Titling your photographs changes its meaning and how it is viewed by others. This week we will explore the adding of titles and captions to your work.Read More
Intentionally adding depth to your photographs captivates the viewers attention. Depth can be achieved in numerous ways. This week we explore ways to add depth to your photographs.Read More
What rules do you religiously follow? Do they actually help you or do they restrict you? This week I want you to identify a rule that restricts you and then intentionally go out to break it.Read More
You can probably divide many colours into a warm or cool divide quite easily. Red is warm. Blue is cold. Yellow is warm. Green is cool. Where do you put; mauve. purple, violet or lavender?
Did you know we can have warm reds and cold reds? Cadmium Red is considered warm and vibrant while Veridian is cold. The easiest way to identify warm or cool is to go with your feelings. On a scientific level look for red or blue colour casts. They appear in all colours. You will have to concentrate and look very closely to see this.
Another easy example is watching a lemon ripen. It goes from cool to warm as it ripens. It turns warm when it is perfectly ripe and ready to use. Bananas also work this way. For you see, colours tell us a great deal about things.
The warm and cool spectrum plays deeply with our subconscious selves.
Movie directors are well aware of this. They shift the colour temperature during a movie to play with our emotions. To give the viewer extra clues as triggers for our emotions.
This week I want you to try subtitle tinting or colour temperature variations in your work. Try making your work warmer and cooler. Post both versions of each photograph so others get to see the differences. Write about which ones you prefer and why the underlying colour helps the emotional impact of the photograph.
If you are a Monochrome photographer you can do this with toning.
Colour photographers can use many different methods to control the colour of their work. This includes; colour temperature, split toning, adjustments with colours (brush, gradients or layers), RGB colour curve adjustments and HSL adjustments.
My examples are over processed to make them more obvious. The real mastery here is to be extremely subtle. See how subtle you can be, but try the obvious first.
How long do you wait before you assess your work? Do you give your work adequate time to mature? I like to give my work a year or two for it to mature. It’s about letting go of expectations and preconceived ideas. This week we will revisit old work that you discarded close to the time of capture.Read More
Low Key photographs are often seen as dark and moody. The opposite of high key, and following on from last weeks exercise, we will play with dark tones.Read More
High Key Photographs are predominantly white and are created with light tones. They can either be monochromatic or full of subtle colour. Usually, they don’t have a rich black in them, if they do, they are really tone drop outs. This week we are going to explore intentionally over exposing our photographs to create high key images.Read More
This weeks exercise is around restricting yourself with a ten second exposure. Personally, I will be exploring some colour abstracts with this restriction at the beach. But there are so many other things you can do with a set exposure length. Are restrictions good for creativity. I think so.Read More
This week we explore self portraiture. What does a self portrait tell you about the photographer.
Apologies for the email that sent out last weeks exercise by mistake. Have figured out how to make sure that doesn’t happen again.Read More
This week we explore chiaroscuro, using strong directional lighting and high contrasts to show three dimensional form in our subjects. Follow the link to read more about this technique and it’s implementation into photography.Read More
This week we will explore the different emotional response to colour. Is it a universal response or a highly personal one. Movie makers think it’s universal as they tint various scenes to increase particular feelings.Read More
Horizontal lines calm viewers according to the theory. Let’s see what they do in your compositions?Read More
This week we will explore the gentle art of critique, and consider our mentors.Read More
In the age of automation and computers it becomes way to easy to develop a reliance on them. Unfortunately they often take away our choice and creativity. This week we are going to explore manual.Read More
This week we are going to explore triangles. They are a few of my clients favourite compositional devices as well as one of my own. Their power in composition is undeniable. Lets see what you can do with them.Read More
Learning to talk about your work and that of others is a key skill that needs practice. It can be learnt and developed. Identifying the underlying emotions, compositional foundations and intellectual stimulations of an artwork helps you produce better work.
This week we will practice on our own photographs and the art of others.Read More
Blue and Yellow is a unique colour combination in our visual repertoire. This is because we effectively have a blue / yellow sensor in our mind. We can’t see a blue yellow or a yellow blue. This week we will explore this unique colour combination.Read More
A week with one focal length. Sounds easy? Staying with it for a full week may be the challenge.Read More
Have you heard the rule of odds? A photograph with an odd number of objects is apparently more appealing than a photograph with an even number. This week we will test this theory and see where and when it can be broken.Read More
We spend so much time getting our photographs sharp. This week we are going to explore intentionally blurring our photographs.Read More