Skip to main content

Stop and look

Believe it or not 95 percent of the art of photography has nothing to do with looking through the viewfinder.

The real art of photography is seeing. Really looking at the way light plays on a subject, finding interesting and emotive things to photograph, looking at textures, shapes and colour.

Today I see many photographers enjoying digital photography, pressing the shutter as many times as they want without a thought to the cost, without consequence, unlike those of us used to shooting 4x5" on a technical view camera, where every frame had to be carefully considered, where it was almost immoral to waste film. The cost and limits of shooting with film meant greater care had to be taken to get the image right first time every time. Now the attitude often is, I'll fix it in Photoshop.

So here's a plea to all the happy snappers out there and anyone else caught up by the visual diarrhea that access to digital photography has created. Think, look, feel and take care of every precious frame. The art of great photography is synonymous with the art of seeing. First see then lift the camera to look through the view finder.

We are drowning in millions of images, most of them are absolute rubbish which will never see the light of day, thank goodness. It's time to be more selective before pushing the shutter not afterwards.

Cheers,

Paul

Comments

Popular posts from this blog

The Story Behind the Stories in My Photography

 Thank you for taking the time to explore my work. Photography, to me, is a meditative act—an opportunity to be fully present and notice the smallest details. The interplay of colour and light, the textures and shapes, the shift of an expression, a gesture — these subtle moments bring me pure joy. They are why I love storytelling and creating visual poetry. Every image in my portfolio is born from a moment of connection or curiosity. Whether I’m in a bustling city street, a quiet room, or a remote location, I aim to create photographs that resonate with empathy. Take "The Cyclists," for example—what appears to be a simple scene of people pedalling along the pier transforms into a visual symphony of movement and stillness, the hurried energy balanced by the serene focus of the riders. This interplay between action and calm often draws me in. I’m drawn to capturing the essence of a person—their inner world, not just their outward appearance. My approach often dances between the...

Overcoming creative block and self doubt

Every photographer, for that matter every creative, I've ever met comes to a point when they're not happy with the work they're producing. The pendulum between creative highs and dry spells swings continuously. For some the cycle is long and the bouts are quite mild for others the feeling of doubt about their work can be a crushing experience which returns all to frequently. It's actually quite healthy to have these periods of doubt because it can often be the beginning of something new and interesting which takes you further than you thought possible. Creatives in the commercial world have to always perform and although they may agree looking back that they've had a few patches where their work was less good, they always seem to bounce back. A very few creative geniuses deliver such high quality work that their poorest attempts still surpass the rest of us. But I have never heard of anyone, from tortured soul of Van Gogh to the supreme showman and genius, Salvador ...

What You Photograph Reveals How You Think

  Photography is often described as a way of seeing. Less often do we talk about it as a way of thinking. What you choose to photograph, and just as importantly what you ignore, quietly mirrors how your mind works. Some photographers are drawn to faces, micro-expressions, emotional spikes. Others chase atmosphere, light, mood. Then there are those who gravitate towards structure, systems, order, the invisible logic holding a scene together. None of this is accidental. The camera becomes a sorting tool. It reveals what your brain prioritises. Where others see chaos, you might see alignment. Where some look for drama, you look for balance. Geometry, repetition, flow, layers, these aren’t just visual preferences, they’re cognitive ones. Strong graphic images tend to come from people who think spatially. Who notice how things relate before they notice what they mean. Lines before labels. Structure before story. And yet, the best images rarely stop there. They gain depth when human pres...