Don Peters's blog

What separates the best landscape photographers from the rest of us? And I definitely consider myself one of “the rest of us.”

A major part of the answer, I think, is that the best photographers simply work harder. They’re willing put in the time it takes to get a memorable photograph.

We can find many subjects for abstract and still-life photography around the house. To capture them, we only need basic photographic gear, and imagination.

A still life is usually defined as an arrangement of inanimate objects. Our homes are full of them. We may find an existing arrangement of objects that we like, such as this vase of flowers.

Editor's Note: This is a guest blogpost from Don Peters

When I was first learning photography, I was often disappointed by my images. I’d go to a beautiful place, and take many photographs. Later, when I’d examine the results on the monitor, I’d find that what had been so appealing in person wasn’t captured by the camera. Sound familiar?

Ansel Adams once remarked that a good photograph is knowing where to stand. Where we stand—or kneel, sit, or lie—determines the camera’s point of view.

The seemingly mundane task of selecting a point of view is one of the most creative aspects of photography. When the camera’s position changes, the relationships of the visual elements in the viewfinder are rearranged. We can redesign the world as the camera sees it, simply by moving.

Tastes vary, but I've never seen an image with a watermark that wouldn't have been better without it.

The disadvantage of using a watermark is obvious. It introduces a distracting visual element that doesn't belong in an image. The effect of a watermark on an image ranges from mildly distracting at best, to ruinous at worst. When I see a photograph with a watermark, the watermark is almost invariably the first thing I look at. If it's large and obtrusive, it's also usually the last.

Few things improved my photography more than learning when and how to set the exposure manually. That knowledge allows us to get good exposures in situations that automatic exposure can't handle. Setting the exposure manually also encourages us to make conscious, creative decisions about exposure.

I've heard some photographers say that they don't see any reason to use manual exposure. If that's your view, here's why I think you should reconsider.

Photographs of lightning aren't particularly difficult to take. It's mostly a matter of being prepared to get a good image when lightning appears.

My friend Christina Lawrie is much better at photographing lightning than I am. Here's how she does it.