Check Your Inbox – My New Newsletter Is Out
Did you get it? My newsletter Insights just broadcast!
This issue highlights creative strategies for Finding Your Best Work.
It’s packed with inspiration.
Sign up for Insights free here!
Did you get it? My newsletter Insights just broadcast!
This issue highlights creative strategies for Finding Your Best Work.
It’s packed with inspiration.
Sign up for Insights free here!
“Whether you’re a complete novice trying to get a start, or an experienced photographer looking to polish your skills, The Complete Photography Bundle III contains 50+ products anyone can use to improve and evolve their photography.
All of the products contained in this bundle have been developed by some of the top names in the photography business, and include tips and tricks they’ve mastered to rise to the top of their game. Now you can take advantage of their experience as they share their hard earned knowledge with you to help you improve your own photography.
When you buy The Complete Photography Bundle III, you’ll gain full access to all of the products, which are yours to keep forever. No memberships, no recurring payments. You’ll have over 70+ hours of tutorial videos, 10+ photography ebooks, as well as hundreds of Photoshop actions, Lightroom presets, and professional quality textures and overlays.
Sold individually, these products usually sell for more than $3,300, but with The Complete Photography Bundle III, you’ll receive everything for only $127. It’s the most complete photographic education you can buy, and the training included will help you improve your photography skills and techniques.”
Find out more here.
I find making images with my iPhone extremely stimulating. For me, the device implicitly offers an invitation to play, reminding myself how important spontaneity is in making good images, and to experiment, growth and innovation require risk. Doing this offers me an opportunity to make images in situations, of things, in ways I ordinarily wouldn’t. It also raises very important questions, “When should I use a more professional tool?”, “When should I return to my standard practices?”, “What’s gained and what’s lost?” I haven’t found a single easy answer. I’ve found many hard ones – and more questions. Simply engaging this process has made me see in more versatile ways and make stronger images, both studies and finished works.
Here are a few of my recent experiments.
Use standard tools as props.
Bring new props.
Make postcards.
Combine photographs and drawings.
Make double exposures.
Create composites.
When I start making images with my iPhone that I would ordinarily make with a DSLR it’s probably time for me to switch tools – again.
Find out more about my Acadia Maine Fall Foliage Workshop.
Learn more about iPhone photography here.
Every year, during my Acadia Maine Fall Foliage Workshop my assistant Charles Adams and I explore making photographs with our iPhones.
Charles talks about his experience.
“Making images with an iPhone can be a terrific creative exercise. If you regularly shoot with a DSLR, the iPhone can simplify things and offer a new experience. I find this to be the case during every fall foliage workshop. I leave my Canon in the car along with all of the photographic requirements and responsibilities that I usually attach to it. It’s a freeing experience. Suddenly the pressure to make the best photographs of my life is no longer there. I’m free to play.
Being able to process your images seconds after shooting them is also key to the iPhone experience. The many apps available make it possible to shoot, edit, share, and get feedback before even getting back in the car. In my case, apps have a direct effect on which pictures I chose to make. If I know I’m going to apply water color and oil painting filters to my images, I try to shoot accordingly. I set out to find good compositions with strong “bones” or solid structures that can benefit from the addition of dramatic effects.
The resulting images are fun to create. Changing the tools you use to make your images can offer new insights into your own photography. I strongly recommend allowing yourself to play.”
Visit Charles’ website here.
Find out about my Acadia Maine Fall Foliage workshop here.
This short clip previews a longer documentary on photographer Aaron Siskind and his work.
Find the full documentary here.
View more in The Essential Collection Of Documentaries On Photographers.
Read quotes by Aaron Siskind here.
View photographs by Aaron Siskind here.
“Maine Media Workshops + College is pleased to present our Annual Photo and Video contest, sponsored by B&H Photo Video. At MMW+C, we believe in the power of stories to change the way people think about the world. We teach and inspire storytellers of all ages and walks of life, encouraging and fostering the use of everything from historical processes to cutting-edge technology in order to communicate narratives. We are excited to partner with B&H, the source of for all things digital and manual in the image making community, to bring you this contest. Together, we are excited to see the stories you want to tell and what they will say about our world.”
The deadline is September 10.
Find out more here.
My September desktop calendar features an image from Argentina’s Atacama Desert.
Enjoy this collection of quotes by photographer Keith Carter.
“At a fundamental level photography is much like pointing, and all of us occasionally point at things: look at that, look at that sailboat, look at that tree, etc. etc.” – Keith Carter
“The raw materials of photography are light and time and memory.” – Keith Carter
“Sharpness is overrated.” – Keith Carter
“When I started using the extreme short depth of field and single point of focus, I was trying to replicate my changing eyesight. We have binocular vision; one eye perceives space from the other. I don’t experience a scene visually at F32. It’s more like F1.4.” – Keith Carter
“I think the equipment you use has a real, visible influence on the character of your photography. You’re going to work differently, and make different kinds of pictures, if you have to set up a view camera on a tripod than if you’re Lee Friedlander with handheld 35 mm rangefinder. But fundamentally, vision is not about which camera or how many megapixels you have, it’s about what you find important. It’s all about ideas.” – Keith Carter
“In the history of photography, one process has always replaced another. The tumultuous realignment that’s going on in the photography now is really just a natural evolution. The irony is that none of the processes that have been replaced have disappeared. More people than ever are practicing every approach to shooting and printing.” – Keith Carter
“I love the history of photography and one process has always replaced another. However, very, very few have disappeared.” – Keith Carter
“I think there is an element of magic in photography — light, chemistry, precious metals — a certain alchemy. You can wield a camera like a magic wand almost. Murmur the right words and you can conjure up proof of a dream. I believe in wonder. I look for it in my life every day; I find it in the most ordinary things.” ― Keith Carter
“I think you go through stages in making art. In the first stages you get excited about the medium itself. It offers a very immediate kind of gratification. Here is what I see and here is a picture of it. Then it gets harder. Then you find somebody whose work excites you, such as Robert Frank, and it opens up new doors and so you replicate them or you do work that is influenced by them. I think all of that is very, very useful in terms of your own growth. Because if you have anything at all, you will only do that for a while, and then you use what you have learned and you try to turn it into your own voice. That is where things really get hard. If you can make that leap, then you start making personal work. Personal work is where most people stop. Most people stop when it gets personal. I will tell you my greatest secret, and I probably shouldn’t, but I will tell you anyway. Here is what I think and feel and I hope it is useful to you. If you really want to do something special, if you want to make poetry, and granted most people don’t, but if you do, you have to go beyond what is merely personal. You have to reach a level in the human psyche where we are all the same. That is the real journey.” ― Keith Carter
“I live in a small place more urban centers make fun of, where art is not necessarily the first thing in most people’s minds, and I thought: Gee, I don’t need to go in some exotic locations to make a meaningful picture, why don’t I just play like I came from China and I was transplanted into this culture, with this people and this language and this landscape and this architecture and this music and all these animals I’ve never seen before… why don’t I try to belong to my own place and make pictures that I really would like to make. I started doing that and it was the first time that anybody started paying attention to my work.” – Keith Carter
“I like small things, I like small moments that are almost elliptical, that are not necessarily linear; they’re natural things that happen in the world, but if you look at them from a slight angle there’s more than meets the eye.” – Keith Carter
“I don’t just look at the thing itself or at the reality itself; I look around the edges for those little askew moments — kind of like what makes up our lives – those slightly awkward, lovely moments.” – Keith Carter
“I don’t think science is necessarily incompatible with mystical or spiritual sensibilities. I often weigh them equally in my thinking, which sometimes finds itself into the work.” – Keith Carter
“I like to work in the real world, so I do a lot of searching or just simple looking. But I’m not above tweaking reality and making something up. I don’t think there are any rules in art. It’s not so much what you see as it is the significance you, the artist, see in it.” – Keith Carter
“I’m fond of implied narratives, oblique angles, and leaving a little room for the viewer to finish a picture.” – Keith Carter
“Your ideas come out of the way you conduct your life.” – Keith Carter
“Making these photographs has often seemed to me like a kind of dance. Often I have danced badly and the world has fallen apart at my feet. But sometimes the dance has gone well and my subject and I have moved together as if with shared purpose.” – Keith Carter
“I like what Wallace Stevens said: “Poetry must almost successfully resist intelligence.” I just change the word “poetry” to “my photographs.” – Keith Carter
“Poetry at least in my own life, is really about your own mortality. Everything in poetry makes me think of my mortality. It is not a dark thing in life; it prepares you for the graceful things that happen in your life. It gives me a license to make any kind of picture I want with great courage.” – Keith Carter
“You are lucky if you have one or two epiphanies in your life, particularly a creative one.” – Keith Carter
“I don’t know if I can articulate how I feel. Never in my wildest dreams did I think I would make it here.” – Keith Carter
“How do you find a way to say what an extraordinary experience it is to be alive in this world? That is the kind of subject matter I try to work with.” – Keith Carter
“I want to be made better personally. That is the gig.” – Keith Carter
Read my Conversation With Keith Carter.
View 12 Great Photographs By Great Photographers.
Explore The Essential Collection Of Quotes By Photographers.
Photographer Richard Benson celebrates his friend Lee Friedlander’s photographs.
Read my conversation with Richard Benson.
Read my conversation with Lee Friedlander.
View 12 Great Photographs By Lee Friedlander
View The Self-Portraits Of Lee Friedlander.
Explore 12 Great Photographs By Great Photographers
Explore The Essential Collection Of Quotes By Photographers.
Explore The Essential Collection Of Documentaries On Photographers.