The Perceptive Photographer: Recent Episodes
Daniel j Gregory
I’ve been pondering a deceptively simple question: What makes a photograph good as part of my book club this month? But, before diving into that, a couple of quick announcements! I’ve got some new workshops lined up in 2027 at Badlands, Adventures in the Palouse, and the Oregon Coast and Redwoods. Check out the details on my website. Plus, I’ll be teaching a masterclass called “The Landscape is Language” at the Photographic Center Northwest in November 2026.
As for the topic of episode 596, the source of this question comes from re-reading The View from the Studio Door by Ted Orland. In the section Art & Society, Ted comes up with an interesting answer that we will get to at the end of the podcast. Sure, the what is a good photography questionseems like it should have a straightforward answer. We could list out a bunch of qualities: composition, light, color, timing, technical skill, originality, emotion. Maybe a photo resonates because it communicates something important or makes us pause and reflect. So, what are we really talking about when we say a photograph is good?
First off, we need to distinguish between “good” and “beautiful.” A photograph can be stunning without really offering much depth. Gorgeous light, perfect composition, beautiful colors—sure, but does it say anything? Conversely, a photograph can be rough around the edges but still pack an emotional punch.
Good Isn’t Necessarily BeautifulFirst off, we need to distinguish between “good” and “beautiful.” A photograph can be stunning without really offering much depth. Gorgeous light, perfect composition, beautiful colors—sure, but does it say anything? Conversely, a photograph can be rough around the edges but still pack an emotional punch.
Who Gets to Decide? Who determines what makes a photograph good? Is it because I like it? A critic? Other photographers? Does it matter if it’s hanging in a museum or selling at auction? Or is it simply about whether the creator feels they achieved what they set out to do? The more I reflect, the more I realize there isn’t a universal standard for art—and maybe that’s just fine.
What if we judged the “goodness” of a photograph by its impact?
– Does it make me stop?
– Does it hold my gaze?
– Does it shift my perspective?
– Does it make me uncomfortable or curious?
– Does it inspire creativity in me?
Can a Bad Photograph Still Be Good?Suppose I take a photograph that falls flat. You have them too. You know the ones with bad composition, poor lighting, missing the mark entirely. On its own, it might not see the light of day. But what if that photo leads me to create ten better ones? What if it highlights what I don’t want in my work or points me toward an unexpected direction? Does that still make it a bad photograph? Aesthetically, sure. Creatively, it could be invaluable.
It makes me wonder if we’re sometimes asking the wrong questions about art. Instead of “Is this good?” maybe we should be asking, “What did this make possible?”
We Don’t Make Masterpieces One at a TimeI feel like photographers can get caught up in the notion that their work is a collection of standalone images. You make a picture, then another, and it’s easy to obsess over which ones are the “good” ones. But that’s not really how creativity works. It is a journey for us to follow, and the most important photographs aren’t necessarily the strongest ones; it might be the one that reshapes everything that follows
Ted’s key point with the photograph as a stepping stoneTed Orland has this concept I keep returning to: a piece of work can be deemed good if it helps you move toward the next piece. I love this idea because it eases the pressure on each photograph. It doesn’t have to be the final say; it can be a question, an experiment, or even a failure.
Welcome to episode 595 of the Perceptive Photographer. This week, we are exploring the importance of asking questions about our work—not questions related to critique or the meaning of our completed images, but rather questions we consider before taking the shot.
I hypothesize that the questions we ask play a crucial role in shaping the central theme of the image. If we prioritize technical elements and settings over feelings or storytelling, the final image may feel off in its narrative. This disconnect occurs because we focused on the wrong aspects when creating the photograph.
When we make a photograph, there is a lot happening in our minds. If we concentrate on the wrong elements, that focus may not be conveyed effectively. However, this doesn’t mean that all elements aren’t important; they are. Composition, technique, emotion, and storytelling all matter. Ultimately, it comes down to determining which of these elements you want to prioritize in your work.
In this episode of The Perceptive Photographer (number 594), I return back to dig a little deeper into one of the most common pieces of creative advice: know your audience. Your audience is not your starting point. Your audience is the people who see themselves in the work you made that began with your act of seeing and sharing something more universal than just here is a picture of a thing. The more clearly you understand what you’re exploring through photography, the easier it becomes for the right audience to find and value your work. Finding your audience is about expressing what really matters to you with enough clarity, honesty, sincerity and , lets me honest here, craftsmanship that others recognize something of themselves in your work. The next time you pick up your camera, instead of asking, ‘Will anyone like this photograph?’ ask, ‘What question am I trying to answer?’ You may discover that the audience you’re looking for has been waiting for someone willing to ask that same question.
Just got back from several weeks on the road. the studio is a mess. the dog has to get a tooth pulled that she broke on the road trip, but it was great to see family. All that is to say that things are crazy here at the old studio. but that doesn’t mean we don’t to the podcast. So, in this week’s episode of The Perceptive Photographer, I dig into two big ideas that can impact your photography: who you invite to critique your work, and what it really means to “see” as a photographer.
I have heard this a few times over the past few months so I wanted to talk a little about it this week. That idea is the belief that feedback should come exclusively from those within the same genre. For example, landscape photographers often seek critiques from fellow landscape artists. However, this approach can be limiting. If someone already shares your knowledge and perspective, they may not offer fresh insights. Seeking feedback from diverse art forms can unlock new ideas and perspectives that challenge your usual way of seeing.
Consider, too, those who might not even identify as photographers. Legendary photo editors and publishers often lack a formal photography background yet possess a keen understanding of what makes an impactful image and more than photographers can they are amazing at recognizing the nuances of light, composition, and storytelling. Critiques can be incredibly valuable when they focus on the essence of what resonates in an image rather than genre-specific “guidelines” or “rules”.
The second thing I wanted to talk about was how we approach and talk about the act of “seeing” in photography. for many of us, our initial feelings about an image in the field differ from how we perceive it in post-editing or years later. Seeing isn’t just a one-time event. Seeing is actually an action. It’s something we do. It’s something we engage with. It’s not a passive response.
“Photography is about seeing. And to be a good photographer, we need to be engaged in the act of seeing.”
Starting a new mini-podcast within a podcast this month on the way we see. Episode one is focused on silence. I mean, really, what does silence look like? Can we photograph it? Exploring this can empower you to see with fresh eyes and inspire your artistic practice.
Sure, we might instinctively understand silence as the absence of sound, but photography requires us to think about it. We really have to think about how an image can be silent. Once we get our head around that idea, it is easier to see that some photographs seem to whisper while others seem to yell. That difference has little to do with where they were made and everything to do with how they were seen.
So in this episode of the podcast, I dig into when you live in a world filled with noise, and I don’t just mean audible noise, but visual noise too. How do we overcome the noise to make better images? Practicing mindful observation helps you cut through the clutter and find the quiet in your frame, making your images calmer and more deliberate.
Silence lives in our compositions, and the use of negative space, soft light, and other notions of stillness. Be it a lone tree in morning fog or an empty street before sunrise, the goal is to have nothing fighting for your attention; the photograph lingers.
Working with silence is often less about finding the perfect scene and more about slowing down enough to see. Instead of asking, “What photograph can I make here?” try asking, “What is this place trying to say?” I think one of the greatest aspects of silence is that it teaches patience and restraint. The strongest images are not always the first ones, and sometimes we have to think hard about what to remove from the frame to make a photograph work.
In a world constantly demanding our attention, perhaps the most meaningful photographs are those that encourage us to slow down. Maybe silence isn’t the absence of something at all. Maybe it’s the space where our perception begins.
I am out on the road this week so just a quick note on the podcast. I hope you enjoy it. I have been driving across Montana, Wyoming and South Dakota so seeing lots of plateaus, but I digress from the topic of the week.
A creative plateau is that strange phase where progress feels stagnant. You’re not getting worse, but it feels like you’re also not getting any better. It’s like hiking. There are flat stretches where you can’t see the summit, yet you’re still on your way there, just on a less steep path. so in this episode we dig into those long flat stretches that are in many ways my favorite parts of a hike.
The great part of creative plateau can be valuable because it slows you down, strengthens discipline, reveals repetitive habits, encourages experimentation, and reconnects you with the deeper reasons you enjoy photography, such as curiosity and storytelling. At the same time, plateaus can bring self-doubt, frustration, unnecessary and unhelpful comparisons with others, or a tendency to blame equipment or technique. For some of us, we might even find a temporary loss of excitement, It is important to rememmber that these are a normal part of creative growth. Rather than signaling failure, a plateau is often a sign that your artistic vision is evolving and an opportunity to develop new skills, perspectives, and habits.
Ultimately, creative plateaus are part of your growth as a photographer. Embrace them, and you’ll find new paths to explore.
Have you ever looked at two versions of a photograph where one is technically clean and the other one a little rough around the edges. For some reason, you feel something pull you toward the scruffy one. It drives you crazy because you can’t explain it and put words to why? Well for this weeks podcast we are going to dig in a talk about that and how to sit with that feeling.
In my practice and in helping others I see us spend a lot of time learning to justify our choices. Composition, exposure, light direction, timing all comes with vocabulary and frameworks that let us explain what we did and why. Sure I like to know all that, but there’s a quieter voice underneath. A voice that responds before the analytical mind catches up. It’s the part of you that knows an image works before you understand how. It’s your instinct.
Instinct isn’t mystical. It’s more of a super fast compressed process where the thousands of visual decisions you’ve absorbed and cataloged show up. The problem is we’ve been worked over to not trust that intuition. Social media rewards certain aesthetics. Portfolio reviews push us toward legibility. Mentors see through their own eyes, not ours. Almost without noticing, we give up our taste to external feedback loops.
In this episode, I hope that we can get to some reasons and talk about what happens when logic interrogates intuition. I also offer up three practices that have helped me build trust with that quieter part of my seeing: shooting without immediate review to stay connected, setting aside low-stakes time for experimentation where failure is the point, and learning to articulate choices after the fact rather than rationalizing them.
Instincts aren’t broken but rather they sharpen with reflection. They deepens with repetition. And the more you learn to listen to it, even when you can’t yet explain what it’s saying, the more your work starts to feel like yours.
so head out and notice one moment where your gut reacts before your mind can explain it. Honor that reaction in some tangible way. Then come back to it after a few days and see what you notice.
Have a great week
Daniel
Hey all. We are up to episode 589 of the Perceptive Photographer. This week, we are going to talk about how nothing is ever wasted in the creative process.
I think one of the most damaging ideas for artists and photographers is the belief that every effort must produce a successful result. We head out with our cameras, hoping for great light, compelling subjects, and portfolio-worthy images. When those expectations aren’t met, it’s easy to label the experience a failure.
But creative practice doesn’t work that way. Every frame, every mistake, every abandoned idea or project adds to our growth and journey. The value of an experience shouldn’t ever be only measured by the images we bring home. There is a deep value in what we learn along the way.
A failed photograph can teach us more than a successful one. It reveals weaknesses in our timing, composition, or observation. It helps us recognize patterns and refine our approach.
What appears to be a mistake today often becomes a lesson that strengthens future work. The same is true of unfinished projects and creative detours. We might learn that a project long forgotten or abandoned years ago eventually becomes our favorite thing to work on. I know that, for me, subjects, themes, and questions often remain hidden until I am ready to explore them more fully. What once seemed like a dead end may have been preparation for the next stage of development.
I like to think of creativity as a form of composting. Experiences, experiments, successes, and failures all accumulate over time. I like to think about it as compost for the garden. We add in all sorts of things that we don’t want, but they break down, transform, and eventually nourish new work. The process is rarely immediate, but it is always active.
Sure, we might be someone whose photograph are never shown, printed, or shared outsound our own eyeballs. But, the act of seeing, exploring, and engaging with the world shapes us and refines us. In that sense, every creative effort matters. Nothing is wasted. It all becomes part of the photographer you are becoming.
Before we dive into this week’s episode (number 588, btw), just a quick reminder: two spots are still available in the Photo Book Club—Click on the link under the workshop menu for more details.
This week, the inspiration for this episode came from the book we are reading for the book club — Robert Adams’s Why People Photograph. But before we dig into our topic. We lost two great photographers this past week. Both Duane Michals and David Hockney passed away. Duane pushed photography into the realms of narrative, imagination, and personal expression, and reminded us that photographs could ask questions rather than provide answers. David said he took pictures (30,000) from time to time, and he continually encouraged us to reconsider how we see and work with ideas as complex and dynamic rather than as frozen moments. While they will be missed, we have such a great archive of their work. If you haven’t looked at their work, it’s worth your time.
Our main topic for the week is about those exact moments of the shutter clicking. For many, photography is something we do almost automatically. Cameras are always within reach, and images are made billions of times a day. Yet beneath every photograph lies a simple question: Why did we choose to photograph that particular moment?
In this episode, I explore some of the ideas behind the why of our photographs. For some of us, photography begins with attention. Before there is a photograph, there is an act of noticing. Something in the world captures our interest, interrupts our routine, and asks us to pause. The camera becomes a way to acknowledge that moment.
We might photograph to remember, but photographs aren’t records of the past. They become memory triggers, opening doors to experiences, emotions, and stories that often fade or are forgotten.
We also photograph to understand who we are and the world we live in. The camera allows us to investigate the world, ask questions, and discover meanings we might have overlooked. It allows us to push back when things aren’t right and celebrate what is good.
Maybe our photographs reveal something about who we are. The subjects we return to, the moments that move us, and the scenes that capture our attention all provide clues about what we value and how we see the world, all acting like a form of self-portraiture.
Ultimately, photography may not be about collecting images at all. It may be about collecting these moments and places of attention and creating a deeper connection to the world around us.
Before getting into today’s episode, I want to acknowledge the passing of Jeff Schewe. Jeff’s contributions to the photographic community were immense, and his passion for the craft touched countless photographers worldwide. I learned so much about printing and processing from Jeff. He will be deeply missed, and my thoughts are with his family, friends, and everyone whose life he influenced through his teaching and work.
On a happier note, congratulations to Makeda Best, who recently stepped into a wonderful new role as the photo curator at the MOMA. I can’t wait to see the programming, exhibitions and content that the photo department puts out under Makeda’s watch. She has a great background and has curated several really interesting projects and exhibitions in the past.
As for today’s podcast topic, we are exploring a simple idea: the photographs we almost make are, in some ways, one of our greatest barriers to our true work. Most photographers think their biggest mistakes happen after pressing the shutter, things like exposure errors, missed focus, or weak composition. But the greatest loss is the image we never make at all. We see something interesting, pause for a moment, and then let hesitation talk us out of taking the photograph.
My biggest issue is that I sometimes expect something better down the road. For Others, we’re uncertain whether the scene is worth photographing. Sometimes we’re distracted. Whatever the reason, the moment passes, and the photograph exists only in memory.
This week, I’ll explore why hesitation may cost us more images than technical mistakes and how learning to trust our curiosity can lead to richer photographic experiences. After all, some of our favorite photographs are often the ones we almost walked past.
Thanks for listening, and as always, keep seeing the world through your images as gifts that keep giving.
Photographers often hear that they should “shoot with intention.” I agree with this for the most part, but thought it might be a great topic for today’s episode of the Perceptive Photographer (episode #586). Like I said, I do agree that there is some intention always at play, but I don’ think we always know that intention before we pickup the camera. Sometimes, we learn about that process when editing, processing or writing about our work and more important than that, intention doesn’t always begin as a fully formed idea.
More often, it starts as curiosity or awareness of something we like to photograph and then moves to intention. You know, you get a feeling, a subject that keeps drawing your attention. You may not know why you’re photographing something but you know that it matters enough to return to it again and again.
We make photographs because something catches our eye, and only later, through editing and reflection, do we discover the themes, questions, and emotions that connect the work. What initially felt random often reveals a deeper intention over time. This is why it’s important to trust the creative process. Not every photograph needs a detailed plan behind it. Sometimes the act of photographing is how we uncover what we’re trying to say.
It is in the work that we sometimes find our intention. As we become more aware of it, we can move more and more towards using it as an active part of our process rather than a passive approach. Intention matters, but it isn’t always a map, and eventually it can move us towards a deeper understanding of our work.
In this episode of the podcast, 585, I talk about something that has come up in conversations several times over the past few weeks with different friends and colleagues: the challenge of photographing familiar places.
There’s a tendency in photography to believe the next great image exists somewhere else. So we travel to new cities, another country, or another landscape. We just want something new, but some of the most meaningful photographic work comes from returning to the same places over and over again until they begin to reveal something deeper.
Familiarity can make us stop paying attention. We move through our neighborhoods, parks, and daily routines sort of zoned out and not really paying attention. As photographer, we become convinced there is nothing new left to see. Yet if we let it, the camera has a remarkable ability to slow us down and reconnect us with the ordinary. When we revisit a location repeatedly, our attention shifts away from novelty and toward nuance. We can start to see the changing light, the shift of the seasons, weather, mood, gesture, rhythm, and timing of a place.
Over time, the work stops being about documenting a place and becomes more about understanding our relationship to it. The photographs become less about where it was taken and more about how we see it and feel about it.
In Episode 584 of The Perceptive Photographer, I dig into some ideas about how photography is ultimately about creating connection. Sure, a camera can record information, but meaningful photographs ask something deeper of us. They change how we relate things in the frame, such as people, objects, emotions, and ideas, into new ways that create coherence and resonance. I would argue that photographers create a connection twice: first visually, then emotionally.
Visual connections are the relationships within the frame. What most of us call composition. Visual connections guide the viewer through the image. Foreground and background, leading lines, repetition, light, color, layering, and perspective all work together to unify a photograph and create movement for the eye. Even something as simple as where we choose to stand changes the emotional and visual relationships within the image. Your point of view is never neutral; it shapes how the viewer experiences connection.
As we consider the visual connection, it is both a support for and supportive of the emotional and conceptual connection, the layer that gives a photograph meaning beyond aesthetics. The images that stay with us are often the ones that connect to something larger than what is visible: memory, identity, vulnerability, tension, or shared experiences. These images drive the importance of presence and how people can often sense when a photograph was made with genuine attention rather than simple observation.
Where these two forms of connection intersect and align, the strongest photographs are found when composition and meaning reinforce one another, where visual choices deepen emotional impact. At its best, photography becomes more than a thing on a screen or a piece of paper; it becomes a bridge between the subject, the photographer, and the viewer.
On this week’s episode of The Perceptive Photographer, I talk about the idea that editing may be one of the most personal parts of photography. Not that behind the lens isn’t important, but long before someone knows anything about us, they can often sense something in the way we process an image. After all that is a part of what we emphasize, what we remove, and how we shape what we see in the light, color, and mood of an image.
In the classic photography example of seeing, two photographers can stand in the same place and, in this case, capture nearly identical RAW files. They go home and when we next see them and their images, they have created completely different photographs in the editing process. One may lean into contrast and drama, while another chooses softness and ambiguity. Neither approach is right or wrong. Each simply reveals a different way of seeing.
So as you think about how your approach your work and those ideas becomes an act of being who you really are, start to think about how color grading can reflect emotional memory more than visual accuracy, and why our edits might say as much about who new are as the click behind the camera. I also wanted to leave you a little home work so I also talk about how revisiting old images can reveal changes not only in our style, but in who we have become over time.
Photography is often described as a way of documenting the world. But editing reminds us that photographs are also reflections of the people making them.
As I think about topics for The Perceptive Photographer, I spend a lot of time thinking about how we see not just with our eyes, but with our awareness. And oddly enough, as we approached May 4 which is Star Wars Day I keep finding those same ideas is in Star Wars. In many ways both photography and Star Wars are about perception from a certain point of view.
I often talk about the idea that the camera doesn’t create meaning we do. It’s about paying attention, noticing what others might pass by. “Trust your feelings” is really about shifting perception.
Light is everything in photography. It shapes mood, reveals emotion, and creates contrast. Star Wars does this visually in a way that’s hard to ignore. Darth Vader lives in shadow, while light literally becomes a symbol of hope and tension. It’s a reminder that every photograph has a frame and how we use the frame tells the story. How we use what we see and feel together tells the story.
One of the hardest lessons in photography is simply being present. You can’t force a meaningful image. you have to recognize it when it appears. That idea always brings me back to Yoda and his insistence on awareness and presence. Not the past, not the future but it’s just what’s in front of you.
So what I keep coming back to is this: photography isn’t really about the camera, and Star Wars isn’t really about space battles.
They’re both about learning how to see and tell a great story. Whether I’m watching the movie, recording a podcast episode or out with a camera, it’s still the practice of slowing down, paying attention, and letting the moment reveal itself.
Because in the end, the Force and photography start with awareness.
Welcome to episode 581 of the Perceptive Photographer. This week, I am sharing what I hope are five insightful suggestions to help you think differently about your work in your photography and deepen your creative practice. As I was digging into some new books, class prepping and thinking about some classic comedy and photographic techniques, I came up with five simple ideas for you to try out and see if it can jump start soemthnign in your work.
When we’re not curious, when we’re not interested in something, it becomes very easy to fall back on cliches.
Five and not Six and Half ways to play in your practice1. Create a Contact Sheet
Remember contact sheets? Making a contact sheet, digital or printed, shows you all your photos in the order taken. This reveals your natural rhythms, patterns, and how you approach a scene. Are you shooting the same frame multiple times? Do you start wide and move in, or vice versa? Reviewing contact sheets helps you see (and refine) your habits.
2. Watch Out for Clichés
It’s easy to fall into the trap of the “iconic shot”. You know the sunset everyone else gets, the highlight of an event. Yet, what often matters most are the quieter, everyday moments. Next time you find yourself choosing between a crowd-pleaser cliche shot and telling something personal about your day behind the camera, consider what story really matters most for you. Photograph that.
3. Feed Your Curiosity
Let intense curiosity guide you. Whether it’s the way light falls or a unique gesture on the street, follow what genuinely sparks your interest. When you feel that surge of excitement, slow down and let those moments develop into more meaningful images.
4. Embrace Happy Accidents
Some of the best photographs come from surprises or unplanned moments. Not every shot needs to be perfect. Sometimes unexpected leads to inspiration. Rather than rushing to delete them, pause and consider what you can learn from these “accidents.” you might find your best shots are accidents. I know I have a few of those.
5. Practice “Yes, And…”
Borrowing from improv, always do the “yes, and” mindset with your camera.. Don’t shut down creative ideas but rather build on them. Same goes for inspiration and influence. Don’t replicate but rather expand the re[liation to new. Extending the conversations with your images by incorporate your unique view
Upcoming Events Seattle Friends:* Check out Into the Wild at the Seattle Art Museum Art Walk on May 7, 5:30–7:30pm. Free admission! I have four images in the show this month.
Whether you make a photograph, doodle in the margins, or shoot hoops with the trash can, try to do something creative this week. Let every click of the shutter be a “yes, and” for your own photographic journey.
Welcome to episode 580 of Perceptive Photographer. and today I want to explore the ever-evolving relationship we photographers have with technology. From the most basic cameras to today’s powerful digital tools, technology is always a factor but it shouldn’t determine how or why we create.
Embracing — and Moving Beyond — TechnologyPhotography has always been intertwined with technology, from pinhole boxes to today’s advanced cameras. While that tech is necessary, it shouldn’t dictate our creative vision. When you find yourself fixating on technical gear or settings, try resetting your focus: reconnect with inspirations like literature, cinema, or conversations that remind you of the why behind your image. That might unstick you a little and let you get back on track.
Know Your Own Creative RulesLiving with your own work, and especially your “bad” photos, reveals patterns: some of the hard rules you always stick to, and the soft guidelines you’re willing to break. For example, I have a near unwavering preference for straight horizon lines. In looking at my lesser work I can more easily gain an understanding as to the why behind this “issue”. For me, I learned it was about stability and feeling grounded which might not be the case for someone else, but at least I know my rules.
There’s No Substitute for ExperienceNo number of photo books or outside influences can replace the impact of making your own images. Every hands-on moment of shooting, processing or printing can teach us lessons that theory or observation can’t. I hope that when you spend more time with your work both good and not so good that you celebrate all those experiences, accepting errors and even bad results as essential to your creative growth.
Just a reminder about the upcoming webinar.
- April 30th: “10 Organizational Things I Wish I Knew Early In My Photography” and if you can’t make it I’ll have a reply on my blog a few days later.
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Thank you for listening and being part of this creative journey. Remember: great photography begins not with the camera, but with a meaningful connection to what you want to see, say, and feel through your work.
Welcome to episode 579 of the Perceptive Photographer. This week, we explore the unexpected connection between the distillation of alcohol and the art of photography. This idea came to me when I was thinking about a visit to a local distillery mean years ago. I was amazed how the process of removing impurities from spirits mirrors the photographic journey of refining images to their essential core.
So this week I thought I would talk about the “triple distillation” mindset and how distilling your images, your intention, and your creative approach can lead to photographs that are clearer, more intentional, and truly resonate. Whether your work leans toward complexity or simplicity, I hpe that you can find someithng in this weeks episode on the value of eliminating noise/impurities from both in your frames and your mind to make more meaningful photographs.
This week on the podcast, we explored a deceptively simple but powerful mental exercise: What if nobody cared about what you care about in your photography? By playing this “what if” game, my hope is hat the can rethink not just what we photograph, but how we talk about our work, share it, and even how we select which images to show.
As we open this episode, we dig into the importance of letting images speak for themselves. When a photograph requires excessive explanation, it may not be communicating as clearly as it could. Over-explaining can take away from the viewer’s experience, especially when people naturally want to form their own interpretations. Instead of sharing every image, it’s more effective to curate thoughtfully—selecting a smaller, more meaningful set that keeps your audience engaged and allows your strongest work to stand out.
Your strength as a photographer lies in your unique perspective, not in technical explanations or imitation. I challenge you to reflect on whether we’re sharing what genuinely matters and to communicate that clearly and authentically through our work.
Upcoming WebinarsStay tuned for details on two upcoming events this month:
- Titling Your Work: April 16
- Ten Things I Wish I Knew Starting Out: April 30
Sign up for the newsletter if haveN’t to stay up on all the latest news. and see you next Monday for episode 579
In episode 577 of the Perceptive Photographer, I wanted to offer a different take on how we approach composition that goes beyond traditional rules. Instead of simply arranging subjects within a frame, I wanted to start from the frame’s edges and working inward. I stumbled across this concept inspired by Charles Traub’s truism: “Construct your images from the edge inward.
For me, the edges of a photograph aren’t just boundaries—they’re pivotal to how an image communicates. Edges create tension, define limits, and invite viewers into the scene. By consciously shaping what lies within these boundaries, I mark a slice of the world as significant and have the power to guide how audiences experience the work. Photography isn’t just about lines, shapes, and objects. it’s also about psychology and emotion. I’ve always loved the way Cartier-Bresson spoke about aligning the head, eye, and heart, and Robert Frank emphasized speaking to the humanity of the moment. In my own practice, I find that the best compositions are always intentional. They provide clarity and hold the viewer within the image rather than letting them get lost.
If you want to strengthen your own images, evaluate them from the edge in. This shift in perspective can reveal distractions at the boundaries and lead to more intentional compositions. By constructing from the boundary inward, I’ve heightened my own awareness and created more engaging, meaningful photos. Rethinking composition from the edge inward transforms photographs from static arrangements into compelling experiences, guided by intention and emotion. Next time you frame your shot, let the edges take the lead on your composition.
In this episode, we explore the “sweet spots” in photography. You know when things feel right when those , settings, and workflow tweaks that make your images realy connect. From camera settings to post-processing, sequencing, and viewing, I spend a little time diving into these little adjustments which can elevate our photos
I talk about how small tweaks in camera settings can make a huge difference in your photos and how thinking about your approach to aperture, shutter speed, ISO, and white balance shift your awareness. When you adjusting exposure, contrast, color, and cropping it is again about trying to find a spot where the image speaks to us but not the decisions on how we technically make or edit it.
I also talk about how I sequence my photos, whether it’s for a portfolio, a slideshow, or a photobook, and why the order can completely change the story your images tell. The goal of starting with 10-15 is a sweet spot even if you want less or more images. Finally we dig a little into thinking about viewing conditions, not the monitor calibration and ambient light, but how we are distanced in seeing, emotions, thinking and connections.
Finding your photography sweet spot is about balance, experimentation, and trusting your creative instincts. Small changes can make a huge impact
This week, I explore a positive “mind game” you can play in your photography that can inspire you to see your work differently. These mental strategies can motivate you to approach each shoot with fresh energy and purpose.
Your approach as you head out the door says a lot about your work. Are you looking for things, emotions, ideas, or concepts? What you set up as the basics is what will come out of the work. Recognizing how your mindset shapes your focus can help you aim for deeper, more meaningful photography. So if you want deep work, look for something more than just a thing. Part of our mindset as we head out the door will ultimately determine what we photograph that day. It isn’t uncommon to head out thinking about things we want to photograph. Places, people, and natural elements are all common things I myself want to go photograph.
However, what if we shifted away from things to photograph and toward a feeling or an idea we want to photograph? Would that make for more meaningful images? Would that have us connect to our work differently? Focusing on feelings or ideas can deepen our engagement and bring new perspectives. No matter the seed we plant in our minds as we head out the door about what to photograph, it affects everything we see through the lens.
If we make a more conscious, more focused effort to consider what we might photograph, we may discover what truly matters to us when we take a picture. It might surprise us that the essence isn’t just about the object itself.
Upcoming Events: Adventures in the Palouse Workshop: Join me in the Palouse from June 21st to 26th for an immersive photography adventure. One spot left * “In Practice” Exhibition:* If you’re in Seattle, don’t miss this exhibition at the Photographic Center Northwest, running from April 2nd to June 7th. I’ll be there for the artist reception on April 9th at 6 pm — come say hi!
Stay Connected: Newsletter: Sign up on my website, danieljgregory.com, to stay updated on classes, webinars, art sales, and studio happenings. * Podcast Updates:* The Perceptive Photographer podcast drops every Monday. Don’t miss out on new episodes and the “In Conversations” series with amazing photographers like Ken Carlson, Rachel Demi, and Jenny Hansen.
Thank you for being part of this journey with me. Your support means the world!
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In episode 574 of The Perceptive Photographer, I dig into the idea of the emotional “entry points” that invite viewers into a photograph.
This isn’t about leading lines or the rule of thirds. It’s about whether someone who knows nothing about you or your story can still feel something when they look at your work.
It’s easy to make work that’s so personal it becomes a closed loop. It is meaningful to you, opaque to everyone else. Don’t make photos like walnuts that need a hammer. Make pistachios — already cracked open a bit so it is easier to get to the nut inside.
Some things to consider.
Balance personal meaning with room for others. Your perspective is what makes the work yours, but ask whether a stranger could find themselves in it too. S
Create presence, not just documentation. Adams’ landscapes work because you feel like you’re in Yosemite, not just looking at it. Sensory details like light, atmosphere, texture matter a lot. They do more than description ever can.
Sequence when a single image isn’t enough. A series can provide context without spelling everything out. It gives viewers more ways in.
Foster dialogue, not monologue. The best images don’t announce themselves. They ask what you see. Ambiguity isn’t weakness; it’s an invitation.
The question I keep coming back in thinking about this: are your photographs building walls or opening doors?
In this episode of The Perceptive Photographer, I sit down with Jenny Hansen Das a great friend and Seattle-based fine art photographer whose work has always amazed me as it finds intersections of beauty, absurdity, and deep emotional connection and notions of everyday life. Jenny’s photography centers on the simplicity of the everyday but presents it in unexpected ways, combining analog and digital modes and prioritizing the creative process over where an image originates.
Her experimentation with alternative processes including chromoskedasic sabatier, image transfers, and cyanotypes reflect a deep interest in pushing the boundaries of photographic expression, often resulting in handcrafted, one-of-a-kind works that cannot be reproduced.
We dive into a rich conversation about exceptions in photography .You know those happy accidents, rule-breaks, and process surprises that lead to the most compelling work, as well as the realities of working with galleries and navigating the fine art world as a practicing photographer.
Just a little about her, she completed the Certificate in Fine Art Photography at the Photographic Center Northwest in 2023, and is also the founder of The Seattle Light Room, a community darkroom and gallery in the Seward Park neighborhood of Seattle. As you will hear, this is a space dedicated to keeping analog photographic traditions alive and accessible and hosting interesting and relevant photographic art shows in the gallery.
You can explore her photography portfolio at jennyhansendas.com and follow her work on Instagram at @jennyhansendas. For The Seattle Light Room, visit theseattlelightroom.com or follow @theseattlelightroom on Instagram.
Hey there! I hope you are having a great week. In this week’s podcast, I wanted to talk about some of the things that came up for me when I revisited John Berger’s essay, “Understanding a Photograph.” As I was preparing for a class, this essay got me excited for a podcast discussion about meaning in our work. Berger asks us, at the core of the essay, a few things. One of which is: What really gives a photograph its meaning?
Before we even get to first off, one of my favorite phrases from Berger is that a photograph is a “meditation of light.” Photography is, at its core, about light—how it shapes, reveals, and transforms a scene. Love that idea.
First off, I love that a photograph is the result of a photographer’s decision to record a particular moment, event, or object. This is a deceptively simple but powerful notion. As John says, if we photographed everything indiscriminately, no single image would stand out. The act of pressing the shutter is what gives a photograph its weight. It’s not just a neutral record; it’s a message. When I decide to photograph something, I say, “This time, place, person, thing matters.”
Berger also makes a subtle but important distinction: a photograph doesn’t celebrate the event or the act of seeing, but rather a focus on the message about the event. The photograph isn’t about the photographer’s experience or the event’s essence. Instead, it’s a statement: “This happened, and it was important enough to record.” That’s a powerful shift in thinking. It shifts the way I want to discuss and analyze work. What was compelling about this moment? Or what is the photographer trying to communicate? When looking at others’ work, I may try to step into their shoes. What might have inspired them to press the shutter at that exact moment?
The photograph uses the event it records to explain why it was made. Sometimes, the reason is obvious—a dramatic sunset, a fleeting expression. Other times, it’s subtle or even external to the image itself. Before composing, spend a moment just watching how light interacts with your subject. What story does the light tell? Sometimes, the difference between a good photo and a great one is waiting for the right light. Be patient and responsive. Not every photograph will explain itself fully, and that’s okay. Sometimes, the meaning is personal or contextual.
Berger challenges the traditional emphasis on composition by comparing photography to painting. Painting is an art of arrangement (again, his words), meaning that every element is deliberately placed. Photography, on the other hand, records events that are inherently mysterious and can’t be fully explained by arrangement alone. This doesn’t mean composition isn’t important, but it’s not the whole story. Use composition as a tool to support the significance of the moment, not as an end in itself. The difference between photographing at one moment or another can change everything.
He also says that, unlike painting, photography doesn’t have its own internal language (not sure I agree here, but we’ll give him the benefit of the doubt). We “read” photographs like we read footprints or medical charts. The meaning is tied to the event and to what we think of or know about it, real or otherwise. It isn’t just a response to the lines and symbols within the image. Context matters and can matter a lot. When analyzing a photo, think about what’s happening outside the frame. What’s the story behind the event?
Berger’s essay made me realize how important it is to know why I clicked the shutter at a particular moment. If I can’t answer that, I wasn’t truly connected to the scene. Sometimes, the best lessons come from the shots that missed, the ones I didn’t take, or the moments I missed.
I can’t recommend John Berger’s Understanding a Photograph enough. It’s a collection of essays that will challenge and inspire you to think more deeply about your photography.
Don’t forget to check out the upcoming chat with Jenny Hansen Das, where we start a great conversation about meeting expectations.
Thanks for joining me. I hope you have a great week.
In the start of our 11th year, episode 572 of The Perceptive Photographer, I dive back into a often discussed topic that every photographer eventually faces: conflicting critique.
It is bound to happen to all of us. That moment when two thoughtful people look at the same photograph and see completely different things. One person calls it powerful and restrained. Another calls it distant and unresolved. Same image. Same moment. Completely different reactions.
When that happens, it can shake your confidence. So I thought we might try to unpack why critique in a slightly different way and remind everyone at the start of this 11th year that not all feedback lives at the same level. Some comments are about taste. Others are about craft. And sometimes the disagreement reveals something deeper about seeing in the image. After all meaning isn’t owned solely by the photographer. It’s created in the encounter between the image and the viewer.
My goal this week was to share a simple framework to help you filter critique: How does it relate to your original intent? Is it about structure or preference? Does it resonate when you sit quietly with your work? Most importantly, I explore how you can separate your identity from your photographs so that feedback becomes useful instead of personal.
If you’re navigating disagreement in your own work or with feedback from more than one source, I hope that you can think about critique not as contradiction, but as clarity emerging through differences. After all the goal isn’t consensus, It’s understanding.
I hope you are having a great week and thanks for tuning into this week’s episode of the Perceptive Photographer. The just happens to be episode 571 and we still have one week of the Winter Olympics left. Woo H00!. This week, we’re diving deep into the art of photographic composition and what truly makes a photograph great based on the inspiration of two quotes. One by Ansel Adams and the other by Edward Weston.
Ansel Adams once said, “A great photograph is a full expression of what one feels about what is being photographed in the deepest sense.” This means that a photograph isn’t just a picture; it’s a reflection of your emotions and worldview. Edward Weston’s perspective that “Good composition is only the strongest way of seeing the subject. It cannot be taught because, like all creative efforts, it is a matter of personal growth” It’s about developing your unique vision and expressing it through your photography.
The got me thinking that, while learning compositional rules is helpful, the essence of great photography really doe lie in personal connection and authentic expression. Your best work will come from a place of self-awareness and growth. Our great photographs are more than visual records; they are stories of our life told through our unique perspective. They reflect our values, emotions, and experiences.
Couple of reminder about some upcoming fun things to do:
- Foundations of Photoshop Virtual Summit: Starting next Monday, February 23rd, through the 27th. It’s a fantastic opportunity to get a free week of training on Photoshop fundamentals. Don’t miss my classes on printing, troubleshooting, canvas, and image size. Sign up for a free pass from the homepage. .
- Adventures in the Palouse Workshop: Join me for a five-day immersive experience in a beautiful location. It’s perfect for photographers looking to deepen their craft and connect with others. Check out the details under the workshop tab above.
I hope these insights inspire you to approach your photography with renewed passion and authenticity. Remember, your growth as a person and an artist is inseparable from your growth as a photographer. Thank you for being a part of this journey with me. Have a wonderfully creative week, and I look forward to our next episode together.
In Episode 570 of The Perceptive Photographer, I found myself circling a couple of questions: Is an audience required for meaning, or just for momentum? And if no one ever sees a photograph, does it still matter? (and the difference between sees and seen)
As photographers, we’re surrounded by feedback. Images are shared, measured, ranked, and quickly replaced by the next shot. It’s easy to absorb the idea that a photograph only becomes real once it’s been seen. But when I slow down and think about why I started making photographs in the first place, the audience was originally never part of that conversation (although is sneaks in now at times).
For me, meaning starts in photography at the moment of noticing. The act of seeing and recognizing something worth paying attention to is already enough to give a photograph value. Some of the most important images I’ve made were never shared. They exist as points of understanding, memory, or emotional clarity. In those moments, the photograph did its job without ever leaving my camera.
An audience, however, does provide something else: momentum. Being seen can encourage us to keep going. It can create energy, dialogue, and a sense of connection. But it can also quietly influence what we choose to photograph, nudging us toward what’s expected or rewarded. When that happens, meaning can become secondary to reaction.
So maybe the question isn’t whether photographs need an audience, but what role we want that audience to play. If no one ever saw my photographs again, which ones would I still make? Episode 570 is my attempt to sit with that question—and invite you to do the same.
When was the last time a photograph or moment behind the camera lens truly made you stop and catch your breath? Not just a quick “oh, that’s nice,” but a real, lingering moment of connection? Well, that is the topic for the show today, which is episode 569, btw. podcasts
If you think about the images you see every day, there are so many of them. We’re living in an age of visual overload. It can be easy to become distant and sort of numb to the images. We walk past or scroll by without really seeing. I do it all the time.
But here’s the thing: photography, at its best, isn’t about quantity. It’s about the quality of attention. The images that stick with us. The ones that make us pause. The ones that invite us to be present, to really see, are the ones we want to have in our lives.
Ultimately, great photography changes us. It expands our awareness, opens us up, and shifts how we see the world. Those moments that make us stop and catch our breath. They’re rare, but they’re worth seeking out, both as creators and viewers.
Next time you pick up your camera, or even scroll through social feeds, slow down. Be present and breathe.
Thanks for joining me and ahvr a great week
In this week’s episode, Episode 568 of The Perceptive Photographer, I spend some time reflecting on a tension many photographers experience, whether we admit it or not: the pull between photographing for ourselves and photographing for validation.
At some point, often without realizing it, we start making images with an audience in mind. We think about what will be liked, shared, or understood rather than what genuinely holds our attention. Validation isn’t inherently bad. It can be encouraging and even motivating, but when it becomes our north star, so to speak, when we make photographs, it quietly starts to shape our choices. Subjects become safer, risks become fewer, and curiosity gives way to performance.
This comes up again and again in my work. I have it course-corrected, but a subtle change shifts it back off track. There will be periods when I am/was/will be clearly trying to impress—chasing responses rather than experiences. The camera shifted from exploration to results. Over time, that approach gets a little exhausting.
I also know that when I stopped trying to impress and started paying closer attention to what actually interested me. The work became quieter. The subjects became simpler. It becomes a meaningful body of work. And while the external responses might not be immediate or loud or what I hoped for, the photographs felt more honest and more meaningful.
This isn’t about rejecting social media or avoiding sharing work. It’s about recognizing who you’re really making photographs for and what happens when you allow your own curiosity to lead. I invite listeners to consider what they would photograph if no one else ever saw the image—and why those photographs might matter more than we think.
In this episode of The Perceptive Photographer, I’m exploring why photography is never truly objective. I mean, why is it that two photographers standing in the same place, at the same time, will always see something different? This has always been one of the things that has always fascinated me about photography.
Same moment.
Different photographs.
That difference has very little to do with gear or technical skill and everything to do with perception and intention.
It’s easy to think of photography as a record of reality. After all, the camera captures what’s in front of it. But the camera doesn’t decide where to stand, what to include, or when the moment matters.
Those decisions belong to the photographer.
Every photograph is shaped by our choices, such as what we notice, what we ignore, and what we respond to. We are not recording the world as it is. We’re always interpreting and reinterpreting it.
Over time, we learn to recognize specific patterns of light, gesture, shape, or mood. And those things that begin to stand out to us, we repeat again and again. Our emotional state plays a role as well. When I’m calm and present, I tend to notice quieter moments. When I’m rushed or distracted, my images often reflect that.
In the end, I think we eventually learn that we don’t photograph what’s there. We photograph what we notice.
Once we accept that there’s no “right” way to see a scene, the pressure to match someone else’s image or expectation disappears.
The next time you’re out photographing, pause before you raise the camera. Notice what’s pulling your attention and what you’re leaving behind. You might be surprised by what you find in the viewfinder.
In this episode, I begin by asking photographers to consider not what a photograph shows, but how it is encountered. I frame the conversation around two different modes of looking one being relational and the other transitional.
Transitional viewing describes photographs that move a viewer forward. The image is read quickly, its meaning largely resolved, and attention shifts to what comes next. I think you often find this in the pace of social media scrolling, editorial sequencing, or maybe a portfolio review. The goal of those works is momentum and clarity. Those concepts are prioritized. In these contexts, the photograph functions as part of a flow rather than a place to stay.
Relational viewing asks something different of the viewer. I talk about photographs that unfold over time and resist immediate understanding. Meaning develops as we come back again and again returning to familiarity and learning via duration. The images becomes something a viewer forms a relationship with rather than something they pass through.
As I explain in this episode, this distinction matters because viewing is not neutral. As photographers, we are always shaping the conditions under which our work is seen. So in the end, episode 566 ask you to consider whether your photographs are designed for movement, for staying, or for something in between.
I am so excited for this episode of In Conversation, where the amazing Rachel Demy joins me to discuss the periphery in photography. I have known Rachel for years, and we had such a great conversation. I was thinking about our conversation over the past few weeks and how to introduce you to Rachel’s work. I think that one of the hallmarks of her latest work is that it isn’t loud. It unfolds quietly, asking you to slow down and look again. Her photographs sit somewhere between studied observation and intuition, where mood, atmosphere, gesture, and restraint become actors in the image.
I love how her work shifts as you spend time with it. The tension of attentiveness moves to a sense of patience.
In this conversation, we start with the topic of the periphery in photography and go down a rabbit hole. Both of us agree that peripheral is not just a biology, but a way of being present while making photographs. We talk about how photography isn’t only about what we choose to place inside the frame, but also about what exists just beyond it. That awareness, at the time of photographing or in processing, of the unseen can shape the image, adding emotional and psychological depth.
For Rachel, watching Richard Mosse’s film Broken Specter challenged her perception and became a catalyst for thinking differently about how we see, how we feel space, and how expanded awareness can influence photographic work.
Of course, with any conversation, we dug into how we are trained to think, what inspires us, what worries us about our practice, and how we sometimes have to let go and surrender to the process and path we are on. Trust the seeing. Trusting our intuition,
I really enjoyed the insights I got from listening to her talk about how intuition becomes especially pronounced in her night photography. Working in darkness heightens awareness and taps into what she described as an “animal vision. In those moments, we become less analytical and more responsive, guided by feeling, rhythm, and an embodied sense of presence.
We also touched on creative dormancy, with both of us hitting long periods of slow work development. It was a reminder that pauses, rest, and reflection are not failures of creativity, but essential parts of its rhythm.
Rachel’s perspective on photography and creativity is thoughtful, generous, and deeply felt, and our conversation was filled with genuine insights and discoveries. I am so looking forward to the next one.
You can connect with Rachel on social media at @racheldemy, on her website www.racheldemy.com, or explore her book Between Everywhere: On the Road with Death Cab for Cutie.
As we start a new year, I want to talk about a feeling that almost never gets discussed openly, even though nearly all of us experience it. That moment when you look at your recent work and think, “This is fine… but it feels boring.” Not bad. Not broken. unsurprising. feel it myself. And over time, I have come to believe that this feeling is not a warning sign. It is often a signal that something important is happening.
The strange thing about making work is that we experience it twice. First while we are making it, and then later when we look at the result. By the time the photograph exists, we have already lived inside it. We remember the walk, the light, the missed frames, the choices, the doubt. All of that context stays attached to the image for us.b But when someone else sees the photograph, they see none of that. They see the distilled result. One moment, one frame, one decision made visible. What feels familiar and predictable to us can feel clear and intentional to someone else.
That familiarity or clarity can seem like it drains surprise, but that does not mean it drains meaning.I think clarity is one of the most misunderstood qualities in creative work. Clarity often feels boring to the person who made it because all the hard decisions are already resolved. There is no tension left for us. We already know how it works.
Where things often go wrong is how we respond to that boredom. When the work stops exciting us, it is tempting to fix the wrong problem. We add more contrast. We push the color. We introduce drama not because the image needs it, but because we want to feel something again. Restlessness can look a lot like refinement, but they are not the same thing.
Sometimes the best thing you can do when the work feels boring is to step away from it. Give it time. Look at it again later, without the weight of expectation. Ask whether it still holds together, not whether it excites you.
If your recent work feels boring but still feels honest, still feels aligned with how you see, pay attention. That is often where the real work is happening. Not in the images that shout the loudest, but in the ones that sit quietly and wait. As we move into 2026, I want to encourage you and myself to resist the urge to constantly chase novelty. To trust that not being impressed by our own work is not the same thing as failing. Sometimes it means we are finally listening closely enough to hear what we keep returning to.
And that is rarely boring.
In Episode 564 of the podcast, I’m thinking through an idea that comes up often in photography but is rarely examined closely: consistency. We tend to treat a recognizable style as a sign of maturity or a settled voice, a clear direction. And for a while, that recognition feels like progress. But consistency can quietly become a constraint.
The problem is that consistency is often mistaken for coherence. Consistency lives on the surface of photographs. It shows up as repeated visual solutions: similar compositions, familiar subjects, reliable color and tone. Coherence operates underneath the work it is similar ot our voice or vision. It’s the continuity of attention or the way a we look, what we care about, and the questions we continue to ask, even as the work itself changes.
So this week we talk about how consistency is reinforced by external pressures: audience expectation, institutional validation, and the quiet rewards of being easily recognizable, and how over time, this can lead photographers to protect a look rather than respond honestly to what’s in front of them. We also look at how to think about coherence as a resource forus to use in our work and processing.
Steven Shore offers a powerful counterexample. American Surfaces and Uncommon Places look radically different, yet they belong to the same mind. Remember coherence isn’t stylistic. it’s conceptual. In this case of Steven and others, the work remains grounded in observation, description, and the ordinary, even as the visual language shifts.
Lots of other photographers like Wolfgang Tillmans, Adams, Minor, and Sophie Calle operate similarly. Their practices change form, scale, and medium, but their attention to what matters remains the same.
The danger of consistency isn’t repetition itself. It’s the narrowing of perception. Coherence asks something harder: allowing the work to evolve without abandoning what truly matters.
Voice isn’t a look you defend. It’s comes paying attention to yourself, what you seee, and why it matters. And at that core, the work you create can can survive any consistency change.
In this episode of the podcast (episode 563), I want to first say Happy Solstice and how nice it is to start getting those longer days. I discuss the moment when a photograph and photographer stop explaining everything or at least trying to. Not because we fail,, but because it can’t explain everything nor should it.
Most of us are taught to search for photographs. We head into the world with a sense of purpose, a checklist of things to photograph, or an idea of what would make the outing worthwhile. Searching is active can feel productive. It also quietly demands that the photograph arrive already formed, ready to justify itself and how well we did in the clicking of the shutter
Seeing is different. Seeing has no urgency. It does not require the world to perform on command. It asks only that we stay.
I notice that when I am searching, my attention narrows. I move faster. I recognize patterns quickly and dismiss what does not fit. The photographs that come from this state often easily explain themselves . There is nothing wrong with that, but there is a limit and it can be borning over time. AFterall, once the photograph has finished explaining, there is nothing else left to see.
Seeing begins when searching exhausts itself. When I stop asking what I am going to make and start paying attention to what is already there. For me this is rooting in boredom or frustration when nothing else is working. Nothing is happening. The light is flat. The scene feels unremarkable. Yet, if I stay, something subtle begins to emerge. A relationship. A rhythm. A small shift in how I now look at things in the world. These photographs do not announce themselves. They do not resolve quickly. They often feel unfinished, even to me. And that is precisely what gives them room to breathe.
A photograph that stops explaining does not close the conversation. It opens it. It allows uncertainty to remain intact. Instead of delivering meaning, it makes space for it. This kind of image asks the viewer to linger, to bring their own attention and experience into the frame. Seeing without searching is a discipline. It requires patience, restraint, and a willingness to leave with nothing. It means trusting that not every photograph needs to declare its purpose.
Some of the most meaningful work I have made came from moments when I stopped trying to find something and allowed myself to simply be present. When the photograph arrived slowly. When it did not explain itself. When it asked me, and eventually the viewer, to stay.
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
- 12 Notes on Life and Creativity — Quincy Jones
- Bird by Bird — Anne Lamott
- The Secret Lives of Color — Kassia St. Clair
- The Meaning in the Making — Sean Tucker
Photography Conversations, Interviews, Thought
- Interviews and Conversations, 1951–1998 — Henri Cartier-Bresson (Aperture)
- Ping Pong Conversations — Alec Soth & Francesco Zanot
- Memorable Fancies — Minor White
- Photosoup Education — Steamway Foundation Trust
- Photosoup Enterprise — Steamway Foundation Trust
- Photosoup 2022 — Steamway Foundation Trust
Photography Theory / Essays
- The Photographer’s Eye — John Szarkowski
- Beauty in Photography — Robert Adams
- Why People Photograph — Robert Adams
- Why Photographs Work — George Barr
Photobooks / Monographs
- Illuminance — Rinko Kawauchi
- Songbook (called “Songbird” once in the transcript, but the correct title is Songbook) — Alec Soth
- The Notion of Family — LaToya Ruby Frazier
- House Hunting — Todd Hido
- In Dialogue — Dawoud Bey & Carrie Mae Weems
- 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 InsteadInstead 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 ProductSometimes 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 Story1. 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.
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?” ExerciseTo 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 ObviousWhen 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 RepeatsAfter 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 PerspectiveEventually, 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 photographsI 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.
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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 MattersWe 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 PerspectiveWhen 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 StoryNot 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 bullisht 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 LatelyIn 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:
- 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. - 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? - 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 WorkOne 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 NewsAlso 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 ClubAs 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 DaysIf 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 MattersEven 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 CompositionWhen 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 PrintThere’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 ThoughtsI 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.”
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.
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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.
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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.
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In episode 515 of “The Perceptive Photographer,” I talk about the importance of finishing work in photography. As I prepare for an upcoming art show in Seattle, I reflect on the clarity and sense of accomplishment that comes with completing projects. There are lots of insights that come from finishing work Completing work, I believe, reveals a photographer’s identity and intentions, highlighting what truly matters in their artistic practice. I encourage you to embrace this process and celebrate their completed projects.
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In this episode of “The Perceptive Photographer,” I talk about what makes a photograph “good.” But before we dig in, I just wanted to say my thoughts for those affected by the fires in Southern California.
This episode is all about the qualities that define a good photograph, such as the photographer’s skill, the uniqueness of the image, and the thought behind it. I also touch on the emotional impact and historical context of photography. I also dig al little into the importance of personal expression and the ability to interpret photos in various ways.
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In this episode of the Perceptive Photographer podcast, I kick off 2025 diving into the topic of photography critique. After a quick update and thanks to everyone for their support as I dealt with my medical issues, I wanted to dig into how photographers can approach feedback. Instead of just answering questions about their work, I suggest flipping those questions to gain deeper insights. This filp will allow you to emphasize the importance of considering the background and context in images to enhance storytelling.
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Happy New Year everyone. In this episode, I share a bit about my recent experiences with health issues that have affected my energy and productivity, which have also led to a brief hiatus from work. So thanks to everyone for reaching out and much gratitude for your support As we approach 2025, I cheated and recorded a podcast when I am supposed to be off work, and I wanted to share five wishes for my audience: fostering a deeper connection to their work, focusing on the positive aspects of their photography, accepting praise, managing their inner critic, and setting and completing personal projects. Overall, the episode aims to act as a motivator for you to reflect on their work and personal growth as you enter the new year.
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In this episode of the Perceptive Photographer podcast, we are going to dig a little deeper into the visual language of photography. Before we jump into our topic, I did want to let you know if the energy is a little off it is due to some recent struggles with medication and anxiety, which are hopefully getting resolved.
As we jump into our topic, there is a connection between how understanding visual elements—similar to nouns, verbs, and adjectives in language—can enhance our photographic work. Over the course of the episode I hope you get more interested in reading and analyzing your images through this framework. From it you might be surprised how much better you can articulate intentions and emotions in the image. I also hope you have a wonderful and joyful holiday season.
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In this episode of the Perceptive Photographer Podcast, I dig into the topic of distractions in photography, focusing on not just the technology of AI generative tools that remove unwanted elements from images, but how we think about distractions in our work. These new tools have impressive capabilities and their potential impact on a photographer’s approach to composition can’t be easily dismissed. Yet, the philosophical and ethical considerations of manipulating photographs always seems to boil back up to the surface. So in this episode, I digress into how we think about a distraction when we notice a distraction and the importance of being present during the photographic process.
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In this episode of the Perceptive Photographer podcast, I tackle two listener questions. First, I dive into the role of language in photography, discussing how articulating thoughts about my work can deepen personal connection and understanding. While some argue that photos should speak for themselves, I believe language can enhance this visual storytelling. Then, I respond to Christine, a long-time listener, about adaptability in photography, sharing my experiences with dysgraphia and dyslexia. I emphasize embracing personal challenges and adapting creatively, turning potential obstacles into strengths in one’s photographic journey.
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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.
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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.
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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.
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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.
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OWC Thunderbolt 3 dock
Headphones
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.
Gear used in the podcastRode Boom Arm
Rode PSM Shockmount
Rode Podcast Mic
Focusrite Scarlet 2i2
Adobe Audition (part of creative cloud subscription)
Macbook Pro
OWC Thunderbolt 3 dock
Headphones
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.
Gear used in the podcastRode Boom Arm
Rode PSM Shockmount
Rode Podcast Mic
Focusrite Scarlet 2i2
Adobe Audition (part of creative cloud subscription)
Macbook Pro
OWC Thunderbolt 3 dock
Headphones
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.
Gear used in the podcastRode Boom Arm
Rode PSM Shockmount
Rode Podcast Mic
Focusrite Scarlet 2i2
Adobe Audition (part of creative cloud subscription)
Macbook Pro
OWC Thunderbolt 3 dock
Headphones
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.
Gear used in the podcastRode Boom Arm
Rode PSM Shockmount
Rode Podcast Mic
Focusrite Scarlet 2i2
Adobe Audition (part of creative cloud subscription)
Macbook Pro
OWC Thunderbolt 3 dock
Headphones
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.
Gear used in the podcastRode Boom Arm
Rode PSM Shockmount
Rode Podcast Mic
Focusrite Scarlet 2i2
Adobe Audition (part of creative cloud subscription)
Macbook Pro
OWC Thunderbolt 3 dock
Headphones
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.
Gear used in the podcastRode Boom Arm
Rode PSM Shockmount
Rode Podcast Mic
Focusrite Scarlet 2i2
Adobe Audition (part of creative cloud subscription)
Macbook Pro
OWC Thunderbolt 3 dock
Headphones
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.
Gear used in the podcastRode Boom Arm
Rode PSM Shockmount
Rode Podcast Mic
Focusrite Scarlet 2i2
Adobe Audition (part of creative cloud subscription)
Macbook Pro
OWC Thunderbolt 3 dock
Headphones
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.
Gear used in the podcastRode Boom Arm
Rode PSM Shockmount
Rode Podcast Mic
Focusrite Scarlet 2i2
Adobe Audition (part of creative cloud subscription)
Macbook Pro
OWC Thunderbolt 3 dock
Headphones
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.
Gear used in the podcastRode Boom Arm
Rode PSM Shockmount
Rode Podcast Mic
Focusrite Scarlet 2i2
Adobe Audition (part of creative cloud subscription)
Macbook Pro
OWC Thunderbolt 3 dock
Headphones
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.
Gear used in the podcastRode Boom Arm
Rode PSM Shockmount
Rode Podcast Mic
Focusrite Scarlet 2i2
Adobe Audition (part of creative cloud subscription)
Macbook Pro
OWC Thunderbolt 3 dock
Headphones
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.
Gear used in the podcastRode Boom Arm
Rode PSM Shockmount
Rode Podcast Mic
Focusrite Scarlet 2i2
Adobe Audition (part of creative cloud subscription)
Macbook Pro
OWC Thunderbolt 3 dock
Headphones
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.
Gear used in the podcastRode Boom Arm
Rode PSM Shockmount
Rode Podcast Mic
Focusrite Scarlet 2i2
Adobe Audition (part of creative cloud subscription)
Macbook Pro
OWC Thunderbolt 3 dock
Headphones
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.
Gear used in the podcastRode Boom Arm
Rode PSM Shockmount
Rode Podcast Mic
Focusrite Scarlet 2i2
Adobe Audition (part of creative cloud subscription)
Macbook Pro
OWC Thunderbolt 3 dock
Headphones
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
Gear used in the podcastRode Boom Arm
Rode PSM Shockmount
Rode Podcast Mic
Focusrite Scarlet 2i2
Adobe Audition (part of creative cloud subscription)
Macbook Pro
OWC Thunderbolt 3 dock
Headphones
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
Gear used in the podcastRode Boom Arm
Rode PSM Shockmount
Rode Podcast Mic
Focusrite Scarlet 2i2
Adobe Audition (part of creative cloud subscription)
Macbook Pro
OWC Thunderbolt 3 dock
Headphones
This week in episode 489, I dig into the intersection of chance, self-expression, and photography. In revsiting the text from Clive Scott’s “The Spoken Image” I dig a little into the impact of whether photography is more about reacting to spontaneous moments or preparing for them. So as you listent to the podcast, ask yourself are you more of a ‘ready-for-the-moment’ shooter or do you thrive in the unpredictable?
“The exposure to the camera, the click of the shutter, is a real world event.”
Key TakeawaysThe role of chance in photography and its impact on capturing moments.
Insights from Clive Scott’s book “The Spoken Image” on photography’s connection to language and symbols.
Exploration of the differences between spontaneous reactions and prepared anticipations in photography.
Perspectives on the balance between self-expression and the unpredictability inherent in photography.
Consideration of how photography can bridge the gap between planned shots and chance occurrences.
Gear used in the podcastOne 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.
Rode Procaster XLR microphone
Rode Boom Arm
Rode PSM Shockmount
All three Rode components a kit
Focusrite Scarlet 2i2
Adobe Audition (part of creative cloud subscription)
LogicPro X
Macbook Pro
OWC Thunderbolt 3 dock
Headphones
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 TakeawaysInfluence 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
Gear used in the podcastOne 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.
Rode Procaster XLR microphone
Rode Boom Arm
Rode PSM Shockmount
All three Rode components a kit
Focusrite Scarlet 2i2
Adobe Audition (part of creative cloud subscription)
LogicPro X
Macbook Pro
OWC Thunderbolt 3 dock
Headphones
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.”
Gear used in the podcastOne 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.
Rode Procaster XLR microphone
Rode Boom Arm
Rode PSM Shockmount
All three Rode components a kit
Focusrite Scarlet 2i2
Adobe Audition (part of creative cloud subscription)
LogicPro X
Macbook Pro
OWC Thunderbolt 3 dock
Headphones
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.”
Gear used in the podcastOne 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.
Rode Procaster XLR microphone
Rode Boom Arm
Rode PSM Shockmount
All three Rode components a kit
Focusrite Scarlet 2i2
Adobe Audition (part of creative cloud subscription)
LogicPro X
Macbook Pro
OWC Thunderbolt 3 dock
Headphones
This week’s podcast asks you to forget the technical jargon or future worries that you might have in your photographic practice. Instead, in episode 485, we are talking about how Edward Hoppers desire to appreciating light on a building, Cezannes seeing the surroundings, and the beauty of just staying put to catch those subtle changes can make a different in our work. We also dig a little into how those ideas become as Louis Kahn says our teachers. After all our work, is about creating a deep connection with the moment of when we are out there with our camera. Often easier said than done.
“When we shift from that, when we move from thinking about just the quality of light, that simple idea of painting the side of a house, photographing the side of the house with the light on it. And we shift into worrying about what it should be, what it could be, what it might be. We leave the present moment.”
Gear used in the podcastOne 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.
Rode Procaster XLR microphone
Rode Boom Arm
Rode PSM Shockmount
All three Rode components a kit
Focusrite Scarlet 2i2
Adobe Audition (part of creative cloud subscription)
LogicPro X
Macbook Pro
OWC Thunderbolt 3 dock
Headphones
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.”
Gear used in the podcastOne 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.
Rode Procaster XLR microphone
Rode Boom Arm
Rode PSM Shockmount
All three Rode components a kit
Focusrite Scarlet 2i2
Adobe Audition (part of creative cloud subscription)
LogicPro X
Macbook Pro
OWC Thunderbolt 3 dock
Headphones
Welcome to podcast 483, In this podcast, I’m diving into the intricate 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 perso.
(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
Gear used in the podcastOne 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.
Rode Procaster XLR microphone
Rode Boom Arm
Rode PSM Shockmount
All three Rode components a kit
Focusrite Scarlet 2i2
Adobe Audition (part of creative cloud subscription)
LogicPro X
Macbook Pro
OWC Thunderbolt 3 dock
Headphones
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
Gear used in the podcastOne 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.
Rode Procaster XLR microphone
Rode Boom Arm
Rode PSM Shockmount
All three Rode components a kit
Focusrite Scarlet 2i2
Adobe Audition (part of creative cloud subscription)
LogicPro X
Macbook Pro
OWC Thunderbolt 3 dock
Headphones
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 2024Before 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.
Gear used in the podcastOne 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.
Rode Procaster XLR microphone
Rode Boom Arm
Rode PSM Shockmount
All three Rode components a kit
Focusrite Scarlet 2i2
Adobe Audition (part of creative cloud subscription)
LogicPro X
Macbook Pro
OWC Thunderbolt 3 dock
Headphones
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 2024Before 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.
Gear used in the podcastOne 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.
Rode Procaster XLR microphone
Rode Boom Arm
Rode PSM Shockmount
All three Rode components a kit
Focusrite Scarlet 2i2
Adobe Audition (part of creative cloud subscription)
LogicPro X
Macbook Pro
OWC Thunderbolt 3 dock
Headphones
In episode 479, the podcast delves into the idea of launching a camera club, exploring its potential members and the methods of discussing photography. In focusing on diversity of interests and backgrounds they may bring to the table, we can start to understand more about what we need from our photographic practice.. Additionally, I discuss the approaches to how photographs are discussed within the club setting, considering varying perspectives and approaches. In my club, the idea of and an inclusive environment where members can freely express their opinions and insights on photography to better understand who they are as photographers would win out over any contest.
Mark Your Calendars for the Lightroom Virtual Summit 2024Before 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.
Gear used in the podcastOne 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.
Rode Procaster XLR microphone
Rode Boom Arm
Rode PSM Shockmount
All three Rode components a kit
Focusrite Scarlet 2i2
Adobe Audition (part of creative cloud subscription)
LogicPro X
Macbook Pro
OWC Thunderbolt 3 dock
Headphones
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 2024Before 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.
Gear used in the podcastOne 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.
Rode Procaster XLR microphone
Rode Boom Arm
Rode PSM Shockmount
All three Rode components a kit
Focusrite Scarlet 2i2
Adobe Audition (part of creative cloud subscription)
LogicPro X
Macbook Pro
OWC Thunderbolt 3 dock
Headphones
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 2024Before 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.
Gear used in the podcastOne 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.
Rode Procaster XLR microphone
Rode Boom Arm
Rode PSM Shockmount
All three Rode components a kit
Focusrite Scarlet 2i2
Adobe Audition (part of creative cloud subscription)
LogicPro X
Macbook Pro
OWC Thunderbolt 3 dock
Headphones
In the podcast this week I am so excited to be joined by the amazing and wonderful Dave Cross. Dave is an icon in the Photoshop world. A member of the Hall of Fame, teaching in every state and multiple countries around the world, founder of the Virtual Summits series and just an all-around great individual. I am so excited that he agreed to join me on the podcast this week where we talk about building community, how to approach working on complex ideas or topics and how to always keep improving. I hope you have a great time listening, I know I learned a lot and loved having the chance to speak with Dave. You can learn more about Dave and all he does at dcross.com
Mark Your Calendars for the Lightroom Virtual Summit 2024Before 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.
Gear used in the podcastOne 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.
Rode Procaster XLR microphone
Rode Boom Arm
Rode PSM Shockmount
All three Rode components a kit
Focusrite Scarlet 2i2
Adobe Audition (part of creative cloud subscription)
LogicPro X
Macbook Pro
OWC Thunderbolt 3 dock
Headphones
This week’s podcast explores the elusive quest to identify the “best photograph” in a series, delving into considerations like emotional impact, composition, and our own bias. One of the most complex aspects of this process is determining the “best photograph.” Is it the most visually striking image or does it carry the most significance and impact? The answer is subjective and depends on various factors since things like intention, the purpose of the series, and the overall viewing experience come into play. Rather than come up with a single answer, I talk about the impacts of how we approach this definition and how to dig deeper in a conversation with someone who might ask you that very question.
Mark Your Calendars for the Lightroom Virtual Summit 2024Before 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.
Gear used in the podcastOne 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.
Rode Procaster XLR microphone
Rode Boom Arm
Rode PSM Shockmount
All three Rode components a kit
Focusrite Scarlet 2i2
Adobe Audition (part of creative cloud subscription)
LogicPro X
Macbook Pro
OWC Thunderbolt 3 dock
Headphones
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 StatementsThe 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 WorkChallenge 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 CroppingThe 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 TitlingIn 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 CollectionThe 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 2024Before 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.
Gear used in the podcastOne 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.
Rode Procaster XLR microphone
Rode Boom Arm
Rode PSM Shockmount
All three Rode components a kit
Focusrite Scarlet 2i2
Adobe Audition (part of creative cloud subscription)
LogicPro X
Macbook Pro
OWC Thunderbolt 3 dock
Headphones
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 2024Before 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.
Gear used in the podcastOne 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.
Rode Procaster XLR microphone
Rode Boom Arm
Rode PSM Shockmount
All three Rode components a kit
Focusrite Scarlet 2i2
Adobe Audition (part of creative cloud subscription)
LogicPro X
Macbook Pro
OWC Thunderbolt 3 dock
Headphones
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 CraftIn 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 TeachAs 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.
Gear used in the podcastOne 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.
Rode Procaster XLR microphone
Rode Boom Arm
Rode PSM Shockmount
All three Rode components a kit
Focusrite Scarlet 2i2
Adobe Audition (part of creative cloud subscription)
LogicPro X
Macbook Pro
OWC Thunderbolt 3 dock
Headphones
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.
Gear used in the podcastOne 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.
Rode Procaster XLR microphone
Rode Boom Arm
Rode PSM Shockmount
All three Rode components a kit
Focusrite Scarlet 2i2
Adobe Audition (part of creative cloud subscription)
LogicPro X
Macbook Pro
OWC Thunderbolt 3 dock
Headphones
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.
Gear used in the podcastOne 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.
Rode Procaster XLR microphone
Rode Boom Arm
Rode PSM Shockmount
All three Rode components a kit
Focusrite Scarlet 2i2
Adobe Audition (part of creative cloud subscription)
LogicPro X
Macbook Pro
OWC Thunderbolt 3 dock
Headphones
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.
Gear used in the podcastOne 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.
Rode Procaster XLR microphone
Rode Boom Arm
Rode PSM Shockmount
All three Rode components a kit
Focusrite Scarlet 2i2
Adobe Audition (part of creative cloud subscription)
LogicPro X
Macbook Pro
OWC Thunderbolt 3 dock
Headphones
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.
Gear used in the podcastOne 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.
Rode Procaster XLR microphone
Rode Boom Arm
Rode PSM Shockmount
All three Rode components a kit
Focusrite Scarlet 2i2
Adobe Audition (part of creative cloud subscription)
LogicPro X
Macbook Pro
OWC Thunderbolt 3 dock
Headphones
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.
Gear used in the podcastOne 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.
Rode Procaster XLR microphone
Rode Boom Arm
Rode PSM Shockmount
All three Rode components a kit
Focusrite Scarlet 2i2
Adobe Audition (part of creative cloud subscription)
LogicPro X
Macbook Pro
OWC Thunderbolt 3 dock
Headphones
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.
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.
In this episode, the perceptive photographer, we reflect on the importance of revisiting one's own work for growth.
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 TopicsCommunity matters in photographySetting expectations can limit youPositivity is infectious on shootsPhotography 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."Subscribing to the podcast ensures not missing any new episodes released every Monday.Gear used in the podcastOne 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.Rode Procaster XLR microphoneRode Boom ArmRode PSM ShockmountAll three Rode components a kitFocusrite Scarlet 2i2Adobe Audition (part of creative cloud subscription)LogicPro XMacbook ProOWC Thunderbolt 3 dockHeadphones
In the podcast this week, we look at five bad habits that might be blocking you and your photographic process and exploration behind the camera.
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 TopicsWhat makes a good photograph?Distractions in photos: purposeful or not?The subjective nature of photographic interestEmotional evocation as a photo's markerThinking 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."Subscribing to the podcast ensures not missing any new episodes released every Monday.Gear used in the podcastOne 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.Rode Procaster XLR microphoneRode Boom ArmRode PSM ShockmountAll three Rode components a kitFocusrite Scarlet 2i2Adobe Audition (part of creative cloud subscription)LogicPro XMacbook ProOWC Thunderbolt 3 dockHeadphones
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.
The latest episode of The Perspective Photographer, number 459, dives into some thought-provoking perspectives on photography from some great quotes by other photographers
Dive into our exploration of failure as a stepping stone in photography and creativity on this episode of The Perceptive Photographer.
This episode of the Perceptive Photographer podcast is all about listener questions dealign with procrastination, habits, critique mistakes and more.
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.Subscribing to the podcast ensures not missing any new episodes released every Monday.Gear used in the podcastOne 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.Rode Procaster XLR microphoneRode Boom ArmRode PSM ShockmountAll three Rode components a kitFocusrite Scarlet 2i2Adobe Audition (part of creative cloud subscription)LogicPro XMacbook ProOWC Thunderbolt 3 dockHeadphones
This episode peels back the layers on how a non-linear approach to time can reshape our photographic journey and push the boundaries of our artistic process
In this perceptive photographer podcast this week, we focus on how coming up with three key goals can make a difference in your work.
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 PointsInfluences extend beyond photographyEmotional life experiences as creative fuelArt forms other than photography inspireThe impact of photography trainingEnvironment & social issues influence workSubscribing to the podcast ensures not missing any new episodes released every Monday.Gear used in the podcastOne 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. Rode Procaster XLR microphoneRode Boom ArmRode PSM ShockmountAll three Rode components a kitFocusrite Scarlet 2i2Adobe Audition (part of creative cloud subscription)LogicPro XMacbook ProOWC Thunderbolt 3 dockHeadphones
This week's podcast explores the distinction between knowledge and wisdom in photography, emphasizing the importance of experience and trusting yourself.
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 uniqueSubscribing to the podcast ensures not missing any new episodes released every Monday.Gear used in the podcastOne 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. Rode Procaster XLR microphoneRode Boom ArmRode PSM ShockmountAll three Rode components a kitFocusrite Scarlet 2i2Adobe Audition (part of creative cloud subscription)LogicPro XMacbook ProOWC Thunderbolt 3 dockHeadphones
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.Subscribing to the podcast ensures not missing any new episodes released every Monday.Gear used in the podcastOne 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. Rode Procaster XLR microphoneRode Boom ArmRode PSM ShockmountAll three Rode components a kitFocusrite Scarlet 2i2Adobe Audition (part of creative cloud subscription)LogicPro XMacbook ProOWC Thunderbolt 3 dockHeadphones
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
In the podcast this week, I talk about how sometimes our creative and photographic process is like getting stuck in a job that doesn't work for us anymore and how to get out of it.
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.
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. Gear used in the podcastOne 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. Rode Procaster XLR microphoneRode Boom ArmRode PSM ShockmountAll three Rode components a kitFocusrite Scarlet 2i2Adobe Audition (part of creative cloud subscription)LogicPro XMacbook ProOWC Thunderbolt 3 dockHeadphones
in this week's podcast, we take a look at how the gear you use impacts the type and style of work you do.
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.
Gear used in the podcast
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.
Rode Procaster XLR microphoneRode Boom ArmRode PSM ShockmountAll three Rode components a kitFocusrite Scarlet 2i2Adobe Audition (part of creative cloud subscription)LogicPro XMacbook ProOWC Thunderbolt 3 dockHeadphones
The post Celebrating the uniqueness of episode 444 appeared first on Daniel j Gregory Photography.
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.
Gear used in the podcastOne 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.
Rode Procaster XLR microphone
Rode Boom Arm
Rode PSM Shockmount
All three Rode components a kit
Focusrite Scarlet 2i2
Adobe Audition (part of creative cloud subscription)
LogicPro X
Macbook Pro
OWC Thunderbolt 3 dock
Headphones
The post A question of quality appeared first on Daniel j Gregory Photography.
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.
The post Acts of Kindness appeared first on Daniel j Gregory Photography.
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.
The post Framing considerations appeared first on Daniel j Gregory Photography.
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.
Gear used in the podcast
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.
Rode Procaster XLR microphoneRode Boom ArmRode PSM ShockmountAll three Rode components a kitFocusrite Scarlet 2i2Adobe Audition (part of creative cloud subscription)LogicPro XMacbook ProOWC Thunderbolt 3 dockHeadphones
The post Keep it simple with one small thing appeared first on Daniel j Gregory Photography.
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.
Gear used in the podcast
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.
Rode Procaster XLR microphoneRode Boom ArmRode PSM ShockmountAll three Rode components a kitFocusrite Scarlet 2i2Adobe Audition (part of creative cloud subscription)LogicPro XMacbook ProOWC Thunderbolt 3 dockHeadphones
The post Got a song stuck in your head? Might be good for your photography appeared first on Daniel j Gregory Photography.
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.
Gear used in the podcast
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.
Rode Procaster XLR microphoneRode Boom ArmRode PSM ShockmountAll three Rode components a kitFocusrite Scarlet 2i2Adobe Audition (part of creative cloud subscription)LogicPro XMacbook ProOWC Thunderbolt 3 dockHeadphones
The post Being bold appeared first on Daniel j Gregory Photography.
This week on the Perceptive Photographer, we are taking at look at some key considerations or questions to ask yourself about your photographic compositions.
The post Considerations for better compositions appeared first on Daniel j Gregory Photography.
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.
The post Where’s the fire? appeared first on Daniel j Gregory Photography.
This week's podcast is a dive into a few listener questions that have come in over the past few weeks.
The post Projects, odd questions and toning black and white images appeared first on Daniel j Gregory Photography.
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.
Gear used in the podcast
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.
Rode Procaster XLR microphoneRode Boom ArmRode PSM ShockmountAll three Rode components a kitFocusrite Scarlet 2i2Adobe Audition (part of creative cloud subscription)LogicPro XMacbook ProOWC Thunderbolt 3 dockHeadphones
The post Chicken and the egg appeared first on Daniel j Gregory Photography.
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.
The post Working Projects appeared first on Daniel j Gregory Photography.
The podcast this week is a quick review of lessons observed in my last workshop out in the Palouse.
The post Simple lessons from my last workshop and an editing effect to keep a close watch on appeared first on Daniel j Gregory Photography.
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
The post Five challenges to push your photographic process forward appeared first on Daniel j Gregory Photography.
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.
Gear used in the podcastOne 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.
Rode Procaster XLR microphone
Rode Boom Arm
Rode PSM Shockmount
All three Rode components a kit
Focusrite Scarlet 2i2
Adobe Audition (part of creative cloud subscription)
LogicPro X
Macbook Pro
OWC Thunderbolt 3 dock
Headphones
The post What to do with all those bad ones? appeared first on Daniel j Gregory Photography.
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.
Gear used in the podcastOne 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.
Rode Procaster XLR microphone
Rode Boom Arm
Rode PSM Shockmount
All three Rode components a kit
Focusrite Scarlet 2i2
Adobe Audition (part of creative cloud subscription)
LogicPro X
Macbook Pro
OWC Thunderbolt 3 dock
Headphones
The post Generative AI, Diane Arbus and other musings on the creation of images appeared first on Daniel j Gregory Photography.
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.
Gear used in the podcastOne 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.
Rode Procaster XLR microphone
Rode Boom Arm
Rode PSM Shockmount
All three Rode components a kit
Focusrite Scarlet 2i2
Adobe Audition (part of creative cloud subscription)
LogicPro X
Macbook Pro
OWC Thunderbolt 3 dock
Headphones
The post Details and other small things appeared first on Daniel j Gregory Photography.
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.
Gear used in the podcastOne 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.
Rode Procaster XLR microphone
Rode Boom Arm
Rode PSM Shockmount
All three Rode components a kit
Focusrite Scarlet 2i2
Adobe Audition (part of creative cloud subscription)
LogicPro X
Macbook Pro
OWC Thunderbolt 3 dock
Headphones
The post Starting from failure appeared first on Daniel j Gregory Photography.
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.
Gear used in the podcastOne 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.
Rode Procaster XLR microphone
Rode Boom Arm
Rode PSM Shockmount
All three Rode components a kit
Focusrite Scarlet 2i2
Adobe Audition (part of creative cloud subscription)
LogicPro X
Macbook Pro
OWC Thunderbolt 3 dock
Headphones
The post Balancing act in photography appeared first on Daniel j Gregory Photography.
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.
Gear used in the podcastOne 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.
Rode Procaster XLR microphone
Rode Boom Arm
Rode PSM Shockmount
All three Rode components a kit
Focusrite Scarlet 2i2
Adobe Audition (part of creative cloud subscription)
LogicPro X
Macbook Pro
OWC Thunderbolt 3 dock
Headphones
The post Grief, loss and owning your emotions appeared first on Daniel j Gregory Photography.
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.
Gear used in the podcastOne 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.
Rode Procaster XLR microphone
Rode Boom Arm
Rode PSM Shockmount
All three Rode components a kit
Focusrite Scarlet 2i2
Adobe Audition (part of creative cloud subscription)
LogicPro X
Macbook Pro
OWC Thunderbolt 3 dock
Headphones
The post Listening to your voice appeared first on Daniel j Gregory Photography.
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.
Gear used in the podcastOne 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.
Rode Procaster XLR microphone
Rode Boom Arm
Rode PSM Shockmount
All three Rode components a kit
Focusrite Scarlet 2i2
Adobe Audition (part of creative cloud subscription)
LogicPro X
Macbook Pro
OWC Thunderbolt 3 dock
Headphones
The post One piece of advice you would give yourself appeared first on Daniel j Gregory Photography.
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.
Gear used in the podcastOne 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.
Rode Procaster XLR microphone
Rode Boom Arm
Rode PSM Shockmount
All three Rode components a kit
Focusrite Scarlet 2i2
Adobe Audition (part of creative cloud subscription)
LogicPro X
Macbook Pro
OWC Thunderbolt 3 dock
Headphones
The post The power of multiple meanings in photography appeared first on Daniel j Gregory Photography.
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.
Gear used in the podcastOne 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.
Rode Procaster XLR microphone
Rode Boom Arm
Rode PSM Shockmount
All three Rode components a kit
Focusrite Scarlet 2i2
Adobe Audition (part of creative cloud subscription)
LogicPro X
Macbook Pro
OWC Thunderbolt 3 dock
Headphones
The post Nature verse nurture? appeared first on Daniel j Gregory Photography.
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.
Gear used in the podcastOne 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.
Rode Procaster XLR microphone
Rode Boom Arm
Rode PSM Shockmount
All three Rode components a kit
Focusrite Scarlet 2i2
Adobe Audition (part of creative cloud subscription)
LogicPro X
Macbook Pro
OWC Thunderbolt 3 dock
Headphones
The post How do you know you are making progress on making more meaningful work? appeared first on Daniel j Gregory Photography.
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.
- Do I have a favorite paper to print with?
- Do I have any tips on staying motivated?
- What is the difference between reading a photograph and looking at a photograph?
- How do I deal with a challenging photograph?
- 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.
Gear used in the podcastOne 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.
Rode Procaster XLR microphone
Rode Boom Arm
Rode PSM Shockmount
All three Rode components a kit
Focusrite Scarlet 2i2
Adobe Audition (part of creative cloud subscription)
LogicPro X
Macbook Pro
OWC Thunderbolt 3 dock
Headphones
The post Listener Questions appeared first on Daniel j Gregory Photography.
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.
Gear used in the podcastOne 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.
Rode Procaster XLR microphone
Rode Boom Arm
Rode PSM Shockmount
All three Rode components a kit
Focusrite Scarlet 2i2
Adobe Audition (part of creative cloud subscription)
LogicPro X
Macbook Pro
OWC Thunderbolt 3 dock
Headphones
The post Insights from The Nature of Photographs appeared first on Daniel j Gregory Photography.
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.
- Rome wasn’t built in a day
- Don’t judge a book by it’s cover
- Can’t please everyone
- Good things come to those who wait
- I’m just mailing it in today
Gear used in the podcastOne 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.
Rode Procaster XLR microphone
Rode Boom Arm
Rode PSM Shockmount
All three Rode components a kit
Focusrite Scarlet 2i2
Adobe Audition (part of creative cloud subscription)
LogicPro X
Macbook Pro
OWC Thunderbolt 3 dock
Headphones
The post Five cliches to help your photography appeared first on Daniel j Gregory Photography.
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.
Gear used in the podcastOne 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.
Rode Procaster XLR microphone
Rode Boom Arm
Rode PSM Shockmount
All three Rode components a kit
Focusrite Scarlet 2i2
Adobe Audition (part of creative cloud subscription)
LogicPro X
Macbook Pro
OWC Thunderbolt 3 dock
Headphones
The post Simple acts make all the difference appeared first on Daniel j Gregory Photography.
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. .
Gear used in the podcastOne 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.
Rode Procaster XLR microphone
Rode Boom Arm
Rode PSM Shockmount
All three Rode components a kit
Focusrite Scarlet 2i2
Adobe Audition (part of creative cloud subscription)
LogicPro X
Macbook Pro
OWC Thunderbolt 3 dock
Headphones
The post Episode 415 Why do you photograph what you photograph? appeared first on Daniel j Gregory Photography.
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.
Gear used in the podcastOne 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.
Rode Procaster XLR microphone
Rode Boom Arm
Rode PSM Shockmount
All three Rode components a kit
Focusrite Scarlet 2i2
Adobe Audition (part of creative cloud subscription)
LogicPro X
Macbook Pro
OWC Thunderbolt 3 dock
Headphones
The post Episode 414 Continuing thoughts on AI in photography appeared first on Daniel j Gregory Photography.
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.
Gear used in the podcastOne 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.
Rode Procaster XLR microphone
Rode Boom Arm
Rode PSM Shockmount
All three Rode components a kit
Focusrite Scarlet 2i2
Adobe Audition (part of creative cloud subscription)
LogicPro X
Macbook Pro
OWC Thunderbolt 3 dock
Headphones
The post The 10% rule in your photography appeared first on Daniel j Gregory Photography.
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.
Gear used in the podcastOne 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.
Rode Procaster XLR microphone
Rode Boom Arm
Rode PSM Shockmount
All three Rode components a kit
Focusrite Scarlet 2i2
Adobe Audition (part of creative cloud subscription)
LogicPro X
Macbook Pro
OWC Thunderbolt 3 dock
Headphones
The post Ep 412 Who judges who appeared first on Daniel j Gregory Photography.
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.
Gear used in the podcastOne 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.
Rode Procaster XLR microphone
Rode Boom Arm
Rode PSM Shockmount
All three Rode components a kit
Focusrite Scarlet 2i2
Adobe Audition (part of creative cloud subscription)
LogicPro X
Macbook Pro
OWC Thunderbolt 3 dock
Headphones
The post Ep 411 The importance of practice in photography appeared first on Daniel j Gregory Photography.
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.
Gear used in the podcastOne 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.
Rode Procaster XLR microphone
Rode Boom Arm
Rode PSM Shockmount
All three Rode components a kit
Focusrite Scarlet 2i2
Adobe Audition (part of creative cloud subscription)
LogicPro X
Macbook Pro
OWC Thunderbolt 3 dock
Headphones
The post Ep 410 What are the best ways to come up with project ideas appeared first on Daniel j Gregory Photography.
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.
Gear used in the podcastOne 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.
Rode Procaster XLR microphone
Rode Boom Arm
Rode PSM Shockmount
All three Rode components a kit
Focusrite Scarlet 2i2
Adobe Audition (part of creative cloud subscription)
LogicPro X
Macbook Pro
OWC Thunderbolt 3 dock
Headphones
The post Ep 409 Quantity is the name of the game appeared first on Daniel j Gregory Photography.
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.
Gear used in the podcastOne 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.
Rode Procaster XLR microphone
Rode Boom Arm
Rode PSM Shockmount
All three Rode components a kit
Focusrite Scarlet 2i2
Adobe Audition (part of creative cloud subscription)
LogicPro X
Macbook Pro
OWC Thunderbolt 3 dock
Headphones
The post Ep 408 Setting goals for 2023 appeared first on Daniel j Gregory Photography.
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.
Gear used in the podcastOne 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.
Rode Procaster XLR microphone
Rode Boom Arm
Rode PSM Shockmount
All three Rode components a kit
Focusrite Scarlet 2i2
Adobe Audition (part of creative cloud subscription)
LogicPro X
Macbook Pro
OWC Thunderbolt 3 dock
Headphones
The post Ep 407 Thoughts on Points of View appeared first on Daniel j Gregory Photography.
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.
Gear used in the podcastOne 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.
Rode Procaster XLR microphone
Rode Boom Arm
Rode PSM Shockmount
All three Rode components a kit
Focusrite Scarlet 2i2
Adobe Audition (part of creative cloud subscription)
LogicPro X
Macbook Pro
OWC Thunderbolt 3 dock
Headphones
The post Ep 406 Some thoughts on titling your photographs appeared first on Daniel j Gregory Photography.
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.
Gear used in the podcastOne 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.
Rode Procaster XLR microphone
Rode Boom Arm
Rode PSM Shockmount
All three Rode components a kit
Focusrite Scarlet 2i2
Adobe Audition (part of creative cloud subscription)
LogicPro X
Macbook Pro
OWC Thunderbolt 3 dock
Headphones
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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.
Gear used in the podcastOne 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.
Rode Procaster XLR microphone
Rode Boom Arm
Rode PSM Shockmount
All three Rode components a kit
Focusrite Scarlet 2i2
Adobe Audition (part of creative cloud subscription)
LogicPro X
Macbook Pro
OWC Thunderbolt 3 dock
Headphones
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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.
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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.
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This week's podcast looks at the role of recognition in our photography.
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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.
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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.
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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.
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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 […]
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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.
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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.
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How do we get better at looking at photographs? Looking at not just a photograph but a series of photographs.
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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.
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In this week's podcast, we explore a little more into the nature of time and how it impacts our photography
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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.
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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.
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In this week's podcast, I share ten tips for making your photographic process more creative.
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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.
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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.
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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 step
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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.
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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.
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.
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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.
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.
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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.
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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.
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In this week's podcast, we take a look at how forgetting can shape our approach to making more meaningful work.
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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.
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In the podcast this week, we focus on the importance of research in making more meaningful images.
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In the podcast this week we focus on two questions from listeners.
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In this podcast, I discuss the importance of making sure your conflicts, passions, and things you stand for appear in your work.
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This week's podcast is focused on the importance of conversations in our photography, and how those conversations can change the way we see and experience behind the lens.
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This week's podcast takes a look at these two quotes and how they impact our approach to our photography and our creative living.
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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 were one-hit wonders. Does a one-hit wonder in photography mean something and if so what? That is the dive into the pool we take this week on the perceptive photographer podcast.
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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.
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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. Gear used in the podcast One of the […]
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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?
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This week’s podcast talks about some photographic lessons learned from listening to bird watchers
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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.
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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.
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In this week's podcast, we dive into how blurry and sharp are both important elements to have in making successful images.
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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.
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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.
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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.
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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.
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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.
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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.
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ne 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.
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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.
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In this episode of the Perceptive Photographer podcast, we dive into a new way of approaching the deletion of our images. Maybe there is a better approach to deleting. Maybe we should take a moment and honor the things we get rid of or delete for what they taught up no matter how small.
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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.
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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.
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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.
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nd 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.
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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.
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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.
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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 […]
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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.
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s 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.
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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.
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We all collect stuff. 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.
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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.
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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 […]
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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 […]
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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! Gear used in […]
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Have you turned it off and on again? 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.
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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.
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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. 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
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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 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.
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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.
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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.
In this week's podcast, we take a look at the idea that some of our photographs might just be quotable.
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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.
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is 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.
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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.
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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.
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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. 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.
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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.
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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 […]
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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.
The post How do the spaces we work in and frames we create overlap? appeared first on Daniel j Gregory Photography.
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.
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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.
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There are times that everyone faces in their photography when you feel like things are going nowhere. Maybe you are spending more money The longer we spend on photography, the less time and energy we have to do photography. This week we take a look at how the work can get in the way of the work.
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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.
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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.
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This week's podcast takes a look 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.
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