Consider the use of monochrome to concentrate your viewers’ eyes on the real subjects of your photos.
I feel like something of a scratched record about this, banging on about photographic intentions yet again. But it’s important.
We all take disappointing pictures at times. To get out of the habit, we have to learn to see in a different, more conscious way.
Exploring the potential of panoramas? From wide angle landscapes to more intimate close-ups.
In this article I describe some of the aesthetic decisions I made when processing a raw image file to get to picture of Berwick Pier.
Surprisingly perhaps, you can improve your own pictures by learning how to critique other peoples’ images. Being specific about, and putting into words, what you do and don’t like will help when you come to create your own images.
When you start out it sometimes feels like other photographers are deliberately hiding the details of their craft from you. It takes a little time to realise that the most important feature of the camera is the viewfinder.
Do you need to tell people what your photograph is about? As ever it all depends on circumstances – what does your audience need to make the most of your images?
Being clear about your intentions for a photograph before you actually press the shutter button is the first step in creating images that say what you want them to say.
Working in monochrome means you can’t rely on colour contrasts to separate elements in your photographs. You have to use the light and capture differences in luminance to produce an image with impact.