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Most of us who are amateurs have limited budgets for photography. When it comes to buying software, we need to be prudent and frugal. I've made both good choices and bad ones.
His early work as a photojournalist brought Jack Dykinga a Pulitzer Prize. That was just the beginning. He subsequently became one of the finest and most celebrated landscape photographers of our time.
In this interview, Jack discusses how he takes photographs, digital processing, the challenges of making a living at photography, conservation, and much more.
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
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.
Some photographs continue to hold our interest long after they are taken. Others don't. What accounts for the difference? It's worth looking at our own work with that question in mind. The answer may tell us what kinds of photographs we should be taking.
It's easy to take forgettable landscape photographs. I've done it many times. We see a pretty scene, twist some dials, focus and start clicking the shutter. Then we get home and wonder why the results are so disappointing.
There's a better way.
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.
We get a good composition when the right combination of subject matter and light coalesces in the viewfinder. Subjects are often moving. Light is often changing. We need to be thinking ahead to avoid missing shots.
How do we find such images? It's mostly a matter of learning to look carefully at the details in what we see around us. When we've found a detail that will work as a subject, we then need to be creative in finding the right composition.
I was traveling six hundred feet down and a thousand years back, more or less. The trail from the rim of Canyon de Chelly to the White House Ruin begins with a series of steep switchbacks. On one side, there's a wall of rock. On the other side, if you're clumsy, there's a fall that's long enough to kill you. I watched my step.