A retired rabbi turned street photographer stumbled onto a Brooklyn Chabad camp trip on a ferry to Governors Island. What he found
Rob Sutherland is a commercial and landscape photographer who has shot a photo a day for sixteen years. On a family trip
Ty Nelson picked up a camera because he loved wrestling, and started shooting the action the way most beginners do. What he
Kenneth Nelson had one goal on June 26, 2004. Document the Mermaid Parade. Then the music found him first, and it never
Andre Vallgren spent a day photographing a Swedish luthier who has built guitars for Keith Richards and Ryan Adams. What he found
Andrés Gonzalez started asking questions about Portugal's wildfires in 2023 and has not stopped since. He rides hundreds of kilometers on a
Michael Houghton and his wife fell in love with the Isle of Harris on their first visit in 2015 and have returned
Flora van Wageningen took a solo weekend to the mountains during a genuinely low point in her life, expecting nothing more than
Mark Archibald bought six acres of fallow farmland twenty five years ago and spent decades planting trees, scattering acorns on walks, and
The Milky Way never showed. Two nights of clouds over the Vermillion Cliffs erased the whole reason for the trip. A dinner
David Clark has a modest summer home on a small island in Maine, and he has spent years trying not to make
Rakesh Subramanian doesn't remember which book first put the Bolivian salt flats in his head. He just remembers the feeling, and how
Kayleigh Morin started as an artist frustrated that drawing could not capture light the way she wanted. Self portraits led to photographing
Leighton Phillips describes his work as Urban Still Life, drawn to the mundane, the ignored, and the visually familiar rather than anything
Flora van Wageningen picked up a camera in her late thirties, restless and bored with the city she had settled in, and
Damian Ward is drawn to woodland and solitary trees, especially in winter when the branches are bare, in a landscape he describes
Edward Boches was pulled into photography by John Filo's 1970 image of a woman kneeling over Jeffrey Miller at Kent State, the
Andrew Griffiths has been photographing since he was four or five years old, carrying a bakelite Brownie camera through the Pennine hills
There is a persistent myth in photography that beauty is something we have to travel toward. We wait for the big trip or the exotic landscape to truly ‘see,’ but the real magic happens when we learn to find the extraordinary in the quiet, familiar corners of our everyday lives.
We often treat our past work as a graveyard of old ideas, but our archives are actually living things. We’re stepping back from the hunt for the next shot to listen to the stories we’ve already told. It’s time to find the ‘red thread’ that connects your 2025 journey.
In black and white, we are stripped of the distractions of color. We can’t rely on a vibrant red coat or a deep blue sky to pull the viewer’s eye. Instead, we must rely on the rawest form of human communication: the gesture. If shadow is the silence of a photograph, then gesture is its…
Color is a timestamp. It anchors your photos to a specific year, a fashion trend, or a piece of technology. But monochrome is a time machine. Discover how stripping away the “noise” of color allows your images to escape the calendar and become truly eternal, focusing on universal human emotions rather than the distractions of…
Modern sensors are miracles of engineering, but for the monochrome photographer, that perfection is often the enemy. If your work feels sterile or flat, it’s likely lacking the “soul” of analog film. In this post, we explore why “clinical” isn’t the goal and how to reintroduce the organic chaos of grain to give your digital…
If your black and white images look flat, you’re missing a trick. We dive into the most powerful surgical tool in your editing kit: the color sliders. Learn why Hue and Saturation adjustments are absolutely critical for achieving dramatic tonal separation in monochrome, transforming a flat image into a high contrast masterpiece.
Every monochrome photographer deals with the “Imposter” voice. It tells you your work is just an imitation of the masters. We look at why this feeling hits B&W artists so hard, and why understanding the difference between an honest capture and a composite illusion is the key to finally silencing your inner critic.
Every great monochrome photograph is, at its core, a story of conflict. Juxtaposition is the master key to unlocking that tension. We look at how “The Power of Two” forces viewers to confront the raw relationship between elements like old vs. new, or hard vs. soft, revealing the deepest narrative in the absence of color.
Are you creating your own visual music or just playing the hits of the masters? We explore the cover band analogy in photography and how to use copying as a training tool without losing your own voice.
Most of us use social media as a digital pacifier, mindlessly scrolling through a blur of images. But for a photographer, the Doom Scroll is a missed opportunity. Today, we discuss a better way to use your phone to actually improve your eye.
