explore the concept of “In the Round.” This exercise encourages you to be aware of your surroundings and discover new subjects by simply turning around.

How to Approach It:

Start by capturing your initial subject. Make a 180-Degree Turn: Turn around and photograph what’s behind you.

Exercise 4: Story Within a Story

Now, let’s dive into the compositional technique of “frame within a frame.” This exercise challenges you to create photographs that tell multiple stories simultaneously.

How to Approach It:
Ensure that the elements within the frame work together to convey more than one narrative. Layer Your Stories: Think about how different elements interact and contribute to the overall story.

Exercise 5: The Closing Click

Finally, let’s explore the “Closing Click” exercise. This exercise encourages you to rely on your other senses to determine the right moment to click the shutter.

How to Approach It:
Set Up Your Shot: Compose your image and get everything ready. Close Your Eyes: Once you’re ready, close your eyes and focus on your other senses.
Feel the Moment**: Tune into the sounds, the wind, the warmth of the sun, and click the shutter when it feels right.

I hope these exercises inspire you to have a week filled with meaningful moments behind the camera. Don’t forget to subscribe for future episodes, and happy shooting!

Until next time, keep seeing the world through your unique lens.

In this episode of “The Perceptive Photographer,” I dive into the theme of balance in both life and photography. I kick things off with a quote from Ani DiFranco about striving for balance over perfection and dive into an expeirence many years ago in a yoga class, where I noticed how balance—or the lack of it—can reflect broader life. Over the past week I have been thinking about how those relate to photography, suggesting that our emotional and mental states influence our creative work. I encourage you to think about your own sense of balance and how it impacts your photography, aiming for more authentic and meaningful images.

In this episode of the Perceptive Photographer podcast, I spend some time reflecting on the passing of the influential photographer Paul Caponigro. I really admired Paul and got to meet him several time and so I wanted to shared a few personal stories about Paul, including some lessons and anecdotes on his approach to photography. I also wanted to touch on the current tension and anxiety so many are feeling and talk about how photography can be a therapeutic outlet during tough times. I hope you are feeling a little off, or a lot, that you use your cameras to process those emotions and find solace, remembering that creating art can help navigate feelings of grief and uncertainty.

In this episode of my podcast, the Perceptive Photographer, I dive into the concept of “layers” in photography, drawing inspiration from the movie “Shrek.” You know how Shrek says ogres have layers? Well, I believe photographs do too, with multiple layers of meaning. I chat about how elements like composition, emotions, and even political implications can add depth to an image. I encourage you to think about your own layers as photographers and how your personal experiences shape your work.

In an upcoming episode, I’ll share some photography book recommendations for holiday gifts.

Don’t forget that I got a bunch of upcoming workshops, including the Photoshop Virtual Summit and my own sessions on inspiration and printing.

Also, don’t forget to check out the upcoming workshops if you want to deepen your understanding and skills in your work.

In this episode of the Perceptive Photographer Podcast, I dive into the importance of working the balance between simplicity and complexity in our photography. It all started with me finally starting to learn how we see complexity in a scene and how distilling them to their core improved my work. This simplification isn’t about minimalism but about focusing on the core elements. I

Don’t forget that I got a bunch of upcoming workshops, including the Photoshop Virtual Summit and my own sessions on inspiration and printing.

Also, don’t forget to check out the upcoming workshops if you want to deepen your understanding and skills in your work.

In this episode of the Perceptive Photographer podcast, I dig into how we go about dealing with mistakes and unexpected outcomes in our creative process. The topic came to mind in thinking about why sometimes bad things happen in my process, and yet, other times it is just a “happy accident.” I wondered how much of that was my reactions to the errors verse the errors themselves.

I started to emphasize in my own work the importance how I frame and reframing expectations and seeing mistakes as opportunities for growth rather than failures. So in this podcast, I encourage you to try out a mindset of exploration and learning, reminding yourself that creativity is about the journey, not just the “perfect” end product.

Don’t forget that I got a bunch of upcoming workshops, including the Photoshop Virtual Summit and my own sessions on inspiration and printing.

Also, don’t forget to check out the upcoming workshops if you want to deepen your understanding and skills in your work.

In this episode of podcast, I ponder and dig into how perception shapes our understanding of photographs. It all starts from thoughts of donuts from Oscar Wilde and mirror from Ralph Waldo Emerson. With their quotes in mind, Igot to thinking about how much of our perception is subjective and influenced by our mental state and not actually factual.

As you look at your own work, one of the things in the podcast that I hope you will do is reflect on how your personal experiences and emotions are mirrored in your photography, rather than just focusing on technical accuracy.

Don’t forget that I got a bunch of upcoming workshops, including the Photoshop Virtual Summit and my own sessions on inspiration and printing.

Also, don’t forget to check out the upcoming workshops if you want to deepen your understanding and skills in your work.

In episode 501 of “The Perceptive Photographer,” I really open up about the concept of “mailing it in” when it comes to photography and creativity. Hitting the milestone of 500 consecutive episodes got me thinking about how crucial it is to stay truly engaged and not fall into the trap of complacency in our creative journeys. 

So with the podcast this week, I want to encourage you to stay focused, even when you’re feeling exhausted, and to find those little sparks that keep your creative energy alive. Plus, I’m excited to tell you about some upcoming workshops and a Photoshop virtual summit designed to help you stay inspired and motivated.

Also, don’t forget to check out the upcoming workshops if you want to deepen your understanding and skills in your work.

In this special 500th episode of the Perceptive Photographer Podcast, I reflect back on my journey in podcasting and photography. I am very grateful for your listening, support, and friendship which has been instrumental in keeping me going to reach this milestone. In this week’s episode, I dig a bit into the creative challenges and expectations that come with being a photographer, discussing how these experiences have shaped my work and perspective over the years.

I also wanted to emphasize the value of embracing the unexpected in creative work, highlighting how some of the most profound artistic discoveries come from moments of spontaneity and surprise and the importance of allowing space for discovery rather than focusing solely on efficiency. My hope is that 500 serves as a reminder that the path of creativity is ever-evolving, and it is the unexpected twists and turns that often lead to the most rewarding artistic breakthroughs.

Also, don’t forget to check out the upcoming workshops if you want to deepen your understanding and skills in your work.

Hey there! I’m excited to share the latest episode of the Perceptive Photographer Podcast. This episode is particularly special to me as it marks the 499th episode, leading up to the big 500th milestone. In this episode, we dig into the importance of understanding the purpose behind a photograph and how you can learn to see better by critiquing before you ever grab the camera. To help you with this, I have a fun exercise designed to have you visualizing and critiquing photographs without actually using a camera. So check out the podcast for all the details on how to get started making better pictures without the camera.

Also, don’t forget to check out the upcoming workshops on color photography and the creative process if you want to deepen your understanding and skills in your work.

In this episode of the Perceptive Photographer Podcast, I delve into the continuing dialog and conversations around the evolving role of generative AI in photography. Reflecting on my recent experiences, I share frustrations about people’s reactions without justification and start to set the stage for a broader discussion on AI’s impact.

As I always try to call out, there is a difference between that which is completely generative AI, which is a distinct art form requiring its own critique and classification and photography tools that use AI that make what would have been done anyway easiler.

In the conversation today, I am trying to encourage photographers to reflect on their boundaries regarding image manipulation and engage in meaningful conversations about the ethical implications of AI tools. Ultimately, I urge listeners to embrace the dialogue and continue growing as photographers.

Also, don’t forget to check out the upcoming workshops on color photography and the creative process if you want to deepen your understanding and skills in your work.

In this episode of the Perceptive Photographer podcast, I explore the inner monologue and external dialogues we photographers have when critiquing our work and others. It all starts with a story about a friend from my 20s constantly questioning one’s ability to drive after having a drink at the bar is an example of how we often ask questions we already know the answer to. (If you are asking the question of if you can drive after a drink, you can’t). As photographers, we can look at how identifying the importance of recognizing these questions we already know the answer to and holding ourselves accountable for the answers to improve our photography.

Also, don’t forget to check out the upcoming workshops on color photography and the creative process if you want to deepen your understanding and skills in your work.

Tune in to this weeks episode of the Perceptive Photographer whre we dig into how theater, photography, sitcom A, B, and C narratives in epsisode can be lessons to apply to our photographs.

In this episode of the podcast, I talk about some of the challegenes we can face when we look at our photographs under the lens of thinking we knew what they were about when we really didn’t know.

In this episode of the podcast, we dig into the impacts of tension on photography. Not the tension in the frame, but rather the tension we carry with us bedhind the camera and how that can impact what we see, photograph and create.

Welcome to the podcast episode 493. Today, I’m diving deep into a debate that really got me thinking: Can anything truly be taught? It all started with a professor’s bold statement that even the most original thoughts or unique artistic perspectives, like those of van Gogh, can be learned.

I question whether those innovative ways of seeing or thinking are truly teachable or if they’re just innate qualities. I’ll share how our unique life experiences shape the way we individually perceive the world, especially in art forms like photography.

While we can definitely learn techniques, that distinct vision each of us has is irreplaceable. Ultimately, art is about embracing your unique perspective and creativity, not just replicating skills but expressing your own experiences and understanding your place in the world. Let’s explore this together.

Couple of other notes from the podcast

Just a reminder about my critique class on September 21-22nd.

if you haven’t done so, check out the best images from the upcoming Paris 2024 Olympics. Some of them are amazing and so cool to see what those photographers captured.

I also suggest checking out Ashley Lagrange’s “Basic Critical Theory for Photographers” for a solid grasp of critical photography texts.

One of the things that makes the world so interesting is that we all do have different perspectives.

If everything was teachable and everybody could be made exactly the same through a set of skills that would be learned, that’s a boring world to live in.

In this episode, I dive into Stephen Shore’s thought-provoking photography concept of mental models and thinking about your images based on his book, “The Nature of Photographs”. In the podcast, we explore how framing, composition, and external influences shape our understanding of photographs on both a mental and physical level.

Couple of other notes from the podcast

Just a reminder about my critique class on September 21-22nd.

if you haven’t done so, check out the best images from the upcoming Paris 2024 Olympics. Some of them are amazing and so cool to see what those photographers captured.

I also suggest checking out Ashley Lagrange’s “Basic Critical Theory for Photographers” for a solid grasp of critical photography texts.

The world around us is impacting us as we make the photograph.

The camera captures light. And again, it’s bound by frame, it’s bound by composition that we set up in an effort to pull an abstraction.

In take 357 of episode 491 of the podcast, I dive into the impacts of forks in the road of our creative process. From the early excitement and motivation of creative processes to balancing the struggle of staying true to oneself while connecting with others. We dig in and explore some of the journies and paths we might find ourselves in photography, and the tough choices between giving up and pushing through. I hope you join me as I reflect on conversations with others and my own highs and lows, striving for improvement and understanding in my work.

Who am I in my photography? What am I saying about the world and my perception of the world through my photography?

It’s one of the great parts about the photographic process is that growth that comes from a better understanding of who I am and the things that matter to me in the world and how I express those through the photographs

In this episode, I delve into the impacts of fragmentation in our photography, emphasizing its unique ability to fragment the world in various ways. Starting off with some great quotes from Jasper Johns and Ursula K. Le Guin about fragments of knowledge and then digging into how photography mirrors the fragmented nature of how we frame, see and compose.

Over the course of the podcast, I disuss the challenges of managing these fragments in how we use time, spaces, and ideas to create our own personal images.

Intention involves such a small fragment of our conciseness and of our mind and of our life.

-Jasper Johns

“All knowledge is partial, infinitesimally partial. Reason is a net thrown out into an ocean. What truth it brings in is a fragment, a glimpse, a scintillation of the whole truth.”

– Ursula K. Le Guin

In this episode, I explore how the language we use—especially definite and indefinite articles—shapes our understanding and critique of photographs. We’ll dive into how titling, captioning, and asking the right questions can alter our perception and memory of images. This week I hope to uncover the subtle yet powerful role language plays in defining the context and elements within photography.

“As you’re talking about your photograph, start to think about how do you use that language unconsciously..”

Key Takeaways

Influence of definite and indefinite articles on the understanding and interpretation of photographs

Clarification of specificity and abstractness in photographic elements like color, light, and location through article usage

The role of titling, captioning, and specific questioning in shaping perception, memory, and critique of photographs

Emphasis on the importance of language in defining and understanding the context and elements of photographs

Using definite and indefinite articles as tools for framing and composing images

Reevaluation of the impact of article usage during critiques and photographic conversations

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

In episode 487, I dig into breaking the cycle of repetitive photography habits that have you spinning your wheels. It’s easy to keep snapping similar shots like sunsets or whatever you shoot again and again without pushing ourselves to what we really need to photograph to connect to our images. So with that in mind, I talk about how we can engage deeper with our subjects and find those unique elements that reflect our personal goals, experiences and growth, ultimately leading to more meaningful work.

“One of the things we have to do is spend the time to figure out what is it about that experience that is important to us, that is unique to us.”

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

In today’s episode, I dive deep into the impacts of acceptance in our creative practices. It’s all about being honest with ourselves, setting realistic expectations, and understanding outu that might impact our photographic progress and relationship to photography. After sharing a little about some workshops coming up, I try to discuss why it is important to appreciate and value what we create, and how respecting our work—and that of others—can make a huge difference–particularly when we are feeling a little less than motivated. By focusing our current state of mind, staying present, and avoiding that harsh self-criticism we can often end up being more connected to our work.

“Those little photographs that we make that seem trivial and don’t seem important in our own psychology sometimes are, in fact, very significant and important.”

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Hey everyone, in this episode, I’m diving into two of the simple pleasures in my studio—a great cup of coffee and capturing the meaningful photograph. I’m digging into a random thought that came up after brewing some coffee in the studio. The thoughts of how stripping down complex experiences to their core can lead to deeper connections and more compelling storytelling through photography. There really isn’t an answer that I come up with but rather in this podcast, I wonder the pasture of simplicity wondering if who we are as photographs can be more understood by really making our discussions about images as simple as possible. And by that, I mean in the ability to be as simple as possible, we appreciate the complexity of great images.

“On the surface, it’s a very simple portrait, or very simple landscape, or very simple still life, but the complexity is there because the person experienced and allowed themselves to figure out what is it about this image that matters the most and make the image about that.”

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Welcome to podcast 483, In this podcast, I’m diving into the world of f stops and depth of field in photography. Imagine your favorite f stop as a personality quiz—revealing the unique characteristics that define how you see and capture the world. You can of course start with Lightroom’s library filter bar to uncover your natural shooting habits, helping you understand your personal photography style with a metadata sort by f.stop. But rather than be just that simple, I dive into the impacts of f/stops as we explore the power of depth of field in guiding focus, telling compelling stories, and expressing intention in every shot. Whether you’re drawn to lush, blurred backgrounds or crave crisp, all-encompassing detail, it’s all about the details you value. hopefully with some thoughts on how to prioritize elements like sharpness, light, color, and technique, all while keeping your approach simple and true to your vision. Your signature and style, be it a favorite aperture or shutter speed, say something about who you are. I hope you spend a little time figuring out if you are an f/8 or f/16 sort of person.

(00:00:00) Determining If a Photograph Is Effective

(00:00:41) Is a Photograph Worth a Second Look?

(00:03:20) Forcing a Second or Third Look

(00:04:53) Technique vs. Effectiveness

(00:11:38) Summary

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Welcome to podcast 482 ! Today, we look at why we might come back and have a second look at an image, and how that can impact our determination of an image’s effectiveness or not. We know that it’s not just about technical aspects but the deeper resonance and significance that prompt us to keep coming back for a second look, and yet, we need the technical aspects to not be a distraction. It is a balancing act. We’ll dive into the importance of engaging with images multiple times, understanding their potential, and the photographer’s intention behind them and how we should consider biases and critique techniques, when sorting out why some photographs hold our attention more than others.

(00:00:00) Determining If a Photograph Is Effective

(00:00:41) Is a Photograph Worth a Second Look?

(00:03:20) Forcing a Second or Third Look

(00:04:53) Technique vs. Effectiveness

(00:11:38) Summary

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

In episode 481 of the Perceptive Photographer, we dig into the different sides of distractions and how they can be both a benefit sometimes and a negative other times. Using examples like peaking at the back of the camera, over preparedness and should and coulds of photography, I discuss how so much of what we are distracted by take us out of the moment of connection behind the camera. That connection should be our goal, so I invite you to revisit and reconsider how you approach your things that seem to distract you in your work.

Mark Your Calendars for the Lightroom Virtual Summit 2024

Before we get into the topic just a save the date note for the Lightroom Virtual Summit 2024 for May 20 through May 24. This will be a free week packed with Lightroom training. These sessions are going to be invaluable for anyone looking to enhance their photo processing and organizational skills with this tool.

Subscribing to the podcast ensures not missing any new episodes released every Monday.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

In episode 480 of the Perceptive Photographer, we dig into the notion of what good customer services looks like. When thinking about your photographs and if you are in the business of making photos, what does good customer service look like in your images. As your own client, what are you doing to make sure that your images have the best experience possible.

Mark Your Calendars for the Lightroom Virtual Summit 2024

Before we get into the topic just a save the date note for the Lightroom Virtual Summit 2024 for May 20 through May 24. This will be a free week packed with Lightroom training. These sessions are going to be invaluable for anyone looking to enhance their photo processing and organizational skills with this tool.

Subscribing to the podcast ensures not missing any new episodes released every Monday.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

In this week’s podcast I dive into the way our photos that only we seem to love can really impact our work and a quick rant on AI marketing language.

Mark Your Calendars for the Lightroom Virtual Summit 2024

Before we get into the topic just a save the date note for the Lightroom Virtual Summit 2024 for May 20 through May 24. This will be a free week packed with Lightroom training. These sessions are going to be invaluable for anyone looking to enhance their photo processing and organizational skills with this tool.

Subscribing to the podcast ensures not missing any new episodes released every Monday.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Hey everyone, Daniel Gregory here. In this episode, we’re diving into the topic of resistance and how it can seriously mess with our creative flow. I’ll be sharing some personal insights on how resistance shows up in different ways and what we can do to push through it. We’ll talk about how resistance can actually serve a purpose, but also how it can hold us back from embracing change and trying new things. I’ll also touch on how to overcome resistance when it comes to our photography work and how to find joy in the process again. Plus, we’ll explore the idea of having multiple priorities can be a good thing, and how stubbornness can be a major creativity killer.

Mark Your Calendars for the Lightroom Virtual Summit 2024

Before we get into the topic just a save the date note for the Lightroom Virtual Summit 2024 for May 20 through May 24. This will be a free week packed with Lightroom training. These sessions are going to be invaluable for anyone looking to enhance their photo processing and organizational skills with this tool.

Subscribing to the podcast ensures not missing any new episodes released every Monday.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

It’s “Challenge Week,” in this episode of the Perceptive Photographer, so I am outlining five tasks designed to refresh and inspire your approach to your work. Each challenge ranges in difficulty and is not necessarily organized from easiest to hardest, as presented in the podcast, as everyone’s perspective on what’s challenging varies. But I hope each one can shift a perception or rekindle a creative spark if you feel a little stuck.

Crafting Project Statements

The first challenge is crafting project statements. I’m asking you to write three project statements, each one or two paragraphs at most, to help organize some photographic projects or initiate a new project you have only thought about. 

The Gift of Art: Sharing Your Work

Challenge number two is about generosity and the power of giving away ten prints. The purpose of this is to select images you value enough to share and think about a deeper connection to what truly matters in your work as you share it.

Exploring New Perspectives Through Cropping

The third challenge involves taking 25 existing images and cropping them into new aspect ratios, which hopefully pushes you to consider alternative compositional frames. This practice can dramatically shift your approach to capturing images in the future.

The Art of Titling

In the fourth challenge of the week, I am challenging you to title 50 currently untitled images. Crafting suitable titles can often be as challenging as taking the photos themselves, but it’s part of the process that adds depth to our work.

Curating a Cohesive Collection

The last challenge starts with building a collection of 100 images that seem to fit together. This exercise emphasizes the importance of identifying what makes each photograph unique and also different. You are looking for the common threads that tie them together, using your own photographs as a feedback loop for growth.

Mark Your Calendars for the Lightroom Virtual Summit 2024

Before we get into the topic just a save the date note for the Lightroom Virtual Summit 2024 for May 20 through May 24. This will be a free week packed with Lightroom training. These sessions are going to be invaluable for anyone looking to enhance their photo processing and organizational skills with this tool.

Subscribing to the podcast ensures not missing any new episodes released every Monday.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

In this latest episode of the Perceptive Photographer podcast, I revisited the evergreen question of what constitutes a good photograph. A quick announcement before we jump into the topic. I wanted to announced the upcoming Lightroom Virtual Summit 2024, set to run from May 20-24, where you can enjoy a free week of Lightroom training.

In this week’s podcast, I delved into the subjective nature of photographic quality, emphasizing that a photograph’s value extends beyond monetary terms and is more deeply tied to the experience and emotional connection it brings, reflecting on the influence of audience, intention, and purpose in determining what makes a photograph acceptable or praiseworthy, and how experience itself adds value to a photograph.

I also wonder if the notion of good is sometimes an automatic praise given to certain historical figures in photography, noting that not all works by recognized artists are necessarily exemplary. Finally I wonder how much the weight we put into an image is our good verse snapshots categories of image. Where a good ‘snapshot’ quality, advocating for their potential to carry memory, meaning, and context might be the best of our work.

My goal in the episode is to return to that question of what makes a photograph meaningful is likely what also makes it good, and the significance of photographs that capture the essence of a place or situation, which may not necessarily satisfy the criteria of structured competitions, but nonetheless stand as good photography in their own right.

Mark Your Calendars for the Lightroom Virtual Summit 2024

Before we get into the topic just a save the date note for the Lightroom Virtual Summit 2024 for May 20 through May 24. This will be a free week packed with Lightroom training. These sessions are going to be invaluable for anyone looking to enhance their photo processing and organizational skills with this tool.

Subscribing to the podcast ensures not missing any new episodes released every Monday.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Welcome to another installment of the Perceptive Photographer podcast. I’m excited to bring you episode 472. Before we dive deep into this week’s topic, a quick note for those eager to enhance their photography critique skills: I will be running a class on April 6 and 13 designed to refine your ability to understand and discuss your photographs more profoundly. Now, let’s get into the heart of today’s discussion, learning to identify and understand the influences in your photography.

The Role of Influences in Shaping Your Craft

In a recent class I taught about imitation, inspiration, and influence, we uncovered the significance of in-depth knowledge about the photographers who shape our work. It’s incredible to note how many of us begin our photographic journey under the subtle guidance of our predecessors without even realizing it. Our personal style often evolves from emulating the images that captivate us. Identifying these pivotal influencers is the first step towards acknowledging the roots of our creative expression.

Why Delve into the Lives of Influential Photographers?

The exercise of recognizing influential photographers goes beyond a simple acknowledgment. Once we pinpoint these individuals, it becomes immensely rewarding to undertake a biographical exploration. Unraveling the stories behind the artists who resonate with us strengthens our connection to their work and enriches our own creative process. By understanding the context of their lives and their art, we open ourselves up to deeper insights about their impact on our photography.

The Power of Significant Works and the Lessons They Teach

As we immerse ourselves in the lives of these photographers, it’s crucial to dissect their portfolios and identify the pieces that speak to us the loudest. These significant works are often a composite of the lessons we absorb and apply to our own photography. However, influences can be as diverse as the genres we explore. They can pivot our perspective, technique, and expression in ways we might not have predicted.

As we continuously seek out inspiration and endeavor to refine our craft, it’s important to stay updated with fresh insights and discussions in the world of photography. Subscribing to the Perceptive Photographer podcast ensures that every Monday, you’ll have access to the latest episodes packed with thoughtful commentary and tips to further your photographic journey.

Subscribing to the podcast ensures not missing any new episodes released every Monday.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

In this week’s episode of the Perceptive Photographer, we try to unpack photography’s connection to symbolic meaning in images and how some of key tenants of symbolic interactionism can shift how we approach our work. From social constructs to the meaning behind our photographs, this episode dives into how our interactions shape the essence captured in every shot. Hopefully, some of this will give you a chance to think about how your approach and what you see defines your visual stories.

Subscribing to the podcast ensures not missing any new episodes released every Monday.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

This week is episode 470 of the Perceptive Photographer podcast I dive into the importance of the personal part of personal work and projects. So many times I hear from people who are trying to find a deeper connection to their work that they struggle with what it will mean to everyone who looks at it. The focus of the work is very external. I propose that for work to matter it needs to have a personal connection to the person making the work first. I also believe that if it matters to you then that is enough. The work matters because we feel and believe it matters to us. This isn’t a matter of ego, but rather a deep heart-felt to what we photograph and how we experience those moments.

Subscribing to the podcast ensures not missing any new episodes released every Monday.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

In this week’s podcasts, I jump into the essence the struggle between practice, inspiration and making images. I emphasize the necessity to actively engage in practicing the craft of photography, emphasizing the importance of honing technical, organizational, shooting, and preparatory skills. When we fail to practice, it can leave us unprepared for unforeseen challenges. 

There is also a critical  balance between practicing what we already know and learning new tasks that is crucial to our continued development and excitement as photographers. I also talk about the risk of disregarding moments of influence and inspiration to explore the unfamiliar that can move us forward in favor of the safety of easy practice. This impact can risk stagnation and the feeling of going nowhere. The key lies in being prepared while maintaining flexibility, ensuring growth without becoming stuck in a rigid routine.

Some of the tools for fostering inspiration include the creation of an inspiration journal. This journal encourages us to celebrate the beauty in our surroundings at any given moment and urges us to try something entirely different to stimulate creativity. I also think it is important to establish an efficient and organized system for practice, allowing for a structured yet flexible approach to the craft of photography. By embracing these principles, we can hopefully have a a smart and evolving photography practice, ensuring we are prepared and open to new possibilities.

Subscribing to the podcast ensures not missing any new episodes released every Monday.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

In episode 468 of my podcast, the Perceptive Photographer, I talk about the world of presets in photography. I chime in on how their role and importance can enhancing workflow efficiency, especially for repetitive tasks.

I also share how important it is to consider the further refinement required to achieve the desired effects. I also try to encourage you to understand the underlying adjustments that make up a preset to better apply them to their images. 

I also try an draw a parallel between presets and expectations set before a photo shoot, emphasizing preparation as another form of presetting. Finally I discuss how ideas can be left top of mind akin to having pre-programmed buttons on a radio, that aid photographers in rapidly adapting to change while shooting.

Subscribing to the podcast ensures not missing any new episodes released every Monday.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

In episode 467 of the Perceptive Photographer podcast, we draw inspiration from the book “Art and Fear” by Ted Orland and Richard Bayless.

Often in my artistic endeavors, I’m driven by a desire to produce remarkable pieces that resonate with both myself and my audience. But what’s the path to achieving such a goal? Drawing from the teachings of “Art and Fear”, I point out a fundamental lesson: the best I can do is make art I care about—lots of it. Because as I churn out my creations, only a handful will rise to the top as finished products of note.

Learning Through Volume: The Continuous Journey of Art Creation

Good work, as highlighted in today’s discussion, is born from a surplus of efforts that may not initially hit the mark. I encourage myself to generate an abundance of work and gradually filter out the less impressive aspects. It’s through this sifting process that I learn about my unique visions and inch closer to the art I aspire to create. Someone has to do the work, and it might as well be me.

Reimagining Weaknesses as Strengths in Art

Creating art can sometimes transport me to a peculiar place beyond satisfaction. It’s during this struggle with my flaws and weaknesses that art truly takes form. By reframing these apparent shortcomings as strengths, I unlock new perspectives in my craft. The podcast reminds me that it isn’t until the pain of not working exceeds the pain of working that I truly commit to my art form.

In closing, I reflect on the long-lasting impact “Art and Fear” has had on my creative philosophy. The book’s insights are not to be overlooked by anyone seeking to deepen their understanding of the artistic experience. As I bid farewell for the week, I extend an invitation to embrace the book’s wisdom and carry it with us on our creative journeys.

Remember, keep creating, push through the struggles, and allow your artwork to be an honest exploration of your inner world. Until next time, keep nurturing your craft and perhaps join me for my upcoming free webinar on March 7, where editing and transformation of photographs into striking black and white images will be the day’s adventure.

Subscribing to the podcast ensures not missing any new episodes released every Monday.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Welcome to a new episode of the Perceptive Photographer podcast. For those of you who are returning listeners, your continued support is invaluable. And to the newcomers, a warm thank you for tuning in. Exciting updates such as webinars are on the horizon, and I encourage you to subscribe to the newsletter for all the latest news.

Discovering Work That Matters

Photographers often find themselves at a crossroads, seeking to create work that resonates and has significance. The initial steps towards crafting meaningful photography can seem daunting, yet it is a journey worth embarking on. The allure of this quest lies not only in the pursuit of individual expression but also in the connections we forge with our community through shared visual languages.

The Allure of Unique Perspectives

There’s a unique charm in the subjects that catch a photographer’s eye. While many may photograph similar scenes or objects, it is the individual touch – the distinct sensibility each photographer brings to their work – that sets their photographs apart. Understanding that this inherent attraction to certain subjects is a reflection of one’s unique personality is the key to embracing the deeper compulsion behind why we capture the images we do.

Broad Connections Over Singular Objects

Photography should not be viewed solely as a collection of individual snapshots but as a narrative that weaves a richer tapestry of broader connections. These connections form the backbone of engaging photography and propel us into explorations that resonate on a deeper level.

Defining Projects with Expansive Vision

When charting out projects, the advice is to cast the net as wide as possible. Themes like relationships or the interaction with landscapes can serve as colossal canvases for your photographic exploration. By widening the scope, photographers can then gradually refine and narrow down their language, bringing clarity and focus to the projects that matter most.

The Essence of a Five-Star Photograph

A ‘five-star’ photograph can hold different meanings for different people. Some images may aim purely to inform, while others strive to evoke a deeper understanding. It’s crucial to distinguish between these as it sheds light on the photographer’s intentions and the layers of meaning embedded within their work.

In conclusion, Daniel Gregory offers invaluable insight into embarking on a journey towards creating impactful photography. By understanding the uniqueness of our perspectives, connecting our images to broader themes, carefully defining our projects, and recognizing the varied depths of meaning in our photographs, we can make significant progress in our photographic endeavors.

Here’s to a week filled with exploration, creativity, and the pursuit of images that connect and inspire.

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In this episode, we explore the pivotal moment between capture and concept and how making sure we focus on the right creative process at the right time and really push our work forwards in meaningful ways.

Key Topics

• Understanding the “click” moment
• The “what” versus the “how”
• The iterative nature of photographic meaning
• Presence of mind in photo making

“What is the thing that drew my attention? What is the thing that pulled me into wanting to actually put the camera up to my eye?”

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One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

In episode 464 of the Perceptive Photographer podcast, we delve into an intriguing discussion on the importance of artists looking back at their own completed work. Contrasting the view of individuals who refrain from revisiting their past creations, I try to show that reviewing one’s work is crucial for evaluation and self-reflection. I also talk about the value of self-critique in the creative process and how getting more skilled at self-reflection can drive the power of engaging with the work through multiple voices in group critique settings.

Key Topics

• Never revisiting your own work?
• Importance of critiquing personal work
• Photographs: Deepen our universal view
• Honest feedback fosters community
• Self-evaluation improves collaboration

“It allows us to get new ideas. And part of the new ideas is where inspiration comes from.”

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One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Dive into episode 436 of The Perceptive Photographer to explore the intertwining of camaraderie, standards, and idealism in photography. In this episode, I reflect on an owl photo adventure, revealing insights into how photographers can enhance their craft through communal experiences, precise goals, and a contagiously optimistic outlook.

Key Topics

• Community matters in photography
• Setting expectations can limit you
• Positivity is infectious on shoots
• Photography is a privileged pursuit

“That sense of idealism also was really sort of interesting because it came out and I remember one guy said something to the effect of, I’m gonna get one of the greatest shots I’ve ever gotten today.”

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One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

This week, we dive into five bad habits that you may have that are blocking your photographic process. Hopefully, in the podcast, you can see how to challenge your approach, shake off stubbornness, improve your listening skills, and inspire action behind the lens. Tune in to sharpen your creative focus!

Key Topics

• Holding onto things out of stubbornness
• The fallacy of needing to be right
• The critical mistake of not listening
• Criticizing others for your own faults
• The power of doing the work

“Your stubbornness is preventing you from taking the necessary steps forward to be more successful as a photographer.”

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One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Dive into the ideas of what makes a good photograph in this episode of the Perceptive Photographer podcast. In episode 461 we try to unlock what defines quality in a image and how our assessment of the subjective nature of good changes and evolves over time From engaging our emotions to shifting at our thinking, we talk about how to discover the key elements that make a photograph truly stand out.

Key Topics

• What makes a good photograph?
• Distractions in photos: purposeful or not?
• The subjective nature of photographic interest
• Emotional evocation as a photo’s marker
• Thinking photos: contemplation and engagement

“I also believe that photographs that are good have us think. They have us shift our way at our awareness of the world in a way we hadn’t considered before.”

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As we start 2024 on the perceptive photographer, we dive into the nuances of photography in the digital age, challenging myths and embracing goals for 2024. Tune in for an insightful mix of critical thinking, resolutions, and the power of forgiveness in the creative journey.

Key Topics

• The importance of reviewing assumptions in photography using film photography as more contemplative as an example
• Redefining photo resolutions
• The truth about habit-forming
• Embracing creative forgiveness

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One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

The latest episode of The Perspective Photographer, number 459, dives into some thought-provoking perspectives on photography from some great quotes by other photographers. In these quotes, we see our need to connect to our work and subjects in a meaningful way to produce the best work possible. As we visit the quotes below we can start to see how images have the power to reveal secrets, capture humanity, and become canvasses that echo our connections.

A photograph is a secret about a secret. The more it tells you the less you know. —Diane Arbus

It is an illusion that photos are made with the camera… they are made with the eye, heart and head. —Henri Cartier-Bresson

A thing that you see in my pictures is that I was not afraid to fall in love with these people. — Annie Leibovitz

I used to think that I could never lose anyone if I photographed them enough. In fact, my pictures show me how much I’ve lost. ―Nan Goldin

It is easy to make a picture of someone and call it a portrait. The difficulty lies in making a picture that makes the viewer care about a stranger. — Paul Strand

People say don’t stare. Through the photos, not only do I stare, but I allow viewers to stare at the subject, to see things that they cannot see with a casual glance. —Dawoud Bey

There’s no particular class of photograph that I think is any better than any other class. I’m always and forever looking for the image that has spirit! I don’t give a damn how it got made. —Minor White

There is one thing the photograph must contain, the humanity of the moment. — Robert Frank

The majority of the people I’ve taken photographs of, I’ve had conversations with. What are your goals and aspirations? What are you about? It’s not just about me capturing the image; I want to know what you are about. —Jamel Shabazz

I didn’t want a completely passive viewer. Art means too much to me. To be able to articulate something visually is really an important thing. I wanted to make work where the viewer wouldn’t walk away; he would giggle nervously, get pulled into history, into fiction, into something totally demeaning and possibly very beautiful. —Kara Walker

I always say that photography’s closest cousin is poetry because of the way it sparks your imagination and leaves gaps for the viewer to fill in. —Alec Soth

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Ever thought being a dismal failure could be your best move? Dive into our exploration of failure as a stepping stone in photography and creativity on this episode of The Perceptive Photographer. Let’s wrap up 2023 by finding beauty in blunders and gaining growth through goof-ups.

“Amazing things happen when we fail, and yet most of us work really hard not to be a failure or to appear as we have failed or to appear incompetent or less than qualified for what we’re doing.”

Key Points

• Failure can lead to creative leaps
• Being stuck is worse than failing
• Success may breed from failed shots
• Reflection fosters photographic growth
• Remove “failure” for creative freedom

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One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

This episode of the Perceptive Photographer podcast is all about listener questions. Starting with the common mistakes made by photographers while critiquing their work. We then look at strategies to tackle procrastination. We try to examine how many photos you need to take to get a good one. I reveal one of my most annoying work habits and how it impacts my photography. Finally, we talk about dealing with so much information on the web and how to focus on their voice and understanding of their work and emphasize the importance of consuming as much photography with intention as possible.

“Sometimes procrastination is there to help us understand what actually matters to us.”

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One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

In this week’s podcast episode, we explore the use of 11 dynamic questions that are specifically designed to spark meaningful conversations about photography. Using these questions, you can easily discuss your work with your audience and, in turn, help them develop a deeper understanding and appreciation for your art. This can help create a stronger connection between you and your viewers, resulting in a more fulfilling artistic experience for everyone involved.

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One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

This week’s perceptive photographer podcast dives into the dynamic interplay between time and creativity. This episode peels back the layers of how a non-linear approach to time can reshape our photographic journey and push the boundaries of our artistic process!

“And yet we have memories and we have anticipation of the future, and we have all sorts of things that sort of shift our notion of time.”

Key Points

• Time’s role in the creative process
• Misconceptions about linear progress
• Circular vs. linear creation models
• Impact of revisiting old work
• Inspiration from past to fuel future art

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One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

In this perceptive photographer podcast this week we focus on how coming up with three key goals can make a difference in your work. From setting strategies for goal setting, exploring the impact of language in photography, connecting with your subject, and looking at history, social sharing, or business aspects of photography, getting the right goal can be a wonderful stepping stone to a deeper connection with and emphasizing the importance your work.

Key Points

• Expand beyond low-hanging fruit skills.
• Tackle the unknowns in your photographic journey.
• Learn how to title work from other artists.
• Goal setting for significant creative leaps.
• Cherry-pick goals for a focused 2024 plan.

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One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

In this episode of the Perceptive Photographer, we dive into the impacts of influences on our work. From life’s twists to jazz beats and social justice, explore the diverse elements that shape our sense of seeing.

“Our influences come from a broader spectrum than just the other photographers.”

Key Points

• Influences extend beyond photography
• Emotional life experiences as creative fuel
• Art forms other than photography inspire
• The impact of photography training
• Environment & social issues influence work

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One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

This week’s podcast explores the distinction between knowledge and wisdom in photography, emphasizing the importance of experience and trusting yourself. My goal is to encourage you to step out of your comfort zone, trust your existing skills, and take action to explore your creativity to have more uniqueness in your work.

“Trust that you already know enough, trust that you already have the skills you need, and then take those steps to actually try it out and see what happens.”

Key Points

• Photographers often obsess over acquiring knowledge, believing that it alone will lead to success.
• Wisdom allows photographers to determine the relevance of information and its application in their own work.
• Trusting one’s own experience is crucial in developing wisdom and creating unique photographs.
• Wisdom helps photographers recognize when to apply knowledge and how to adapt it to their own artistic vision.
• Recognize that our unique perspectives are influenced by what we know and don’t know.

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One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

In this episode 451 of the Perceptive Photographer this week, I discuss the significance of commitment and personal growth in photography. By focusing on our unique perspectives and experiences to create meaningful images, I believe we end up capturing the essence of who we are in our photographs. I also talk about the need for continuous evolution and reinvention rather than staying stagnant.

Key concepts from the podcast this week:

• Emotional awareness greatly impacts the mood and essence of our photographs.
• The commitment to personal growth and self-discovery as a photographer is more important than technical skills.
• We should consider what truly matters to them and reflect that in their work.
• There is no one right path in photography, and each journey is unique

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One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

As a photographer, I believe it’s essential to step out of our comfort zones to improve the quality of our images. In this episode, I discuss the significance of exploring new techniques, embracing uncertainty, and actively engaging with the creative process.

I also stress the importance of taking the time to sit with our feelings, identifying any issues that may be hindering us, and using a checklist approach to analyze and edit our images. In addition to that, I recommend exploring unknown territories to make creative breakthroughs, and listening to our internal voice and acknowledging discomfort to make better decisions.

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One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

In the podcast this week, we take a look at ten thought-provoking questions that delve into the motivations, emotions, and personal approaches of photographers. It emphasizes the importance of paying attention and taking progressive steps forward in the creative journey. My goal this week is to help prompt you to reflect on the most amazing images and things you have witnessed through the lens and whether you continue to actively seek out more of the same experiences.

1. Would you photograph if you never got to share your images?
2. Would you photograph if you never got to keep your images?
3. What is the single word you would use to describe your photography?
4. What is the best photo you never made?
5. How do negative emotions impact your work?
6. What excites you about your work?
7. Think about your favorite camera. What about that camera made it your favorite, and how can you incorporate that feeling into your work today?
8. What is one negative thing that you keep doing in your work and what would happen if you moved past it?
9. how many photos do you need in a retrospective of your work to feel accomplished?
10. What is the most amazing thing you have seen through the lens?

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One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

In a recent conversation with a friend, they mentioned they were moving on from a job. They had been there since the early days in the company and now found that too much had changed, and they felt as if they were having to be something they weren’t. Rather than focusing on doing what they love, it was all smart goals, stretch goals, meetings and delays. The whole reason they got into it was lost.

This podcast episode explores how the introduction of smart goals and corporate buzzwords can hinder creativity and engagement. I encourage you to redefine success and embrace a more organic and individualized approach to their photography

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In the podcast this week, we take a look at how using metaphors and developing multiple metaphors in your photography can help you find a more exciting and consistent voice in your work.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

I like to eat junk food. There are so many good cakes, pies, cookies, ice cream, funnel cakes and more. I also know that too much junk food isn’t good for me and causes all sorts of issues. I know what to do to eat healthy, but I only sometimes do it. I also have learned that dieting to fix an issue is a short-term fix and that the term diet isn’t something you do. It is what you actually eat.

Our creative process is a lot like eating. We can live on junk food and the costs that come with it, or we can eat a healthy diet to feed our creative process. In the podcast this week, I talk about how important it is to bring a healthy diet to your creative process, and after a while, you might find that a healthy diet makes your photograph that much better.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

We often hear that gear doesn’t (or does) matter. Those on the doesn’t matter side will discuss how great images are made independently of the gear used. However, in this week’s podcast, we take a look at how the gear you use impacts the type and style of work you do. We also look at how much of the reason we might buy gear that has no effect on our work. This leads us to the question, are we using the right gear for what we do?

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

This week is episode number 444 of the podcast. In honor of the episode number, we are looking at three lists of four great ways to improve, have fun and make more photographs.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Over the past few weeks, I have had a couple of questions sent to me in email that I thought were interesting topics for the podcast. While each question is unique, they sort of get to a central question when looking at our photography and deciding on images to keep or pass over.

This week’s podcast dives into the questions of What makes a good photograph and how you choose between two similar images when picking one to have as the final image. Both are great questions that all photographers face when working, culling and processing images. Sometimes, the answer is obvious, but other times, nuances and minor, almost trivial, differences in the image make all the difference.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

In this week’s podcast, I talk about the importance of kindness and how that can make a difference in someone’s life even when you might not be aware. Nothing about photographs this week, but something bigger than all of that clicking and f/stops.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

In this week’s podcast, we talk about the importance of framing and the impacts framing has on compositions in photographs. I also make a personal plea for you to stop clicking on gear-related clickbait.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

I often hear photographers make things needlessly complicated, as if complexity is something to strive for. In this week’s podcast, we explore the idea of keeping things simple. The simpler, the better. Whether it’s discussing photographs, setting up Photoshop, or sharing prints, simplicity brings us happiness, productivity, and motivation.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Ever get a song stuck in your head that you can’t seem to shake? Or, do you ever have a random fact that you can’t remember but can remember everything else about the fact? For example, you can’t remember the name of the singer of Margaritaville, but you can remember his name sounds like something at a restaurant, likes boats, eats cheeseburgers, writes books and has beach parties at his concerts.

In our photography, I think sometimes how we deal with these brain glitches can have an impact on the type of photographs we make and how we process our creative practice. So, in this week’s podcast, we dive not the world of songs that won’t go away and random trivia to try and find a place where our photography can lead us in a new direction.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

This week on the Perceptive Photographer, we are talking all about being bold about how you answer some of the simple questions people ask you about your photography and the types of images you make.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

This week on the Perceptive Photographer, we are taking at look at some key considerations or questions to ask yourself about your photographic compositions.

1. Are the objects in your composition with purpose, or are they a distraction? And, more importantly, if they are a distraction, are they a distraction of purpose?
2. Where to your leading lines lead? After all, lines move two directions.
3. How do you approach your two-dimensional space verse your three dimensional space?
4. How much emotional space are you leaving as part of the composition?

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

In this week’s podcast, we take a look at how rushing and invoking our fight or flight responses to framing and composing our photographs can have an unintended detrimental impact on our work. And, how small steps like deep breaths, reimagining work and presence of mind can help us recognize compositional issues when they appear behind the lens.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

This week’s podcast is a dive into a few listener questions that have come in over the past few weeks. We look at how to approach big projects and use the amazing Matika Wilbur’s Project 562 work as an example of how big projects often require lots of time, miles and small bits. We then look at how to answer the question: what will you do with that photo? And finally, we take a peak at the tinting and toning of black and white images.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

In looking at photographs, there are a lot of ways to evaluate the work. Two of those approaches are content and concept. We can look at how well the concept is executed, and we can look at how well the content supports the concept.

In the podcast this week, I dive into the importance of understanding a couple of key elements about content and concept in analyzing your work. Most important are understanding the default bias you bring to your analysis and how to temper your analysis against your unwanted biases to find a deeper, more insightful meaning in your work.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

One of the great aspects of working in photography is the chance to work on projects. And in this case, by projects, I just mean a collection of similar themed work. Many of us start out taking images of things that capture our attention. They might seem random or grouped somehow, but they are often disjointed. Eventually, we might see a pattern or theme develop but still continue to click away sort of ad-hoc.

In the podcast this week, I talk about the value of thinking of your work as projects, big and small, and how focusing on a group of images or collection of images can help you better understand your technique, vision and voice within your work.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

The podcast this week is a quick review of lessons observed in my last workshop out in the Palouse.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

In the podcast this week, I offer up five challenges each with 10 outcomes to try that will help push you forward as a photographer. While some of them seem simple on the surface, each of these challenges can be a deep dive into your creative process and how to quickly understand the why and how of your work. So if you are up for it:

1. Pick your 10 best images
2. Pick your 10 most important images
3. Give a physical print to 10 different people of at least one of the photographs from your best or most important group
4. Pick 10 locations within 10 miles of your house and go photograph them
5. Pick 10 pieces of gear and get rid of them.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

I have had several conversations about what to do with bad images lately. So, in this week’s podcast, we revisit a classic topic for organization and working with your images–what to do with all those bad images. I am not a just delete and burn person; I think there are some reasons to really consider what you are deleting and why. Not only does experience shift over time as we learn more about what makes a good photograph meaning what was once skipped might be found, but we also can learn from looking at those bad images. So before you delete and purge, listen to the podcast and see if your approach is the best long-term solution.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

This past week I was asked a lot about the new generative AI tools in Photoshop and how they will impact my workflow. To be honest, I am not yet sure how they will completely impact my workflow, but they will cause a shift for sure. At the same time, the quote, “I really believe there are things nobody would see if I didn’t photograph them” by Diane Arbus got me thinking about how we might be asking the wrong question about all this new technology.

In this week’s podcast, I discuss how what you photograph and how you see the world will impact your approach using some of these new generative tools. Depending on who you are and how you see, these tools may finally let you express what you see, and for others, it will help provide clarity to the more documentary way they photograph. Either way, the conversations about these tools and their impacts will continue as photography takes its next leap.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

In this week’s podcast, we dive into the importance of details and how the small things in our photographic practice can make all the difference in getting the work we want and hope to create.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

In this podcast, I talk about how much faster you can achieve your goals when you start by failing and how failing is a great indicator of action.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

In the latest podcast episode, I discuss the significance of balancing not only our visuals but also our mindset toward our work. This approach can positively impact our appreciation for our work and our journey towards achieving it.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

I lost one of my best buddies this past weekend. My cat Batman left for the Rainbow Bridge. He was a big part of my life for the past 12 years, and he and I had one of the best bromances of all time. After he passed and we were taking him to the vet, a few amazing things happened that gave me pause about the connection to the universe, our emotions and how we see when emotions are in the forefront. In this week’s podcast, I tell you a little about my best bud and the final lesson he gave me as he journeyed to be with the rest of the pets waiting at the bridge.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

In this week’s podcast, we dive into the importance of listening to your voice. Voice is one of the key aspects of making more meaningful images. It can sometimes be a challenge to focus on our voice and sort out how it will apply to our work. Most of this work comes down to trusting yourself and following your energy to what matters to you, even when faced with uncertainty and doubt.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

I often get asked in interviews or classes, what is one piece of advice you would give yourself, knowing what you know now, when you first got started in photography. In the podcast this week, I jump into that topic and talk about how staying true to your voice and your vision can be hard but is worth it in the end.

Also, don’t forget that April 17-20 is the Photoshop Creativity Virtual Summit. A free week of classes on creativity and photoshop. You can register here if you like.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

In the podcast this week, I dive into the importance of an image having multiple meanings, not just at the time of creating or processing but over time as well. As you change in life, the meaning of your work will change as well. This change is a wonderful way to see how you have grown and how powerful your photography can be when it supports you no matter what stage of life you are in or when you created the work.

Also, don’t forget that April 17-20 is the Photoshop Creativity Virtual Summit. A free week of classes on creativity and photoshop. You can register here if you like.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

This week’s podcast is quick discussion about the impacts of nature verse nurture in our photography. Specifically, we jump into the importance of nurturing the best of what we do and not reinforcing the self-doubt and negative speak we all have bouncing inside our heads.

Also, don’t forget that April 17-20 is the Photoshop Creativity Virtual Summit. A free week of classes on creativity and photoshop. You can register here if you like.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Dennis, a good friend of mine, has been working on making more meaningful work in his photography. He sent in an interesting question for me to think about. He wanted to know how you know if you are on the path to making more meaningful work. How do you mark your progress? In this week’s podcast, I offer up my opinion on a couple of the most important ways we consider and think about the path to more personal and meaningful work.

Also, don’t forget that April 17-20 is the Photoshop Creativity Virtual Summit. A free week of classes on creativity and photoshop. You can register here if you like.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

In the podcast this week, we are diving into some listener questions that have come in over the past few months. I grabbed five of the most common or more interesting questions that have come in and share my two cents on them.

1. Do I have a favorite paper to print with?
2. Do I have any tips on staying motivated?
3. What is the difference between reading a photograph and looking at a photograph?
4. How do I deal with a challenging photograph?
5. Do I have a best or favorite photograph?

Also don’t forget that April 17-20 is the Photoshop Creativity Virtual Summit. A free week of classes on creativity and photoshop. You can register here.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

As I was organizing the bookshelf, I came across one of my favorite books on understand photographs, Stephen Shores The Nature of Photographs. If you haven’t had a chance to check out this book, it is well worth it. It is a simple read and very approachable.

In the book, Stephen talks about how to read and view photographs. He breaks this process down into the physical level (the print), the descriptive level (flatness, frame, time and focus), mental level, and mental modeling.

In this week’s podcast, I dive into a quick look at this book and how the impact of focus at the descriptive level can make a huge difference in your approach to your photographs.

If you need a copy of the book, I am sure your local bookstore or library will have a copy, or you can get a copy here from my affiliate link at the big A in the cloud.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

In the podcast this week, we take a look at five cliches that can make a difference in your photography. Any while cliches can be bad, these five are some great ways to shift your thinking and approach to photography at all the stages of working with images from creating to editing to viewing. I am sure there are many more that can apply as well, but for this week here are the five that made the cut.

1. Rome wasn’t built in a day
2. Don’t judge a book by it’s cover
3. Can’t please everyone
4. Good things come to those who wait
5. I’m just mailing it in today

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

In this week’s podcast, I talk about how sometimes the simplest of acts can make a huge difference in the quality and meaning of our photography. Simple acts like micro-mediation breathing exercises, working with images that are upside down and backwards, or even focusing on how focus and clarity are different. No matter what small steps you try in your photography, sometimes it is the smallest acts that make the biggest difference.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

I was recently asked why I do landscape photography. I thought it was an interesting question. A simple question really. But, as I started to answer, I realized that my answer went much deeper into the reason I create me work. In this week’s podcast, I talk about the importance of why we photograph what we photograph and how I answer the question of why I am a landscape photographer. Hopefully, after listening to this episode, you will spend some time to find a meaningful answer for yourself on why you photograph the things you photograph. .

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Several months ago, I started to really think more and more about artificial intelligence and machine learning in photography. I did a podcast on it. Since that time, I have continued to think more an more about that form of art and how it is both good and different from light captured photography. In this week’s podcast, I continue to talk about the impacts on AI on photography and how it shifts our communication about photography; and how it, at its core, is different enough from photography that we need to continue to find language to describe the various approaches between the two forms. Not for understanding which is better, but rather to understand what each one actually does in our seeing of the world.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

In this week’s podcast, we spend some time talking about how various aspects of our work and approach to photography as impacted by 10%. From an article years ago where Brooks Jensen talked about how we see a decrease of 10% in our selection of great images from 1000 to 100 to 10 to 1, I expand that idea to talk about how our approaches to seeing, thinking, and approaching our photography can be impacted by 10% in both good and bad ways.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

In this week’s podcast, I dive a little into a method for evaluating photographs. In working with others, I have found that all of us can be overly critical of our work with no real rhyme or reason. So today, we focus on a few simple steps to evaluate images and how to be more effective at judging our work.

Questions like What did I do in the image, what would I do differently and how will I prepare next time are simple to understand and apply. Still, each offers a wealth of information about how we approach our photography and the works of others.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

My good friend Ken Carlson was a lacrosse coach. In several of our conversations over the years, he has said that in his view the purpose of playing the game was to evaluate how well you practiced. The practice was the most important part of the process. Not the winning of a game, but rather how well did you prepare. In this week’s podcast, I dive a little into this topic and how it can be applied to our creative approach to photography. From working at a team to knowing what to practice and when, there is a lot to learn from looking at our images that matter or didn’t make the cut to see where we are doing well and were we need to practice more.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

In this week’s podcast, I talk about how projects ideas develop and what is the best method for working with and dealing with projects in your photography.

Also in the podcast this week, if you purchase a gallery print of mine from either the Alex Ferrone Gallery for the SAM Gallery, I’ll give you 10% off any workshop.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

In this week’s podcast, quantity is the name of the game. One of the best things you can do to improve your photography is to increase the amount of work you are creating. That increase in volume will give you more data points to understand some of the key elements of your work like voice, vision, signature and style.

Also in the podcast this week, if you purchase a gallery print of mine from either the Alex Ferrone Gallery for the SAM Gallery, I’ll give you 10% off any workshop.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

After my traveling recording issues last week, I am back in the studio and have cut together a new intro and tacked on last weeks podcast to start the new year. So this should get us all caught back up on the schedule.

In this week’s podcast, I talk about how setting goals can help you keep focused and move your photography forward. In an effort to help you get some goal setting started, I dive a little into some common goals that I have seen work for myself and others. From making books, portfolios and projects to printing, classes, grant writing and meeting others, there is always something that you can set as a goal to help you keep engaged in your work in a meaningful way.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

This past week we have been traveling to see family. The big storm that came in caused our flight to be cancelled, and as a result, we are spending several more days with family in Las Vegas. In an effort to be a good users of energy, I shut down the studio when we left and didn’t feel like having the pet sitter take on the responsibility of powering the place back up. So I spent the day trying to figure out how to best record a podcasts for the week on my iPad and AirPods.

Well, the audio quality might not be the best, but this week’s podcast talks about how to think about the variety of ways to use point of view to tell your story and engage with your own process to make your photographs.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

This week’s podcast is focused on titling your photographs and why and how that can impact our perception of the image, intention and experience of the work.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Two topics for this week’s podcast. The first is the difference between explaining your work and justifying your work. For many photographers, they end up making justifications for there images when they think they are explaining what the work is about. I also talk about the importance of storage boxes for your prints that you’re keeping and using in your practice.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

As 2022 starts to draw to a close, it is a time to look back and reflect on the prior year. As photographers that means we should look back at the impact of our photography in our creative and non-creative aspects of life. In this week’s podcast, I toss out three areas to think about cleaning up before the start of the new year so that you can put your best foot forward for 2023.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Speaking about your work can be a challenge. Sometimes we are insecure about our work. Maybe we are nervous about talking in public about our work. No matter what the reason is that you might feel challenged about speaking about your images, learning to talk about your photographs can not only help other understand your work better, but the process can make you a better photographer as well. The more you can speak to the why and what of your photographs, the more insights you photograph will have.

In this week’s podcast, I talk about how practicing your speaking, owning what you say and listening to others can have a major impact on your photographic process and experience.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

It can take a lot of work to find and maintain an audience as a photographer. There are so many other photographers working and sharing work. So, how does one go about finding and using an audience? In this week’s podcast, I share some thoughts on how to use and work with your audience so that you can share your work and find more people who are engaged with your message.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

This week’s podcast looks at the role of recognition in our photography. We often seek feedback and validation for our work and might seek this out from various places. We might post to social media for instant validation or maybe do a critique session to gain deeper insights. Along with those insights, I feel there is a desire to get recognition for our work and efforts. So join me this week for a quick look at the impacts of the reason and types of recognition we seek and the potential impact on our work.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Today’s release is the 400th episode of the Perceptive Photographer. I started this little podcast 400 weeks ago and never thought I would be here today celebrating this milestone. As I looked back, I am most thankful for the community of listeners who tune in each week and listen to me ramble on about something that has caught my ear or attention. I never in a million years thought that this would grow into something more than just a little online spoken journal so from the bottom of my heart. Thanks so much for being part of the family. And now without further adieu, here is episode 400.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

One of the significant challenges that many of us are brainwashed into thinking when photographing is that photography is about making a simple, clear, and concise photograph that checks all the boxes. One that meets the photographer’s intention is accepted by the viewer and meets all the criteria for what compositionally and processing-wise makes for a good image. We spin up all sorts of language that says if you follow these guidelines, use these tools, and process this way, you will have the foundation for making a good photo. However, art and creativity aren’t poorly constructed multiple-choice tests or true-false tests that do more to reveal the weakness of the test rather than the strength of the test taker. Great photographs are bound by clear and concise as the sole criteria. They are one way to view a photograph but not the only way to view it.

In this week’s podcast, we tackle the idea of being boxed into the notions that photographs are to be simple and concise to be good in an attempt to dispel the myth that images are best when they check the boxes when we aren’t even sure the boxes are correct.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Many times in our creative practice we might find ourselves at a road block of sorts. A spot where we are struggling to move forward with some aspect of our process. It can be easy to ignore those feelings and push away from that resistance or wall we are hitting. In this week’s podcast, I talk about how important it is to face the resistance and see if we can sort out the root cause of why we are so against some aspect of our work. In that search we may find out that what we are so against turns out to be an important ally or part of the puzzle we are putting together.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

In this week’s podcast, I tackle two of the hardest topics for any photographer. If you follow these very simple steps, I promise that your photography will grown by leaps and bounds. So take a listen and learn how a comfortable pair of shoes and a return to the basics of your photography can set you free from the binds of bad f-stops and shutter speeds.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

My partner, Lori who runs Ritual Mischief, organizes her products by the emotional support they provide. That got me thinking about how we can create photographs that fit in to our emotional buckets. This week’s podcast explorers the idea of grouping photographs, not by subject or subject matter, but rather by emotional support or insight they provide.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Sometimes it is easy to get discouraged when looking at other people’s work. They already have the shot, not just because of their skill level, which can be a challenge. I know for myself, sometimes I start to plan out a trip or shoot and then only to come across a very similar image taken by someone else. It can be hard to keep the excitement and energy up to go out and make a photograph. Which, if I am honest with myself, often looks like those other images I have seen. 

In the podcast this week, I dive into the importance of pushing through that self-doubt and continuing to make your photographs even when at times they seem like they might be copies of other images or you’re not sure what makes your image special. In the end, the work gives those who push through those feelings the best results possible. Great photos that are our photos.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

When looking at a single image, it can be hard sometimes to understand the context for the image. Sure, there are photographs that stand out on their own, but in many cases, the single image is better understood from the photographs that surround it. This is true looking at contact sheets, or their digital equivalent, or a sequence on the wall,

In the podcast the week, we jump into some of the aspects to consider when looking at one image and how to balance the one photograph with the other images to tell both stories at a image level and essay level.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

I recently heard someone say that looks normal. Now in a medical office, that might be a nice thing to hear. In the case of creating photographs, the thought of what is normal gave me pause. I started to wonder what is normal in a photograph? Do we want to even make normal photographs? What defines a normal photograph anyway?

In this week’s podcast, I dive into the notion of normal in photography and making photographs in an attempt to sort of what is normal and does it matter.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

In this week’s podcast, we explore a little more into the nature of time and how it impacts our photography. Not just in the images we make, but in our approach behind the camera, when to pick up the camera and how to balance the priority of photography in our lives.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

In reading about a recent photo competition where the winner in the digital manipulation category used an AI engine to make the photograph before doing some light tweaks in Photoshop caused a big uproar, I got to thinking about the nature of what it means to make art and to that end meaningful art. In this week’s podcast, I spend some time discussing the nature of what it means to make art and some considerations for when we think about approaching the meaning and context of art in photography.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Episode 390

This week’s podcast focuses (pun intended) on the idea that straight out of the camera is somehow better than images that are processed after being taken. While I think getting it right in camera is critical to success as a photographer, the conversation to push images as being better or more accurate and faithful because they lack processing is missing a big part of the photographic process. We have always had some variation in getting a vision of our images that wasn’t just straight out of the camera. In the film days, this was often done before the camera via film selection and then again in printing the images. So as we think about straight out of the camera, it is an essential conversation for the photographic community to have about what that means and who does it serve when we view images.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Episode 389

In this week’s podcast, I share ten tips for making your photographic process more creative. I know the creative process can sometimes become a rut for myself and many of my friends. It can be easy to fall into a pattern of insanity, doing the same thing over and over again, wishing for more. I don’t think there is ever one magic tip that will work for everyone, so I have come up with ten ideas that will hopefully give you something to try if you feel like you can’t get out of first gear on your photographic process right now.

Here are the ten concepts to consider when looking to jump-start the creative day.

• Follow the breadcrumbs (notice what keeps showing up in your space)
• A big sheet of paper brainstorming session
• Shapes and things brainstorming session
• Collect things
• Color your world
• Relax
• Seek out inspiration
• Set boundaries
• Embrace failure
• Embrace crazy

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Episode 388

One of the many challenges that I think many of us face with our photographic practice is our relationship to the concepts of simple. Simple is challenging to master. Complicated is easy. It is easy to get caught up in the weeds that we miss out on much of our process. it is easy to think that something is more than it is.

Yet, we can misspeak and say something is simple for simplicity or something minimal is simplistic or straightforward. I often hear people wanting to do minimalism in their work only to discover that simple doesn’t mean that it is minimal. A simplistic image isn’t a minimalist image. And, as I have discussed on another podcast, you don’t get points for doing things the hard way.

In this week’s podcast, I talk about how your relationship with simple can drastically change your approach to your work behind the camera, staying organized, or enjoying your time more. There is nothing worse than making things complicated for no reason.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Episode 387

Much of what is talked about in making good photography is storytelling. Every picture tells a story. And while that might be true, it doesn’t mean every picture tells a good story. More importantly, it doesn’t mean every story can be said in a single image.

In this week’s podcast, we talk about how editing and selecting images for diptychs or triptychs can make for more interesting work and boost your creativity in approaching your work.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Episode 386

One of the main topics that seems to come up repeatedly is pricing your photographs to sell. For some jobs, that price is set for the payment for a given size image in a publication. Those “guidelines” are set by publication distribution size, cost, and audience. Other prices are set by the market rate, experience, pressure, or other variables. You can find a free wedding photographer or one that will cost $10,000 and everything in-between. With so much variation in pricing, what is a photographer to do?

I am always happy to share my thoughts and opinions at my printing workshops and when the topic comes up. Each of us who sells our photography has to develop a model that works for our buyers and us. That isn’t always as easy or obvious as it seems. Again, with so many ways to think about pricing, how do we develop something that works?

In this week’s podcast, I share some thoughts on pricing your work and selling your work as art for the wall. Rather than focusing on what to price, I’ll share with you some of the key things to consider when pricing your work and taking those first steps.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Episode 385

I recently was at a friend’s house and was talking with someone I had never met before. As the conversation often does, I was asked what I do for a living. I said I was a photographer. That led to a series of common questions about what I photograph, photographers they like that I might know, and how to use their phone better. Eventually, I got asked a really interesting question. The questions were actually pretty common, but what surprised me was my answer this time. The question was, how has photography changed with digital.

Normally when I get asked about film and digital, I talk about the darkroom days being less and less easy to find, changes in media, or how the industry has shifted. I might tell a story about how I used to work versus how I work today. This time I had a very quick response that could have been seen as tongue in cheek, but in the end, it seemed to be an answer that really resonated in the conversation. After all, a story is a story, and light is light.

This week’s podcast talks about my answer to this wonderful question and how I have evolved over time as a photographer to land on what I think is a great way to think about how we all deal with changes in the photographic industry.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Episode 384

I was listening to some people talk about different photographs at a gallery. One point they discussed was what makes a great photographic print. One of them said that because art (vis-a-vee the print) was subjective, so you couldn’t define it. The other person was adamant that you could say what made a good print or not. Of course, I am glad they weren’t trying to define good art, as that really is subjective.

For many photographers who are starting their printing journey, much of the joy comes from the printer making prints that sort of looking like the screen. But as your skills evolve, there comes the point where making a good print turns into a significant print. There are some criteria we can use to evaluate one print from another. We look at some criteria when judging the quality of a print or reproduction. Anyone who has ever examined their work in print and then in a magazine or book knows that print quality varies.

I also think that most of us can agree that the quality of the image is enhanced with better printing, but not the only criteria we use to judge a photograph as good or not.

This week’s podcast touches on the criteria we can use to judge the quality of a photographic print and how to talk about those qualities in a meaningful way.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Episode 383

One of the purposes of language is used to express ideas and share observations. The visual language of photography is no different. It is about expressing the ideas and feelings behind the camera. For many photographers, this can prove to be a significant challenge.

Many photographers have developed routines for unconscious biases towards what makes a good photograph. Images need to be a certain something to be good. They need to be in focus, centered, color, or some other arbitrary assumption of good. This twisted logic of what is required for a photograph to be good can get in the way of the meaning needed for the photograph to communicate effectively. What if what you have to say needs to be blurry. What if it needs to be underexposed. Is the need to communicate effectively more important than need to photograph to a unrealistic standard.

In this week’s podcast, we talk about the importance of language to express ideas and how our own constructs of what makes a photograph “good” can get in the way of making an effective image.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Episode 382

Improv is a fun time and a great set of skills to develop. There are several exercises and playful ways to approach improv. One of the most well-known concepts is that you never shut down a conversation. To keep improv flowing, you need to extend and reach forward. At the heart of that is the notion of the yes, and. When someone starts a conversation or says something outlandish, you begin your statement with a yes, and… For example, if I ask, did you know that fish are one of the most common animals to walk on land? Your reply would not be no, they swim in the water. Your reply would be something that was Yes, and they are also easy to catch and release at the park. The idea is that you invite the conversation to continue.

In photography, this idea can push us in new directions and try new things. By focusing on what is interesting about the thing in front of the camera versus finding something interesting to photograph, you open yourself up to a new way of seeing. In this week’s podcast, the lessons of improv and focusing on using the yes AND can make a huge difference in your mental approach to taking new and more exciting images.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Episode 381

I have several restaurants I like to eat at where there is something on the menu that I love. I order it every time I go out to eat. Sure the wait staff will read me the specials or talk about what is new on the menu, but I always get the same thing. I know that it is good and I know that I’ll like it. My rationale is that I won’t be disappointed if I order something else that isn’t as good as my comfort food order. As a result, I miss out on a lot of chances to try other great food.
In photography, it can be easy to fall into this same trap. We go out to take photographs and make the easy comfortable shot. The shot that we know will have good composition, framing and light. It shows our skills and a little something of what we had in mind. It is good and safe. The issue with that approach is that we don’t end up growing or making great photographs. We are only making images that we find easy and safe.

In this week’s podcast, I talk about how always ordering your comfort food when taking a picture can result in you taking uninspired and boring images over and over again.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Episode 380

There is a great quote by D.T. Suzuki.

One has not understood until one has forgotten it

In this week’s podcast, we take a look at that quote and how it can shape our approach to making more meaningful work.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Episode 379

Carrie Fisher has a great quote, “Instant gratification takes too long.” In this week’s podcast, we dive into the impacts of instant gratification on the making of meaningful photographs. From overly relying on the back to the camera to software that automates much of our processing, it is easy to get trapped into the notion that having our initial desires met means that our purpose in our photography was also completed. Over the course of looking at photographs and thinking about what our work means, we can often find a deeper connection to our work.

Delaying gratification doesn’t mean that we can’t at the moment react to something unique developing before our eyes, but rather it allows for the room for both surprise and purpose to be a part of the process.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Episode 378

I was recently asked if I use the app Photo Pill to do my photography research. While I love Photo Pills and use it and recommend it all the time, it is not my primary research tool. I often spend time looking at books, websites, movies, and podcasts that can give me insights into the non-photographic aspects of a place. It is the history, culture, backgrounds and other aspects of a location or person that feed the soul to help me understand the why I make my photographs of place.

This week’s podcast looks at the impacts of research before we go and take a photograph. Using that research to connect and find what resonates with us can allow us to create a more meaningful image.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Episode 377

In the podcast this week we focus on two questions from listeners. The first question is about how fast one can improve in photography, and the second question focuses on how to make (or in the case of my answer not make something the subject) light or color the subject of your photograph.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Episode 375

This week’s podcast is focused on the importance of conversations in our work. Conversations and conversing is an art in itself. I suspect that the better we are at conversations, the better we are at making interesting work. I have several friends who are great a conversing, They seem to slip in and out of topics with ease. They can talk to anyone about anything. The one thing those people have in common is that they leave the ego at the door. They converse to learn about others and their experiences rather than focus on their own experiences. It has got me thinking about about my photography and wondering if we shifted our conversations could we make more interesting work?

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Episode 374

I have been given a number of great quotes over the past few weeks. Many of the quotes have been nice, and I have since forgotten them. Two of them, however, have really stuck with me. They have seemed to come up again and again both as I was working on some new class content and editing some of my recent work. They are both Buddhist quotes and I have no idea who the source of the quote, but I have them in my notebooks and can’t stop thinking about them.

I lost myself trying to please everyone else. Now I’m losing everyone while I’m finding myself.

You are not responsible for the versions of you that exist in other people’s minds.

This week’s podcast takes a look at these two quotes and how they impact our approach to our photography and our creative living. There is no doubt that many of us will have doubts in our work at some point. I think one of the biggest doubts comes from owning your own artistic approach and way of seeing. It is hard to not chase the latest trend and do things your way. But you can’t be who you are if you are trying to be someone else, and you can’t create your work if you are always trying to please someone else.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Episode 373

I was rocking out to the car radio the other day. A few songs came on back-to-back. They were huge songs when I was in college. They played in every bar, dance club and seemed to be on a permanent solo rotation on the radio. I got curious what happened to those bands because these songs were the only ones I could remember. As it turns out most of them went on to make a few albums, but that one hit was the one hit.

I started to look back at my images with that thought in mind. Do I only have one good photograph? Am I just a one-hit wonder. Would it be bad to be a one hit wonder? At least you got a hit.

This week’s podcast dips its toe into the swimming pool of the one hit wonder. Is it bad to have only one hit? Would it be better to have a long career with no hits than a short one with one? What does a one hit wonder even mean in photography? We dive into these questions in an attempt to sort out the question of is making a great photograph, even if it is the only one that is looked at it over and over again, better than a lot of near misses.

If you want to participate in the Photoshop Virtual Summit 4, you can register for your free pass using the link below.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Episode 372

I think one of the more interesting aspects of photograph is what it represents to different people. When I am taking a class or teaching a class, I often have engaged in a spirited discussion with others about the nature of photography and good photography. If I was to ask you what your photograph is about, you might often tell me what type of photographs you make by subject, subject matter, or concept. However, does telling someone what you photograph actually tell them what your photography is about.

This week’s podcast dives into the topic of what photography is about. By looking at some of the key elements that make up a photography or concepts in a photograph, I argue that photography is actually about the life lived by the photographer and not a moment of light, gesture or gear. It is who we are in that movement we click the shutter that defines what photography is all about.

If you want to participate in the Photoshop Virtual Summit 4, you can register for your free pass using the link below.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Episode 371

This week’s podcast talks about the conditions that arise when we are left with too many choices and the impacts on our work

If you want to participate in the Photoshop Virtual Summit 4, you can register for your free pass using the link below.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Episode 370

Some people hit it out of the park from the very first day. Others, many of us others, seem to be on a long road to success. Rather than having a jump start right out of the gate, it can feel like we are forever climbing the hills and dropping into the valleys on our photographic journey. The shinny light of success always seems just over the next hill.

This week’s podcast talks about how sometimes an instant success to someone can seem like a long slow journey to the person making it. It is better to be a instant hit or travel the longer journey? No matter your path, there is something to be said about staying on the journey and seeing where the road takes you.

If you want to participate in the Photoshop Virtual Summit 4, you can register for your free pass using the link below.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Episode 369

Photographers can learn a lot from bird watchers. Bird watchers don’t worry about what other birds someone has seen. Do you think a bird watcher says, “Oh well, someone has already seen a great flamingo? So there is no sense in me seeing one of those. That boat has sailed. No bird watchers watch birds because they love birds. Photographers should be more like bird watchers.

When we first start photography, we will try anything and do anything. Then we learn what a “good” photograph is and begin to replicate those ideas and only those ideas. We then learn to break the rules to be a good photographer. We start to look for new angles, content, subjects, and points of view, all to be unique. But maybe we should be more like bird watchers and just look at the birds and not worry about what it means to like one type of bird over another, but instead, just enjoy our bird watching.

This week’s podcast talks about some photographic lessons learned from listening to bird watchers. They reminded me that we find love in photography at the end of the photographic day because we love what we photograph. The way we see through the lens and not because it is a set of rules to follow or not follow. After all, just because you have seen one eagle doesn’t mean you have seen them all.

If you want to participate in the Photoshop Virtual Summit 4, you can register for your free pass using the link below.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Episode 368

I was looking at some images I recently took on a hiking trip. As much as I wanted to like the photos, there was just nothing for my eye to land on in the image. It was a chaotic mess of lines, shapes, and textures. Everything was sharp, but nothing was in focus too much of everything. That image got me thinking about when approaching the making of an image. How do we decide on the point of focus, and what does focus mean and do in an image.

In the podcast this week, the focus is, well, focus. I talk about how we approach our work and what it can do to our process when we get a handle on both camera focus and other forms of focus.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Episode 367

I have been preparing for several classes and workshops these past few weeks. One theme that has come up, again and again, is the principle of what defines interest in a photograph. Not good, flawed, sellable or not, but interesting. As I got to looking at many different images, I began to think about some of the common elements that make a photograph interesting to view. Again, this may not be about making a good photograph, but rather a picture that holds my interest and thus time in looking at the images. If you can make an image that holds my interest and makes me look longer and deeper into the image, you likely have a keeper.

In the podcast this week, I talk about the importance of seeing and framing elements in your images to make them more interesting both at first glance and at the same time offer a more profound discovery the more you look at them.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Episode 366

In this week’s podcast, we dive into how blurry and sharp are both important elements to have in making successful images.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Episode 365

One of the biggest mistakes I see when I am working with a critique is the use of statements as facts in an image. Statements such as that person looks angry, or that is a interesting color choice. The statements are put into the context of the photo as if the photo is responding. Rather than focusing on what the photo is doing, it is important to focus on how we are responding to the image. The best way to do this is by using statements that start with I and focus on your reaction to the image. So rather than that is an isolated and lonely landscape, you might say I feel isolated when I look at that tree in the landscape. In this week’s podcast, I talk about how one single change in your language can make a huge difference in the conversations you have about your work.

Don’t for get to check out the the workshops I am teaching this year. You can register for up on my site at www.danieljgregory.com.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Episode 364

Well I started this podcast seven years ago. I didn’t have a clue then how to make a podcast, and some would argue I haven’t learned much about it in sevens years. I know for me it has be been a grand adventure sharing what my everyday work and struggles are as a working photographer. No matter if you only listen once or every week, I am truly touched that you would come along with me for this journey.

In this week’s podcast, in addition to talking about a little podcast history and the importance of photography in our lives, I also detail out some of the workshops I am teaching this year that you can register for up on my site at www.danieljgregory.com.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Episode 363

When you approach your photography do you do it from a sense of awe and wonder or obligation for making new work. In this week’s podcast, we take a look at the difference it can make in your images when you do them because you are in awe of the subject.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Episode 362

This week on the podcast is about two big challenges for your photography work. They are both super easy to take on, but each offers up a chance to learn about your work and build a connection to your community. So take a listen to this short episode and see if you are up for the challenge to be thankful and create more than you consume in your photography.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Episode 361

So much of how we talk about photographs is fact-based. We talk about the accuracy of an image, the correctness of a composition, or the ideal settings to use. The risk of talking about photographs as facts is that it can cause us to fall into bad habits and traps. It can also lead us to miss out on the most important part of a creative journey which is sharing our experiences, emotions, feelings, and ideas in our work.

In the podcast this week, the focus is all on how focusing on facts of your photography might be limiting your approach to your photography.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Episode 360

There is something to be said about how you spend your time on things. While not always the case, the more time you spend on something can be an indicator of what is important to you. Or, maybe the outcome of that time is what is important to you. For example, you might spend a lot of time working so that you can have the outcome of a paycheck. The work might not be important but the paycheck is. In photography, there are a lot of ways to spend our time. We can spend time planning, shooting, editing, processing, viewing, and worrying about images. Each has a place and time, but spending too much time in the wrong areas can be a problem.

In the podcast this week, I dive into the areas where you might spend your time as it relates to your photography and photographic process in an effort to help figure out if we are spending our time the best way possible.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Episode 359

One of the biggest challenges many of us face in our photography is sorting out where and who to show our work. Finding our peeps or audience can be a challenge. That challenge can be clouded by ego, confusion, and misidentification. However, once we understand who our audience is, our shared photography can reach and be appreciated by our community.

In the podcast this week, I talk about how some considerations for thinking about and identifying your target audience based on not only your interest in the things you photograph but your communities interest too.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Episode 358

A friend of mine recently told me about how he approaches journaling each morning. He starts off by writing about where he is today. Doesn’t matter if good or bad. He just notes how he feels. He then writes down how he wants to be that day. Maybe he writes about being open and receptive, or creative or sad. Doesn’t really matter what he writes, he just notes how he wants to be that day.

In the podcast this week, I talk about how approaching our photography by thinking about how I am and how I want to be can make a difference in the type and quality of work we create.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Episode 357

In this episode of the Perceptive Photographer podcast, we dive into a new way of approaching the deletion of our images. I was asked by a friend how I approach deleting my images. We chatted about deleting the bad ones, duplicates, etc. In the course of that conversation, it occurred to me that these things that I was deleting or gear that I was selling all had value at one point. Maybe I learned something about technique from the bad photograph. Maybe I learned how to see better behind the camera. It was at that moment that I realized that we should take a moment and honor the things we get rid of or delete for what they taught up no matter how small. That maybe by changing our language from bad means delete to honored and then deleted might change how we approach our mental health in our creative work.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Episode 356

With the turn of a day, it is now 2022. I hope you are having a good start to the new year. This week’s podcast is a quick chat about something that I hope we can all do in 2022 for our own work and the work of others. I don’t think it will always be easy, but I do think it can make us a better photographic community.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Episode 355

As we close out 2021 and look forward to 2022, we close out the podcast talking about a few listener questions that have been sent in over the past few months. As you will hear, in many cases, I think oftentimes we are asking the wrong question to begin with.

1. How to pick photographers to follow?
2. How do I get in a gallery or what galleries should I focus on?
3. What is the right way to setup a printer?
4. What do you do when left uninspired?

As always, I hope you and yours are safe, and please remember to keep safe and wear your mask.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Episode 354

In our adventure as photographers, there are so many little twists and turns. Some of them are good and some are nothing more than a distraction. In this week’s podcast, we talk about five little things to consider as we approach the end of the year that might make a difference in our photography in 2022.

1. Pick your head up and see where you are going
2. Celebrate something you did or didn’t do
3. Pick something to give up in 2022 that takes away your energy
4. Find your peeps
5. Center yourself so you can see what is in front of you

As always, I hope you and yours are safe, and please remember to keep safe and wear your mask.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Episode 353

In this episode, we dive into the importance of understanding that what makes our photography meaningful, honest and ours is our feelings and how they relate to the things we photograph. Doesn’t matter if we love it, hate it, or are unsure about it. Whatever it is, you better make sure you know how you feel if you want to make a meaningful photograph.

Check out our sponsor Silly Dog Studios Herbal Studio for your holiday shopping. using Podcast10 can save you 10% until December 17, 2021.

As always, I hope you and yours are safe, and please remember to keep safe and wear your mask.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Episode 352

Related

connected by reason of established or discoverable relation

Relation

quality that connects two or more things as beloing or working together

In this episode, I talk about how to approach your photographs as a group of interconnected elements focusing on not just what the object is or looks like but how it relates to everything else in the frame. Many times in photography, we can focus on one aspect of an image but as the saying goes, we are responsible for everything in the image. By focusing on how one aspect of a photograph relates to another might provide a unique way of both reading photographs and seeing images behind the camera.

Check out our sponsor Silly Dog Studios Herbal Studio for your holiday shopping. using Podcast10 can save you 10% until December 17, 2021.

As always, I hope you and yours are safe, and please remember to keep safe and wear your mask.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Episode 351

In this week’s episode, I dive into the importance of understanding your purpose when making a photograph. There are a host of reasons to take a photo, but understanding the reason you are making one will help you critique your images, organize your images and be successful behind the camera. Just like making sure you have the right lens on the camera for the images you want to make, having the understanding of your purpose can make sure the little details fall into place.

Check out our sponsor Silly Dog Studios Herbal Studio for your holiday shopping. using Podcast10 can save you 10% until December 17, 2021.

As always, I hope you and yours are safe, and please remember to keep safe and wear your mask.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Episode 350

There are so many ways to think about grouping photographs and programs like Lightroom or Capture One can make it easier. Although those programs sort of force a method for looking at times, there are other options for grouping and associating our work. In this week’s podcast, I talk about some of the approaches to grouping your images that might open up some creative ideas or concepts that you hadn’t considered before in your work.

Check out our sponsor Silly Dog Studios Herbal Studio for your holiday shopping.

As always, I hope you and yours are safe, and please remember to keep safe and wear your mask.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Episode 349

I recently got emailed a question about finding and shooting unique things in photography and if that is important. I, of course, think that uniqueness in photography is essential, but not the subject matter or subject. At this point, most of what is photographed has been photographed as a subject, subject matter, or concept before.

However, I believe that this sort of problem isn’t a problem at all. In many ways, the fact that it’s all been done before is worth celebrating. In this week’s podcast, I spend a little time talking about the importance of appreciating that what we are doing when we photograph is extending the conversations, responding to discussions and generating new ideas by combining influences and ideas. Rather than seeking out the new, we should instead focus on the newness that comes from seeing what has been done and how we respond to that when making our photographs.

Check out our sponsor Silly Dog Studios Herbal Studio for your holiday shopping.

As always, I hope you and yours are safe, and please remember to keep safe and wear your mask.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Episode 348

Sometimes you get a great image. You print it and hang it on the wall. Other times, you have a collection of images that you want to pull together for a collection, show, or book. Anyone who has tried to pull multiple images together knows that there is an art to that process. It seems easy but never is.

In this week’s podcast, I talk a little be more about how to think about sequencing your images into an essay or story. What sort of considerations to make before, during, and after the process. I also step onto the soapbox a bit about how we view and understand this broader collection of images and how they impact our understanding not just of the series, but the individual building blocks and reactions to work.

As always, I hope you and yours are safe, and please remember to keep safe and wear your mask.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Episode 347

In photography, we often talk about the notion of the decisive moment. That idea that all the elements of form, frame, composition, and gesture all come together in a complete image. There is the flash of time where everything is in alignment.

I believe there is also something else in photography that is equally if not more important. The idea of a defining moment. A moment in your photography or life that fundamentally alters your thinking and approach to photography. In this week’s podcast, I talk a little about how recognizing your defining moments in photography might be more important than your decisive moments behind the camera.

As always, I hope you and yours are safe, and please remember to keep safe and wear your mask.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Episode 346

We all collect stuff. Some of us embrace our collections and proudly display them for others to see. Other collections are more personal and private. In the game of photography, there are lots of distractions we can collect that keep us from achieving our goals. I am sure if you look around your photography space, you will see too much of some things you have collected and not enough of others. This idea of collecting has got me thinking about how we approach not just our physical collections but mental collections.

In this week’s podcast, I discuss the impacts of what we collect in our photography and photographic processes. For many of us, I am sure we collect good things, but I am also sure that we collect a lot of things we wish we could or would get rid of.

As always, I hope you and yours are safe, and please remember to keep safe and wear your mask.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Episode 345

One of the criteria we can use to judge our own photographs is does this image match my memory of the thing I photographed? A photograph is a record of something just like our memory. Many times, I think we use this criteria as a way to evaluate our images. Does is match? If yes the photograph is good, and if not, the photograph is lacking.

In this week’s podcast, we jump into the notion of memory and how it can impact our understanding of how we view an image. I also talk about how to find a better awareness of the impact of memory in our process behind the camera so that, if we are lucky, we come home with better photographs.

As always, I hope you and yours are safe, and please remember to keep safe and wear your mask.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Episode 344

If you haven’t taken the time to make a contact sheet, you should. They are worth their weight in gold. Many people think the contact sheet is used to select your best photograph to edit or enlarge, but I also think contacts teach you something about your approach to photographs and time behind the camera. The contact sheet lets you see how your vision unfolds and how the world you experience through the viewfinder says something about you. In this week’s podcast, we dive in to the value of making and using contacts sheets to better understand not just the great images you might make, but all the images you make.

As always, I hope you and yours are safe, and please remember to keep safe and wear your mask.

Get your Photoshop Virtual Summit Pass Here!

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Episode 343

Have you ever had a good glass of wine where you could taste the subtle notes of flavor? Maybe it was in a cup of coffee or something you cooked. That little sensation of blueberries, mint, rosemary, or plum. It is out there waiting to be discovered and enhance our pleasure eating or drinking. Photography has that same experience. There are little notes of flavor in composition, framing, and editing. In this week’s podcast, we dive into the world of notes, spices and taste sensations in photography and examine how important it is to see, taste, and experience those small variations in seeing the image.

As always, I hope you and yours are safe, and please remember to keep safe and wear your mask.

Get your Photoshop Virtual Summit Pass Here!

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Episode 342

This week’s podcast takes a look at how clarity can impact our photography from before the shutter clicks to after the print is made.

As always, I hope you and yours are safe, and please remember to keep safe and wear your mask.

Get your Photoshop Virtual Summit Pass Here!

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Episode 341

Have you turned it off and on again? This was a common question when I was in IT for 20 years. Often times starting over again with a clean reboot fixed a lot of issues. In some cases, when the issues came back, it could tell us of a systemic issue verse a random out-of-the-air issue. In the case of our photography, sometimes when we have a problem with what we are doing, a reboot can make things better. In this week’s podcast, I talk about how rebooting parts of your photography can help you let go of the past and issues that no longer work and focus on a better tomorrow.

Get your Photoshop Virtual Summit Pass Here!

As always, I hope you and yours are safe, and please remember to keep safe and wear your mask.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Episode 340

In this week’s podcast, we take a note from the quote by Twain and how we might apply the concepts behind that quote to make a better photograph. Much of photography is about telling a story in our images. If we start telling a story before we know what we want to say, we might make uninteresting work. However, by listening to others tell stories and the stories we tell, we might be able to better apply the storytelling skills to our work. The long and short of it is that we should talk a little less and listen a little more both behind the camera and not.

It is better to keep your mouth closed and let people think you are a fool than to open it and remove all doubt.

Mark Twain

Get your Photoshop Virtual Summit Pass Here!

As always, I hope you and yours are safe, and please remember to keep safe and wear your mask.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Episode 339

In this week’s podcast, we dive into some ideas around how to increase the success rate behind the camera so that you have more images to work with on your various projects. For many of us, coming home from a shoot with lots of photographs can be a challenge to sort and work with in a meaningful way. Having a plan and idea of what matters, awareness behind the camera, and organizing around multiple concepts can all lead to better success in our images. I hope that with some of the ideas presented this week, you can find your work behind the camera quickly starts to meet your expectations for what you wanted when you pressed the shutter.

Get your Photoshop Virtual Summit Pass Here!

As always, I hope you and yours are safe, and please remember to keep safe and wear your mask.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Episode 338

I have heard, more times than I can count, that inspiration is a magic gift from the beyond that moves and shakes up to create amazing things. I am on the other end of the spectrum where I think inspiration comes from the work. What we might think of as a eureka idea actually has been there all along we just haven’t been listening closely enough.

In that work of inspiration, I have realized how much the process that I am following will contribute to my sense of being inspired. Doesn’t matter if it is analog or digital, print or projection, the process that allows me to get what I want out of my images is important to my sense of seeing, telling, and sharing.

In this week’s podcast, I talk about how the things we create and are inspired to create are often a result of the process we follow both behind the camera and in the editing.

As always, I hope you and yours are safe, and please remember to keep safe and wear your mask.

One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.

Episode 337

I received an email asking me about the correct settings to use when photographing something. I quickly replied back with my opinion and some commonly used settings that we might do when approaching the type of work they mentioned. Afterwards, I got to really thinking about the idea and impact of the correct settings on creating interesting work. Does the notion of a single correct setting subtly or overtly make all other settings incorrect?

In this week’s podcast, I take a leap off the high bar and discuss the impacts of how our language of correct or incorrect can have on our seeing, photographing and sharing of photographs. By the end of the podcast, I hope that you will give some thought to how a small change in what you say might really impact your work.

As always, I hope you and yours are safe, and please remember to keep safe and wear your mask.

Episode 336

There was a game we used to play back in at a company I worked at. Several of us worked in a common open area. Work was slow at times, so we would have entire conversations that had to be movie quotes. The only rules were had to be a quote and someone had to guess the quote. Now, I didn’t say it was a good game, but it passed the time.

I have wondered sometimes looking back at those more famous quotes from movies and thinking about how those little collections of words could stick in our brains like that. Could that be something that happens in our photography? Does the work we create that same memory pathway? Could someone, anyone, look at our work and keep it quotable?

In this week’s podcast, we take a look at the idea that some of our photographs might just be quotable.

As always, I hope you and yours are safe, and please remember to keep safe and wear your mask.

Episode 335

One of the challenges that we photographers face is that our work isn’t what we photograph but rather what that image represents. We see a tree and photograph the tree. In our seeing, that tree is something else. It might be a person, face, galaxy, love, empathy, or joy. The object of our affection is really about the relationship we have to something else.

In this week’s podcast, we take a look at the notion of the metaphor to understand our work and find more meaning in the images we create, share and see from others.

Source info Grammarly’s blog, Merriman-Webster Dictionary and Reedsy Metaphor Examples.

As always, I hope you and yours are safe, and please remember to keep safe and wear your mask.

Episode 334

One challenge I believe that many of us face when sharing our work is having a conversation about the work rather than about technical aspects of the work. For many people, the basic what is it, what f/stop type questions are a starting point. Maybe they don’t know what to ask about the work or have the words to ask so they ask what they know. We, as photographers, answer the question and then move. Both parties leave frustrated not having the dialog they wanted.

In this week’s podcast, I talk about how asking questions to questions, not in an arrogant annoying sort of way can help move the conversation in a more interesting direction and help everyone have a better conversation about their photography and the work of others.

As always, I hope you and yours are safe, and please remember to keep safe and wear your mask.

Episode 333

We are trying out a new segment for the podcast called footnotes and endnotes. This segment is a collection of small random thoughts I have in my notebooks and conversations that rather than stretch into a longer podcast where I might get a little redundant I rapidly cover each topic in a few minutes.

This week’s podcast covers ordering off-menu, hard being easy and simple being hard, buzzwords and discounting your efforts and work. As always thanks for checking out the podcast and hope you have a great creative week.

As always, I hope you and yours are safe, and please remember to keep safe and wear your mask.

Episode 332

In the movie Office Space the main character has a goal to do nothing as a successful job. At one point, he has a day where he does nothing and says it was everything he hoped it would be. Our photography can be a lot like the movie. It becomes easy to define success as series of tasks or skills to accomplish, but our photography is more than just a set of tasks. In this week’s podcast, we take a look at the ideas around success and how doing nothing might make you the most successful photographer you can be.

As always, I hope you and yours are safe, and please remember to keep safe and wear your mask.

Episode 331

I have heard over the past several weeks’ other photographers talking about other people’s photographs. What caught my ear was how critical these photographers were of people’s subject selection, the commonness of the subject, or general bashing of the image as been there done that. I found it interesting that these photographers couldn’t see past their own same shortcomings in their conversations and were in some cases downright mean. This week’s podcast takes a hard look at what that conversion is about and how we can find a better way to talk about photographs.

As always, I hope you and yours are safe, and please remember to keep safe and wear your mask.

Episode 330

I often hear people talk about or suggest the proper settings for your camera to make good photographs. You might also find people who are suggesting the proper methods to edit your photographs for maximum impact. In this week’s podcast, we take a look at that approach and discuss how more times than not, taking or editing a good photograph requires you to think more about your approach to the photograph than the settings in the camera or software.

As always, I hope you and yours are safe, and please remember to keep safe and wear your mask.

Episode 329

Often timed I find myself in a rush to do something. When that happens not much good comes from it. In this week’s podcast, I talk about how rushing can often lead to less than ideal results.

As always, I hope you and yours are safe, and please remember to keep safe and wear your mask.

Episode 328

We all have places we work on editing our photographs. It might be a dedicated studio or room in the house, and for others, it might be a shared desk in the kitchen. In this week’s podcast, I talk about how setting up your space to work is similar to how you might approach working on a photograph behind the camera. I also talk about how getting a space set up to reflect your personality can make all the difference in editing. So no matter how big or small, private or shared, your space is making it about your photography will be a good thing.

As always, I hope you and yours are safe, and please remember to keep safe and wear your mask.

Episode 327

In this week’s podcast, I talk about how the work we make is all about the small details and impacts. Like ripples in a pond you never know how big of impact something you do might be but obsessing about how big the impact is or should be can lead to a dark creative place. Much of the work we do in art isn’t about major groundshaking events, it is in the smallest moments.

As always, I hope you and yours are safe, and please remember to keep safe and wear your mask.

Episode 326

In this week’s podcast, we take a look at the question of does our style change when we change what we photograph or is our style consistent. I was asked recently if our style changes all the time based on what we photograph. They gave the example of black and white landscapes verse color fashion photography each being of interest but having a completely different look and approach. I thought it was a great question to tackle this week.

For many of us, our core style will always be there in an image, no matter what. The core style of who we are shows up in those images. We might change projects or shift approaches, but there are core elements to our style that seep through the work even if we change mediums and format. This isn’t to say that our style doesn’t evolve and change as it is constantly updated and molded as we live our life. In some cases, after a major event or awareness type event, our style might dramatically shift, but at the core of that style is still who we are as a person. As long as we are authentic to who we are, the style will be there no matter how different the images might, on the surface, appear. Digging a little deeper into the images might just show how much of your style is there all along.

As always, I hope you and yours are safe, and please remember to keep safe and wear your mask.

Episode 325

There are times that everyone faces in their photography when you feel like things are going nowhere. Maybe you are spending more money than you wanted or time than you have on things you don’t need or want to do. The longer we spend on photography, the less time and energy we have to do photography.

I imagine that each one of us has that thing that got us into photography that we really loved doing. Taking pictures of family, spending time with other photographers or experimenting with an idea. Over time those basic joys are overtaken by the “need to be good” at photography. This week we take a look at how the work can get in the way of the work.

As always, I hope you and yours are safe, and please remember to keep safe and wear your mask.

Episode 324

In this week’s podcast, I take a quick look at the notion of accuracy in a photograph. Each photograph has a given set of attributes that we respond to when we look at the image. In critiquing work, there is often a sense of correctness to those decisions behind the camera. In the discussion this week, I challenge the idea that there is one accurate way to create and respond to the photograph and offer suggestions on how to approach our response to images.

As always, I hope you and yours are safe, and please remember to keep safe and wear your mask.

Episode 323

In this week’s podcast, we talk about the duality of many of the concepts and ideas that we might face when making photographs. We look at how ideas can be both easy and hard or how expectations can be both meet and disappointing. As we face this dual nature of many aspects in our photography, how to ultimately choose to use that duality to make more interesting photographs is a question I think we all must face.

As always, I hope you and yours are safe, and please remember to keep safe and wear your mask.

Episode 322

This week’s podcast looks at how we learn things and the language we use to describe ourselves when we don’t know something and the impact of making more positive statements. There are numerous times in my conversations with myself throughout the day that aren’t always positive. I have found that being critical of myself for things that I shouldn’t impact my creative conversations. So this week, I dive into the ideas of how we talk about our approach to creative learning and the impact our negative language can have.

As always, I hope you and yours are safe, and please remember to keep safe and wear your mask.

Lightroom Summit Links

Episode 321

One thing you will hear a lot when you get into making good photographs is storytelling. Images should tell stories. Collections of images tell stories. What story are you trying to tell in your work? For the most part, I agree that good images tell a story, but other times great images are just pretty but that’s for a different day. In this week’s podcast, we talk about the way to tell a better story in your photographs and how to approach storytelling in your images. Don’t worry there are not technical notes to take or settings to learn, as storytelling has little to do with the gear.

As always, I hope you and yours are safe, and please remember to keep safe and wear your mask.

Lightroom Summit Links

Episode 320

There are many ways to learn things—some things in life we pick up pretty quickly, others not so much. As we learn our craft and art in photography, we can take all sorts of shortcuts. In some cases, we should stand on the shoulders of the photographers that came before us to learn, extend, and develop our understanding of our work. And in today’s world, we can also find a two-minute video on anything to teach us about something. In today’s podcast, I talk about how most of the time, the time we put into something offers more rewards than just the desired goal. The journey is, in fact, more important than the destination.

As always, I hope you and yours are safe, and please remember to keep safe and wear your mask.

Lightroom Summit Links

Episode 319

I got to thinking these past few weeks about what would happen if I lost my eyesight. What would that mean for my photography? What would it mean to make photographs and appreciating photographs? In this week’s podcast, I talk a little bit about not being able to see could impact our photography and also how in some cases, it might make us better photographers because of how we would have to share what a photograph means in a much more complete way since we couldn’t just rely on someone looking at it.

As always, I hope you and yours are safe, and please remember to keep safe and wear your mask.

Lightroom Summit Links

Episode 318

I have heard from several friends how every day in the pandemic seems to run together. Sort of a Groundhog Day effect. In this week’s podcast, I dive into that notion of everything and every day being the same and how that can impact our approach to talking about our photography in a meaningful way. I also talk about the challenges of shifting our focus on what we talk about to celebrate the experiences of every photograph we look at.

As always, I hope you and yours are safe, and please remember to keep safe and wear your mask.

Lightroom Summit Links

Episode 317

This week’s podcast takes a look at the impacts of how we react to events and information. When you hear someone talk about your photography, do you focus on the negative, which in turn makes everything negative, or do you focus on the positive? In the podcast, I talk about how your approach to that feedback can make all the difference in improving your work. I also talk about some strategies to help you focus on slowing down the experience so you can focus on what matters most to you.

As always, I hope you and yours are safe, and please remember to keep safe and wear your mask.

Lightroom Summit Links

Episode 316

If you ever take one of my classes or workshops, you will listen to me talk about reading the photograph. The idea of reading a photograph is just like reading a book. You have to slow down, take it in, process the work, and think about it. I first came across the idea of reading the photograph from a Minor White article in the Aperature archives. Reading is an active state of being rather than a passive state. In this week’s podcast, I talk about why reading is important, how to stay engaged when reading the photograph and how reading can make you a better photographer.

As always, I hope you and yours are safe, and please remember to keep safe and wear your mask.