Photography as a Contemplative, Creative Act

Photography helps us see the world around us in new ways. For this reason, the camera can be a powerful creative tool. But it is just a tool, for how we choose to see the world through that viewfinder is entirely up to us. We can use it to expand our vision and see things we’ve never seen before; to share our unique experiences and way of seeing the world; or to express our thoughts, ideas and emotions. And yet, when we look through that viewfinder, we naturally narrow our focus and often miss important things around us. We can even hide behind it, using it as a shield from interacting with the people around us or fully engaging with our environment.
 
There was a time when photography, by its very nature, was a contemplative act. Large, heavy cameras on tripods with bulky sheet film holders forced photographers to slow down and be more conscious of their actions. They had to compose images upside-down on glass plates, calculate proper exposure without meters, and process their own negatives and prints in a darkroom. They had a limited supply of film holders and expensive film, limiting the number of photographs they could take. Trips into the wilderness required extensive planning and, most likely, packhorses to carry the gear. It was a slow process, at best—one that required attention to detail, a command of the scientific and technical aspects of photography, and patience. But even then, the camera was just a tool. The photographs produced varied greatly from one photographer to the next.
 
The process of slowing down to take a photograph is just as important today as it was then—even though our cameras fit in a pocket or small bag, have meters that help calculate exposures, and capture hundreds of images on tiny digital cards not much bigger than a thumbnail. Photography still requires looking, seeing, thinking, interpreting and expressing. For that, we must become more in tune with our surroundings, our emotions and our intentions. What are some of the ways you go about doing that in your own photographic work?
 

The Real Value of Artist Statements

Artist statements get a bad rap. And if you've read many of them, you know why. Too many are written with the intent of sounding impressive, when their purpose is to simply and clearly communicate the what, why and how of our work. An artist statement should clarify, not mystify. 

Even though we usually write artist statements for others to learn about our work, they can be equally beneficial to those of us writing them. Sometimes, their real value is not so much in the finished product as it is the process of articulating what our work is about. It helps us clarify what we do and why. It brings our intentions into greater focus and forces us to think deeply about what matters, what we hope to accomplish or communicate with our work, what processes are important to us, and what sets our work apart from the work of other artists.
 
Pausing from time to time, maybe every year or so, to revise or rewrite our basic artist statement helps us think about where we are, how we have grown, and where we are going. Hopefully, we’ve gained some clarity in our work since the last version was written. 
 
Writing artist statements for each new project, series, or body of work helps us clarify what that work is really about. Doing this early in the development of that work can give us direction, keep a project focused, and help us communicate with others what we are doing. Of course, sometimes we need to spend time with a project before we know that. In such cases, writing an artist statement later helps us to reflect on the work and perhaps see things we were not aware of when we launched the project.
 
When was the last time you wrote an artist statement—either a general one or a project-specific one? Is it time for an update? Are you delving into a new body of work that would benefit from greater clarity? 
 
If you are cringing at the thought, remember that it’s only one paragraph—just a few sentences. Try answering the following questions in one sentence each, in your own conversational voice: What do you do? Why? And how? If necessary, add another sentence or two to fill in any important gaps. Sleep on it, and then polish it the next day. Let me know how it goes.

Studies in Shape and Form

There were many special moments during my recent tour of Georgia O’Keeffe’s home in Abiquiu. Among them was discovering her rock collections scattered about the house, both inside and out. I’ve done a little research and it appears that she loved the shapes of these rocks, as well as rocks in general. She gathered them on her walks, as well as during her trips to other places, such as Oaxaca, Mexico. One, later deemed her favorite, she "stole" from the home of photographer Eliot Porter and had a photograph made of her holding this black stone. Her gardener sometimes rearranged rocks in her collections; she moved them back without saying a word. It became a game they played for years. For a time, she painted individual stones in addition to the magnificent rock formations in the landscape near Abiquiu and Ghost Ranch.
 

One of Georgia O'Keeffe's rock collections. O'Keeffe home in Abiquiu, NM.

“I have the kind of mind that sees these shapes. I know what some of them are from. Many have realistic landscape or natural bases, but others are just beautiful shapes that I see in my mind.”

-- Georgia O’Keeffe

 
I am a photographer rather than a painter and I see shapes in the things around me more than I imagine them in my mind, but I do identify with O’Keeffe’s passion for shapes. It is what draws me to architectural subjects, to unique land and stone formations, to leaves and other details in the natural world, and even to abstractions. It is what I love most about the adobe architecture of Santa Fe and surrounding areas, whether Pueblo, Spanish Colonial or Territorial Revival in style. I like to simplify images so that their shapes become a dominant feature in the photograph.
 
Visually, which are you more drawn to: shapes, lines, textures, colors or some other element? How do you convey this through your photographs or artwork, or even through the way you decorate your home, the clothes you wear or the artwork you choose to hang on your walls?

Searching for the Why

We fall in love with photography. And yet, it is about more than cameras and lenses, depth of field and exposure, or image processing and printing. It is about learning to see. As photographers, we must figure out what it is that we are meant to see, to experience, to share. We must find stories to tell, places to document, subjects to delve deeply into, curiosities to investigate, emotions to express, ideas to share, or events to record. We must fall in love with something, or be moved, inspired or motivated by something beyond photography itself. We must focus our energy not just on learning to operate our equipment, but on understanding and investigating our subject or ourselves. 
 

“A camera is a tool for learning to see without a camera.”

-Dorothea Lange

 
What do we photograph and why? How can we dig more deeply into matters that mean the most to us—that inspire us, anger us or intrigue us? How can we use our photographic tools to more fully explore that which piques our curiosity? How can we turn our cameras on ourselves—if not literally, then figuratively? What are the themes that run through our work and through our lives? What has shaped us into who we are and what we hope to become?
 
When we can answer these questions, or at least embrace and pursue them, and combine them with our sense of visual style, then we can begin to find our voice. Not that it is missing. It is simply buried deep within us and must be excavated. How is your digging going?

Oh, the Things We'll Never Know

Earlier this week, I read an article that said it is good to have lots of books on your shelves that you haven’t read yet. I laughed, and thought surely this must be fake news. But the source (Inc. magazine) was legitimate and the story was based on research by bestselling author Nassim Nicholas Taleb. The thinking is that having many unread books (assuming that you do read some of them, of course) both fosters a sense of curiosity and reminds you of your ignorance.
 
I guess this way of thinking falls into the same category as the more you learn, the more you realize how much you’ll ever know. Whenever I take a deep dive into a subject, I find this to be true. It was certainly the case with gardening. Just when I learned how to prune a hydrangea, I discovered there were other types of hydrangeas that had different pruning requirements. As I quizzed myself relentlessly to learn the names of plants in nurseries and botanical gardens, I discovered that there are more than 350,000 known plant species, not to mention cultivars and hybrids. I even discovered that gardening wasn’t just about growing plants; it was also about garden design, landscape architecture, horticulture, botany, arboriculture, environmental sustainability and even meteorology. 
 
Photography is that way for me, too. I’ve been taking photographs and learning about photography since I was a kid. And yet, no matter how much I read, shoot, and take or teach workshops, I can never begin to grasp even a significant portion of it all. I discover that it's not just about taking pictures; it's also about art, storytelling, lighting, science, computer technology and so much more...yes, even meteorology. (Landscape photographers obsess over the weather just as much as gardeners.) There are so many photographic processes, both new and historic, I’d love to try. So many photographers I’d love to read about. So many exhibits and photo books I’d like to spend time with. And then I realize, there will never be enough time to take it all in. The field of photography, like nearly everything else, is changing rapidly and growing exponentially.
 
So I’m glad to know that it’s okay if I haven’t read all of the books on these shelves and that it’s natural to discover how much I’ll never know about the subjects I’m most passionate about. It helps to both tap and satisfy my sense of curiosity and gives me something new to look forward to each day, even if it does remind me of my ignorance. 

Photographing the Space Between

Most of us are familiar with negative space, or the space that surrounds a subject within a frame. Much less contemplated, but equally important, is the space between subjects. It may be the space between trees in a forest, boulders on a beach, people standing in a park, or stems in a bouquet of flowers.
 
Choosing subjects with interesting interior spaces (above) or carefully positioning the space between subjects (below) can result in graphic, eye-catching images. Sometimes it is just a matter of moving your camera a hair to the right or left, up or down. Or perhaps you move your subjects—shifting a stem or person just a bit so that they don’t overlap visually with the others.
 
With people, the space between them often reveals a great deal about their relationship—whether they are intimate or distant. Even inanimate objects can take on almost-human characteristics based on the way they relate (leeks, below right)—though the space between them usually has more to do with clarity and distinction. Sometimes that space or the way your subject is highlighted by that space can create a sense of rhythm in the image (willow branches, below left). 
 
Even when elements overlap, as they typically do in nature, minimizing the overlap can make a big difference. In addition to moving around a subject, sometimes you can move in closer to eliminate distractions. And a simple background—whether a solid wall, field of grass, sky or blurred area—can help highlight these interior spaces.
 
Learn to look for that space between—especially when shooting objects with points and lines. This week, when you go for a walk, look for groups of subjects. Walk around them, seeing how their relationship changes as the space between them changes. If sitting at a desk, try rearranging the pencils in your pencil cup or a glass as an exercise in seeing. Can you find arrangements that work better than others based on the space between them?  

Willow branches (left) and dried leek pods (right). 

10 Tips for Achieving Simplicity in Photography

Some concepts are most easily defined by what they are not. Simplicity may be one of those.
 
Simplicity is not confusing, complicated, intricate or ostentatious. But neither is it plain or boring. Perhaps, instead, it is just enough. Just enough to tell the story. Just enough to catch your eye or take your breath away. Simplicity done right can leave a lasting memory.
 
Simplicity is not the same as minimalism, though minimalism may be a form of simplicity. Simplicity is a way of seeing and communicating. Minimalism is a style. Simplicity has more to do with capturing the essence of your subject than minimizing design elements, though it may do both. Achieving simplicity should look effortless (though it often is not).
 
In a world that has grown highly complex, simplicity appeals to our soul, as well as our senses. It has the power to give our eyes, minds and hearts a moment of pause. It has to do with clarity of thought, vision or emotion. You know immediately where to look in the image. Distractions have been eliminated and the composition leads you right to the point. To create a simple photograph is to remove the clutter and confusion—to edit out everything that isn’t essential to the message.
 
There is no one way to achieve simplicity in photography. In fact, the various ways in which photographers do this tends to be one of the key elements of their style. But if you are struggling to simplify your images, just as most photographers do when learning their their craft, here are a few strategies to help along the way:

1. Know what compels you. Make that the clear focus of your image.
2. Clarify your message. Edit out everything that doesn’t contribute meaningfully to that message.
3. Seek out what Edward Weston called the strongest way of seeing. Change your perspective  Explore different points of view. Move around your subject. What works best?
4. Search for simple scenes with fewer elements—more masses, fewer points and lines.
5. Move in closer. In complex or chaotic scenes, focus on details rather than the big picture.
6. Move back to give your subject breathing room. This can be especially effective if you have clear blue skies, a field of green, a sea of water or a solid wall as a backdrop. It's a great way to work with fog.
7. Minimize your depth of field, blurring undesirable or distracting backgrounds.
8. Simplify your color palette. Soft color harmonies, a single spot of color in an otherwise neutral scene, or bold color contrast can make a greater impact than a rainbow of colors.
9. Shoot in black and white. It eliminates color as a distraction and allows forms, shadows, strong lines or tones to shine instead.
10. Clean up your edges. Look around the frame before you click the shutter and again when you are editing the image. Make sure there is nothing there to pull your eye back out of the image. Keep your focus where it matters most.

Do you have other strategies for achieving simplicity and clarity of vision in your photographs? I'd love to hear your thoughts on the subject.

The Joy of Unexpected Snow

We don’t get much snow here in the South and having a big snow before New England has its first snow is, well, pretty much unheard of. But it happened this year. Here in North Georgia, we had 6 inches or more, with some locations reporting as much as 12 inches, before the storm headed on up the coast. It was a beautiful, heavy and unexpected snow. (The forecasters said “an inch at best” and “it won’t stick.”) For the most part, roads were clear in a day but the snow lingered on lawns and shrubs for all to enjoy. For most, it added a cheerful note to the holiday season. With the days so short, it was nice to have them so bright with all of the reflected light.
 
I wandered around our neighborhood with my camera the morning after the snow. I didn’t shoot much—just trees and a few snowmen—but it was wonderful to be out in the crisp air and to see what the neighborhood children were up to. I hope that during the holidays, you can take a break to get outside for some fresh air and to take a look around. The bare tree canopy is especially revealing and birds are much easier to spot as they fly about looking for food. I also love the textures of dried flower heads, ornamental grasses, and seedpods in the garden this time of year. If there is snow on the ground, be sure to look for tracks while you make your own.
 
I’m off to the mountains of North Carolina for a few days to spend some time with family. I hope you enjoy your own celebrations in whatever way you find most meaningful. Happy holidays!

Winter/Spring Workshop Schedule

Creative opportunities come in many shapes and forms, not just in art. For me, one of the most satisfying of those is teaching. My workshops are as much about exploring the creative process and developing a personal vision as they are about photography. I especially enjoy the five-day intensive format—workshops in which you have an opportunity to take a deeper dive into a subject. There is something very magical about this format that you just can't experience in a one-day or weekend workshop (though they, too, have their place). With a weeklong workshop, you have time to learn, practice and get feedback on new skills; to develop your eye and explore your personal vision; to bond with and learn from classmates; and to take your work to the next level. 

I have set the dates for my winter/spring workshops and hope to announce my summer/fall workshops soon. Here's what's on tap so far:

NATURE REVEALED: Photographing Plants and Nature in the Studio
Gainesville, Georgia
January 28 - February 2

Why put your camera away just because it's cold outside?  You can photograph flowers, seedpods, shells and other items collected from nature year round in the studio. In this workshop we’ll explore easy ways to setup a small studio in your home; working with natural light, continuous studio lights and other creative lighting techniques; locating and using backdrops and props; arranging still life settings and more. We'll also discuss collecting and preserving materials throughout the year to photograph later in the studio. This is a small workshop for no more than six students, held in my own studio, with access to my props, materials and equipment. In addition to my own botanical and nature collections, we'll bring in fresh flowers to photograph. In addition to group instructions, there will be plenty of time for one-on-one support and daily image reviews. There is a logical progression to the introduction of studio and still life photography skills, but creativity, personal expression and work on a personal project are encouraged. Come prepared to play!  

THE INTIMATE LANDSCAPE: Amelia and the Southern Sea Islands
Fernandina Beach, Florida
March 18-24

Explore your personal creative vision amidst quiet beaches, expansive marshes, shady maritime forests with windswept oaks, a charming Victorian town and unique historic sites such as Fort Clinch and Kingsley Plantation. Discover new ways to connect more intimately with the landscape and capture a sense of place. Amelia Island, our base for the week, is the northernmost barrier island among Florida’s Atlantic Coast. Along with Big Talbot, Little Talbot and Fort George Islands, it forms the southernmost of the Sea Islands that run from the Santee River in South Carolina to the St. John’s River near Jacksonville. We'll shoot each morning and late afternoon/evening, with image reviews and classroom discussions mid-day. [Note: Only a couple of spaces remain in this workshop. All rooms must be booked at the Amelia Seaside Inn before January 15. If you are interested, sign up now!]  

THE CULTURAL LANDSCAPE: Santa Fe and Northern New Mexico
Santa Fe, NM
April 15-21

Tap your creative potential and explore your personal vision in Santa Fe—the country’s most unique city—and the surrounding high desert of New Mexico. Experience the richness of Native American, Hispanic and Anglo culture; explore the ruins of historic Puebloan communities that date back to 100-1600 AD; discover the magical light in slot canyons formed by wind and water; and delight in the colorful hillsides and adobe structures that drew O’Keeffe and other artists to the high country. With Santa Fe as our base, you’ll have ample opportunity to roam the streets of America’s oldest capital city. Home to hundreds of art galleries, inspiration abounds. We’ll visit photography galleries, feast on southwestern cuisine, and photograph both iconic and lesser-known natural and historic sites. [Note: This workshop is full. I am exploring the possibility of adding a September workshop in Santa Fe, so please drop me a line if you are interested.] 

I would love to see you at a workshop in 2018. And if you know someone else who might be interested, I hope you will share this email with them. Thank you for your continued support and interest.

What others are saying about the workshops:

"Thanks again for all your efforts last week. You have an uncanny skill to tune into individuals very quickly and to offer insightful comments and observations.  Of course, your teaching skills and approach are fabulous. We were all amazed at your boundless energy and enthusiasm as well as your personal attention to everyone and details, large and small."   - Janet Bly
 
"Thank you for another fabulous workshop. Your workshops and teaching make me a better photographer and artist. The combination of technical information combined with a focus on the creative process elevates my skills and approach to photography. I returned home with a revitalized sense of seeing. I am seeing images I did not see before, and I have a heightened confidence to photograph in the studio. Moreover, I felt freedom and inspiration within the environment that you created for our workshop group. We thrived under your direction! Thank you so much!"   - Ruth McCully

"The workshop was without a doubt one of the best things I've ever done for myself. This opened up a whole new level of thought and ideas with me which is exactly what I was hoping for. Your direction and teaching skills were just great. What I liked most was how chill you are with everyone and how your patience never waned."   - Lori Carroll
 

Photographic Studies as Small Projects

Among Edward Weston’s best-known images is Pepper No. 30. In other words, this was not the first pepper Weston photographed. There were at least 29 pepper photographs that preceded it. According to his journals, he actually photographed in the ballpark of 50 peppers over a period of several years. Fifty pepper sounds ambitious even in today's digital age, but this was the late 1920s and Weston was shooting 8x10 sheet film. One of the things I find interesting is that Weston thought he had exhausted his options before he took Pepper No. 30. But then he came across a tin funnel, thought it might make an interesting container for the pepper, and decided to try again.
 
Single-subject studies are sort of like small projects. They are a great way get to know a subject thoroughly, to photograph it in many different ways. Each step of the way, we hone our skills and way of seeing our subject. And when we think we’ve exhausted the possibilities, it is important to continue working. We can’t make breakthroughs if we simply stop at the walls. We must keep pushing through and exploring other ideas. We must ask questions such as, “What if?” and “How else?” Often it helps to take a break, as Weston did. In doing so, we have a chance to relax, to begin to make new mental connections between unrelated ideas, or to stumble upon something else that might work (much as Weston stumbled upon the funnel).
 
I’m down on Amelia Island this week, and one of the things I’m doing is a study of sand patterns. I’m finding they vary greatly from one beach to another, in different light, and at different tide stages. Patterns formed by the wind are found more often in or near the dunes, while those made by waves are found on the beach. The key to emphasizing most patterns is strong side lighting, which can be found when the sun is coming up and going down. And there is significant room for interpretation when it comes to exposing and processing images—as long as you hold detail in the highlights.

The more I photograph sand patterns, the more I learn about them, the more easily I see them, and the more proficient I become in capturing them in my own way. What kind of study might you work on, even if it is just for a day? 

Making Sure You Get the Shot

I’d rather shoot one fine photograph than 100 mediocre ones. The catch is, we sometimes must take 100 shots of something before we nail it. Okay, perhaps that is an exaggeration. Then again, Imogen Cunningham reportedly took 100 shots to produce her iconic magnolia blossom photograph.
 
However many photographs it takes, the point is that if something is worth photographing, it is worth taking the time to photograph it right—to get an image you are genuinely pleased with. Too many times, we take a shot or two and then move on without having fully explored the possibilities of our subject. Far too often, we leave the best shot behind: We’re in a hurry. There are other shots to get. Someone is waiting on us. We’re hungry. We were intrigued, but distracted and not fully engaged. And then there are things like clouds, light or people that aren’t as cooperative as we'd like. I know, it’s hard to wait on clouds to or people to do their thing, but it can mean the difference in a publishable and non-publishable shot, something you hang on your wall or stash in the trash.
 
We need to slow down and study our subject like a painter might. We need to look at it from different perspectives—taking time to walk around it, move closer, move away, look underneath and look down from above, as possible. We can try photographing it with different lenses or at different shutter-speed and aperture combinations. We can add a filter, alter the light, or change some element of the composition.
 
And that’s just the beginning, because then we have at least as many choices for how we interpret the image during processing and printing. But you’ve got to nail that image first. I challenge you: For the next week, for everything you photograph, photograph it ten different ways. If you like photography because it helps you to see the world around you in new ways, you should love this exercise.

What We Can Learn From Work That Inspires Us

One of the take-home assignments I gave to my recent workshop participants was to identify three to five photographers or other artists whose work inspires them. They were to study the work of these artists in detail to determine what, exactly, resonates so strongly with them—whether subject matter, color palette, emotions conveyed, approach to composition or other element. I believe that looking more closely at work that resonates with us can help us to explore and develop our own sense of style.
 
Are we drawn to more traditional, contemporary or painterly styles? Do we prefer work that feels spontaneous or painstakingly executed? Are we drawn to black-and-white images or color? What kinds of color palettes or toning? Straight, realistic photos or more artistic images? Do we find soft, subtle lighting or bold, high contrast light more appealing? What kinds of moods conveyed resonate most deeply with us? Do we get more excited by the simple or complex? The real or metaphorical? The architectural or organic?
 
As we begin to answer these questions, I find it is also helpful to explore the why of our responses. Why are we drawn to subtle, moody lighting? Why do we prefer primary colors on white backgrounds? Why do we find contemporary urban landscapes more interesting than grand landscapes in nature? This is a chance to explore our own experiences, personal tastes and responses to the world around us.
 
And eventually, we need to explore the how. If these are elements and approaches that speak to us, how can we better work those aspects into our own photography? Do we need to shoot more on overcast days? Have our models wear different clothing? Develop a new color palette for still life subjects and backdrops? Print on a more textured paper? Give cyanotypes a try?
 
If you’re looking to refine your visual style, give this exercise a try. I’d love to know if you find it helpful or make any interesting discoveries.

Looking Beyond the Obvious in Landscape Photography

I used to think that the act of taking a photograph itself forced you to slow down and take a closer look at things. While I still believe it is one of the key benefits of photography, the automation of camera operations and the proliferation of camera phones has changed this dynamic. It has become easy to grab a shot or even a video on the go. 

Still, I believe most of the best photographs come from an immersion in the process, from paying greater attention to our subjects—no matter what kind of camera we use. When we slow down, we experience a place more intimately. If we are photographing people, we have the opportunity to make a real connection that can lead to greater understanding, empathy and insight. When photographing nature, we not only see things more clearly, we begin to discover the magic and mystery of plants and animals, the wonder of nature's design and the interconnectedness of everything around us.

“Only the obvious is seen quickly and clearly. “ 
- Rafael Rojas

Moving slowly through this fast-paced world we live in is not an easy thing to do. Even when we take time off and go on vacation, we have a tendency to do too much and do it too quickly. Most of us see how many different sites we can visit rather than slowing down and spending time in one place. When we move through a place quickly, we tend to see things from the same point of view as other tourists and photographers. It is only by slowing down, experiencing a place and getting to know its habitats and inhabitants that we begin to gain true insight and understanding. 

In landscape photography, it takes time and a conscious effort to capture a sense of place—to photograph not only what a place looks like, but also how it makes us feel. It requires slowing down long enough and looking deeply enough to get beyond first impressions. In fact, I believe it is about more than seeing; it is about experiencing a place with all of our senses and our full, undivided attention. 

If we want to create unique landscape images, we must slow down long enough to see what others have missed. Can we capture not only the physical elements of a landscape, but also a particular moment in that landscape? Can we photograph not only the broad views, but also seek out the details that, together, make a place whole? Can we shed light on the history and culture of a place? 

Like others, I move too quickly through the world and through my days. I once thought the goal was to see how much I could experience, but these days I'm seeing greater value in slowing down and trying to focus more deeply on fewer things. It's not easy, but it is enjoyable. I'm seeing more things by going fewer places.

There are Always Stories Behind the Pictures

Alexa is 10 years old, although she told me she only looks like she is eight. I disagree, but I also digress. At a recent art festival, Alexa visited my booth three times. Each time, she studied my encaustic photographs. She asked about my process, why I photographed plants, how long I had been taking pictures and what the stories were behind the images. "There are always stories behind pictures," she said. 

I told her about how I thought plants had personality, and that I approached plant photography as a form of portraiture. I shared my nicknames for a few images—the runner, the mad scientist, the ballerina and birds in flight. She liked that. 

Just out of curiosity, I asked what she saw when she looked at my photographs. Without skipping a beat, she talked about how the "veins" in a photo of a big-leaf magnolia leaf looked like roots, and that these roots were grounded, creating a feeling of calm and safety. Not exactly what you'd expect to hear from a 10 year old. And yet, it served as a powerful reminder of two things: 

First: I believe 10 is the perfect age. As a camp counselor, I once had a cabin of 10-year-old girls. They constantly surprised me with their insights, ideas and determination to act grown up. Five minutes later, they'd want to hold my hand on the way to the dining hall. 

And second: The photographer or artist is not the only one with a story. Viewers bring their own insights and interpretations to work. They may see something entirely different from what the creator sees. And that's not only okay, but good. It means viewers have forged their own connection with a piece—connections that are often rooted in memories and emotions. And it is why we should not be so quick to explain our work unless queried. 

Thank you, Alexa, for that reminder and for making my day. 

How to Create a Little Breathing Room

It may seem contradictory to write about giving your subjects more breathing room when, just recently, I wrote about how photographic compositions are often improved by moving in closer, but I believe backing up can be equally impactful—whether photographing a broad landscape or composing a still life in the studio.
 
Unlike moving in close, which can create a bold or unexpected view, pulling back can help convey a sense of peace, calm or even solitude. For me, one of the keys to making this work is creating simple compositions and, as always, looking very carefully around the edges of the frame to ensure that nothing distracting encroaches on the composition. Locations with broad, open views are perhaps the easiest to work with. When the opportunity arises, shooting on a foggy day can hide many distractions and the fog, itself, imparts a wonderfully peaceful atmosphere.
 
When there is less in the composition, the placement of any key elements in crucial. Try placing the horizon closer to the edge of the frame, in the bottom or top third of the image (unless there are unique circumstances or strong balancing elements that demand otherwise). If there is a single element—perhaps a tree, boat or building—in the image, try placing it off-center; roughly one-third into the image from the edges of the frame almost always works well. And learn to trust your intuition—to do what feels right.
 
I suspect we could all use a little breathing room these days—whether in our photographs or daily lives. Taking a few steps back from the thick of things can give us a different and often refreshing perspective. 

Still Time to Register for Fall Botanical Photography Workshop

It's not too late to register for Advanced Explorations in Botanical Photography, which will be held October 8-14 at the Maine Media Workshops in Rockport, Maine. 

Seriously, is there anywhere you'd rather be during peak leaf season than coastal Maine? I didn't think so. 

Fall is a wonderful time to explore gardens and nature—especially in New England. This workshop is for those who have studied with me before or by portfolio review for others who have previous botanical photography experience. It builds upon the Creative Explorations workshop, going deeper into studio methods. We'll visit several wonderful Maine gardens and nature preserves, and will delve into developing bodies of work. Join me in Midcoast Maine to photograph fall leaves, late-season flowers, seedpods and more.

click here for details and registration

The Beauty of Imperfection

Is it possible to walk on the beach and not pick up a shell or two? While most beachcombers keep their eyes peeled for perfect shells, I prefer the imperfect—those tumbled and worn, with muted colors and missing parts.
 
Over the years, I have gathered weathered whelks and conchs on Fernandina Beach in northeastern Florida. I don’t always find them on my walks, but it’s fun to pick up one or two when I do. I have a basket of them now, and decided recently to photograph them in the studio.
 
I mulled over how to photograph them for quite some time: On their own or in arrangements with other shells or items; whole or abstracted; in nature or in the studio; on a white, tan, gray, weathered board or black background; in black and white or color? I wondered if I should photograph them all square or in varying formats that better suit each shell, and if I should fill each frame with a shell or rather show their relative sizes. I played around with hand coloring a few prints; nature did a better job. I made a handful of photo-encaustic panels—experimenting with the addition of beeswax, color and texture; it was nice, but unnecessary. I played with images in mobile apps such as Stackables and Snapseed; fun, but pointless. In the end, I decided the shells were beautiful in their simplicity and needed no enhancement, and photographed them on a simple white background with soft, diffused light. It is my nature to make the simple complicated.
 
So far, I have photographed 50 or so of the conchs and whelks. I have posted 20 of the images from this series on my website. I hope that you, too, will see the beauty and character in these aged, worn shells.

Move in Closer for Tighter Compositions

How often do we keep our focus of attention at arm’s length? We add telephoto lenses to photograph people from a distance so that we don’t have to interact too closely with them, or to photograph distant subjects in nature rather than physically walk there to get the shot. Even with a macro lens on our camera, we rarely move in as closely as it allows.
 
There are many excellent reasons for this, I know, but so often, we can both improve our composition and get to know our subject better by moving in closer. Some of the best street photography, for instance, is taken with a wide-angle lens that requires physical closeness to the subjects (although the goal is not necessarily to get to know them). Magic often happens when we take photographs inside a forest (or even inside a tree canopy) rather than of the forest. And by moving in really close to a flower to reveal its texture or the subtle curve of a petal, we improve our chances of taking a beautiful photograph rather than simply a photograph of a beautiful flower.
 
Try looking at some of your own photographs. To start, look around the edges: What’s encroaching that really shouldn’t be there, that proves distracting, that draws your eye out of the image, that has nothing to do with the subject you were photographing? If you will start looking around the edges of your frame before you click the shutter, you will likely find that it helps to move in closer.
 
Also ask yourself if you simply photographed your subject or if you really moved in to show what compelled you about that subject. Could moving in closer have made the photograph more dynamic, powerful, intriguing or revealing?
 
The next time you take a photograph, stop yourself before moving on. Is there another image you should take that involves moving in closer to your subject? Even if you like what you see, challenge yourself to take at least three additional photographs of your subject.
 
And finally, spend some time with your images on the computer. Make several duplicate copies of an image to work on so that you don’t risk overwriting the original. Now pull up each copy and find another image within that image. Use a standard crop size, ideally the format you normally shoot with. See how many different images you can find within that original photo. Do this exercise often and it will help you learn to look and move in more closely when you are composing in the field. It may even change your way of seeing.

Beyond the Literal Landscape

As landscape photographers, we tend to gravitate most easily toward exploring places. There is, after all, so much to explore and capture, and so many stories to tell.
 
However, our explorations need not always be so literal. Indeed, it can be very powerful to explore a more personal or “inner” landscape. Making the transition from documenting a landscape, capturing its beauty or telling its story to expressing your own thoughts and emotions or telling your own story requires a mind shift. Sometimes it comes about quite naturally, almost without perception. Other times it is a struggle to even wrap your head around the concept.
 
The landscape can be a place to explore your own unique vision, distinctive style or creative approach—something more artistic, perhaps. Sometimes it is about exploring emotional themes in the landscape, such as loneliness, change, discovery, anger, joy, death or rebirth. Alternatively, the landscape can be a setting for a story—whether real, fictional, fantastical or dreamlike.The lines between these approaches are both blurred and overlapping. And often, our own stories and emotions overlap with telling the story of a place.
 
My first serious venture beyond the literal landscape was a series of abstract seascapesthat conveyed the way the ocean made me feel; it also had to do with embracing change. And for many years, perhaps at first without even knowing it, I have been exploring the concept of solitude in the landscape—quiet, uninhabited places where one be alone with their thoughts and feel more grounded in the natural world. Some day, I think it would be fun to develop more of a narrative that is set in the landscape. I'm not there yet, though I have been kicking around some ideas. For now, they are vague and distant, though I am beginning to journal about the ideas as a way of exploring them more fully.
 
How do you approach landscape photography? Is it more about the external or internal, or perhaps a blending of the two? What themes, emotions or stories might you explore in the landscape?

What's the Point?

Some approach photography as an art. Others are more concerned about the science of photography. Some photographers may respond intuitively and quickly to a subject. Others may spend hours setting up a single shot. But no matter how we view or approach photography, we must keep in mind that its purpose is to communicate. What equipment we use or how we compose an image matters not if we don't know what we are trying to say, document, remember, share or express. 

While it can sometimes be difficult to articulate what compels us to pick up a camera and take a photograph, I do believe it is important to try. If we are documentary or editorial photographers, it is absolutely essential for developing a story. The point of this articulation, however, is not to explain our images to others. It is to clarify our intent to ourselves. If you feel compelled to explain your photographs to others, ask yourself why that is. If others respond to your work in very different ways than you intended, take note: Were they responding based on their own life experiences and memories or are you struggling to communicate effectively through your images?

Knowing why we take a photograph helps us take a better photograph. If we know why we are shooting, it can inform our perspective, composition, choice of equipment, lighting, settings, tone and more. Perhaps more importantly, it allows us to edit out everything that doesn't matter and to take greater control of our camera so that it sees more the way we do. 

When we know what compels us, we greatly increase our odds of getting the image we want in camera rather than having to crop, edit or "fix" it post capture. Even if our plan is to do something more artistic with an image after capture, we can create a stronger image to work with later by shooting with greater intention and attention. 

If an image doesn't tell a story, ask a question, evoke emotion, capture a moment or elicit a response of some kind, then why bother? To get beyond point-and-shoot, you have to understand the point of shooting.