.

Outside Inside – Conversation with Abelardo Morell – Dec 9, 8 EST

Outside Inside – A Conversation With Abelardo Morell & John Paul Caponigro

Wednesday, December 9, 8 EST

Register Now.

Santa Fe Workshops collection of free online events, Creativity Continues features an evening with fine-art photographers Abelardo Morell and John Paul Caponigro. In this special hour of inspiration, Stephen and John Paul explore photography as a tool for expanding perception. As Abelardo says, “The very basics of photography can be potent and strange. So why not make pictures about the medium itself and see where they would take me?”

After inspiring images and insightful conversation, Abelardo and John Paul will close with a lively Q&A session with the webinar audience. Even if you can’t make the live event, we’ll make a recording available to all registered attendees.

Creativity Continues is a program that develops creative voices collectively by fostering connection and encouraging expression. To engage everyone in our creative community, we encourage you to extend invitations and share Santa Fe Workshops Creativity Continues events with anyone who expresses interest.

–

Abelardo Morell (born 1948, Havana, Cuba) is a contemporary artist best known for turning rooms into camera obscuras and then capturing the marriage of interior and exterior in large-format photographs, as well as for his ‘tent-camera,’ a device he invented to merge landscapes with the texture and composition of the ground where he places his camera and tripod to record the simultaneity of close and far, majestic and mundane. Deeply versed in art history, with one eye on photography and the other on classical forms of image-making, both found and constructed, his wide-ranging artistic practices embrace optics, books, paper, paint, ceramics, wood blocks, cliché verre, and photograms, among others. A professor of Photography at the Massachusetts College of Art and Design from 1983-2010, he has authored 8 books, including A Book of Books (2002), Camera Obscura (2004), and Tent-Camera (2018). His numerous awards include a Guggenheim fellowship (1994), an ICP Infinity Award (2011), and a Lucie Award (2017).

Discover more from Abelardo Morell here.

Visit Abelardo Morell’s website.

Register Now.

Antarctica – The Edge of Dreams – Online Oct 23 @ 8 EST

Oct 23, 2026 08:30 PM EST

Online – Fort Dearborn-Chicago Photo Forum

Join me for an evening of inspiration as I share my adventures both external and internal in Antarctica (my favorite place), planet Earth’s most remote, coldest, windiest, highest, and driest continent – a crystal desert where 90% of the world’s ice is located, making it the largest body of fresh water on the planet. A  place of stunning contrasts, sublimely beautiful Antarctica feels like another planet, but it’s home, and it affects all of us. I can truly say, no place has changed me more.

Register here.

There’s More to Photoshop’s New Light Adjustment Than You Think

First, Colin Smith shows you …

Photoshop’s new Light adjustment brings Exposure, Contrast, Highlights, Shadows, Whites and Blacks directly into an adjustment layer. But there’s more to it than just moving six sliders. In this deep dive, Colin Smith from PhotoshopCAFE shows how to use the new Light adjustment to recover highlight and shadow detail, control dynamic range, stack adjustments, use masks for targeted edits, and get more control than you might expect. I’ll also explain why Shadows and Highlights temporarily disappear when you edit layers underneath the Light adjustment.

 

Second, Jesus Ramirez shows you …

  • How to use the Light adjustment layer in Photoshop
  • How to bring back the Brightness/Contrast adjustment layer
  • How to read a histogram to compare Brightness and Exposure
  • How to stop the Light adjustment layer from pausing
  • How to use clipping masks and layer masks with a Light adjustment layer
  • How to use Blend If on an adjustment layer
  • How to compare Photoshop’s Light sliders to Lightroom with a Difference blend

Find more from Colin Smith at the Photoshop Cafe.

Find more from Jesus Ramirez at the Photoshop Training Channel.

Learn more in my digital photography and digital printing workshops.

2 New Photoshop Features – One Useful & One Wild

“See the most useful abd the most wild new features in Photoshop beta 2026 September, Dynamic layers and before and after preview. Colin Smith shows you how to use the new features in Photoshop.”

Find more at Colin Smith at Photoshop Cafe.

Learn more in my digital photography and digital printing workshops.

5 Biggest New Photoshop Features Just Released

Photoshop 2026 update, new features in August 2026 release of Photoshop. Colin Smith shows you all the new features in Photoshop.

00:00 Intro
00:29 The Light Panel
02:05 Light Glows
04:10 Proper explanation of the styles: diffusion, bloom and halation
06:30 Freeform Dynamic Text
07:41 Ai assisted Pro Editor workspaces
10:04 New ai markup + annotation tools
12:05 Generate inside masks, updated image 5 Model

Find more at Colin Smith at Photoshop Cafe.

Learn more in my digital photography and digital printing workshops.

Why Shadow Detail In Photographs Is Sometimes Overrated — Plus Seven Masters Who Lose It

We’re often taught that good photographic technique means preserving detail from the brightest highlights to the deepest shadows. We expose carefully, process selectively, and use increasingly sophisticated tools to recover the information our cameras capture. But just because detail is there doesn’t mean we need to see it.

More information doesn’t necessarily produce more expression. Sometimes revealing everything can actually diminish a photograph. Shadows can conceal, simplify, suggest, intensify, and transform. What we don’t see can become as important as what we do.

Think of Ridley Scott’s Alien. Unlike its sequels, the creature in the first film is most terrifying largely because we rarely see it clearly. We catch glimpses and fragments. We don’t fully understand its form, what it’s becoming, or what it can do. What the film withholds creates a space our imaginations rush to fill. What we imagine may be more disturbing than anything we could be shown.

Shadows can work the same way. When a photograph describes everything, less is left for the viewer to discover. Suppress information and other things become more active: atmosphere, mood, ambiguity, imagination. What isn’t supplied invites the viewer to participate.

This doesn’t mean blocked shadows are inherently expressive. Losing detail indiscriminately is no more creative than preserving it indiscriminately. The question isn’t whether shadow detail is good or bad. The question is: What does the photograph need? What function do the shadows serve? Does the form fit the function?

What Can Lost Shadow Detail Do?

Create atmosphere.
Forms don't need to disappear into black to lose detail. Mist, haze, smoke, and low contrast can obscure information while making atmosphere itself palpable.

Establish depth.
Detail and tonal separation can change with distance. Controlling how much we see—and where—can organize space and intensify atmospheric perspective. The blackest black is closest.

Intensify mood.
Darkness carries emotional weight. Allowing shadows to overtake a scene can make it intimate, contemplative, brooding, ominous, or mysterious.

Create suspense.
Forms hovering on the threshold of visibility can hold our attention precisely because we can’t quite apprehend them. The eye keeps looking.

Make light more luminous.
A pool of light surrounded by darkness appears brighter than the same value surrounded by midtones. Sometimes darkness gives light its power.


Insights Members can login to read the full article.
Email:
or Sign up

How To Lose Shadow Detail In Photographs — 29 Ways Counted

Photographers spend a lot of time learning how to preserve shadow detail. But once you know how to keep it, you can make more interesting decisions about when to let it go.

There are many ways you can withhold shadow deliberately – exposure, lighting, atmosphere, focus, composition, processing, printing, and even presentation. Each changes not only how much we see, but how we see.

Here are some moves to try.

Exposure

  • Underexpose — Let dark values fall below useful detail.
  • Expose for highlights — Protect highlights and let shadows fall where they may.
  • Silhouette — Sacrifice internal detail to emphasize shape.

Lighting

  • Use low-key lighting — Illuminate selectively and let the rest fall away.
  • Backlight — Define edges while letting unlit forms disappear.
  • Use directional light — Reveal selected planes while concealing others.
  • Restrict the light — Use flags, grids, gobos, or natural obstructions.
  • Create pools of light — Reveal only what matters within larger fields of darkness.

Atmosphere, Focus & Motion


Insights Members can login to read the full article.
Email:
or Sign up