Part A inserts into part R and twist

Part A inserts into part R and twist

If you have ever tried to put together a piece of furniture from IKEA or have been pulling your hair out because your friend can’t give you good directions to their house, this week’s podcast is for you.

That is a challenge that I am asking you to take on this week. I want you to create some instructions for how you take a photograph and edit a picture. Then use those instructions to teach you about your process. What have you missed, skipped, repeated, or do for no reason you can figure out. Then examine what you can shift to try and find a new way to access your creative process. One of the most significant challenges we often face is understanding why we do something. By slowing way down and focusing on the smallest task, we might find some insight into why we make our work.

Part A inserts into part R and twist

Upside down and backwards

I was recently at an art opening that had several photographs of interesting abstractions. Images of plants, buildings, and objects all taken and presented as abstract objects. In listening to people talk about the work, I heard people discussing what they saw in the images or what they thought the actual object in the photograph was. I also observed that many people would tilt their head left or right to gain a new perspective. That tilting reminded me of working with a large-format camera which flips an image upside down and backwards.
In this week’s podcast, we talk about the advantages of using the power of flipping the perspective of an image to help us better understand the nature of seeing, editing, composing and creating more well-seen images. Sometimes to gain an insight into more meaningful work, we need to see the world differently.

Part A inserts into part R and twist

Dangers of too much

There are many traps out there to keep us from making the types of photography that we want to create. Some of them are simple to see, while others are more complex in nature. As I was sitting in the studio watching my dog flip the pillows off the sofa she gets to sit on; it occurred to me that too much of something, even a pillow on a couch, might be a bad thing.
In this week’s podcast, we take a look at the impact of too much of something and what that can do to your photography and creative living. The two topics of gear and processing we quickly gloss over so that we can turn our attention to the impacts of talking too much, seeing too much and having too much time for our work.
Each of those areas can be useful and helpful in our photography, but when we have too much of any of them, it can cause us to derail our work. So let’s take a look at those three areas and how we can avoid getting snared in their traps.

Part A inserts into part R and twist

Religion, politics and photography

Podcast: Play in new window | DownloadSubscribe: Apple Podcasts | Android | Google Podcasts | Stitcher | TuneIn | RSS | MoreEpisode 232 I think everyone has been to a party where politics and religious topics were not allowed, or you wish they were banned from the...
Part A inserts into part R and twist

The art of giving up

Podcast: Play in new window | DownloadSubscribe: Apple Podcasts | Android | Google Podcasts | Stitcher | TuneIn | RSS | MoreEpisode 231 At some point, we all want to quit. For a host of reasons, we might want to call it a day. Maybe we are tired, bored, fearful, or...
Part A inserts into part R and twist

The sum of the parts or the parts of the sum?

When you look at an inkblot test, you might see something strange or unusual. You also are likely to see something that someone else might not see. Each of us sees something unique and different, which is why I think many of us are photographers. We find that photography helps us be able to say something about how we see the world around us.
As photographers, we are responsible for the entirety of the frame. We are responsible for what is in the frame, out of the frame, and how everything overlaps and exist in the frame. This week’s podcast focuses on how we see those parts and how they make up the whole of the frame. We also talk about how to approach working on identifying those parts to make better photographs by seeing how the parts make up the frame and how the frame is also just a part of something bigger.

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