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WHERE PHOTOGRAPHERS WHO SHOOT IN BLACK AND WHITE COME TO LEARN, SHARE AND GROW
Behind The shot With Lindsay Brice
Lindsay Brice timed her visit for 8am specifically so no one would be loitering under the sign that told them not to. Then two men on the corner told her the liquor store wasn't a liquor store at all, it was a club, and led her through an upholstered door into a room where the jukebox was playing and day had quietly become night.
Does It Matter How You Carry Your Camera?
What's actually attached to your camera right now? A neck strap, a wrist strap, a hand grip, or nothing at all? This is one of those topics where there's no single right answer, just a lot of photographers who've landed somewhere specific through trial and error. We want to know where you landed.
Weekly News Roundup
A big week. Adobe is buying Topaz Labs, which has photographers asking real questions about what happens to their workflow next. LK Samyang and Schneider-Kreuznach round out a lightweight zoom trio that's been turning heads since CP+. And an exhibition opening this weekend shows the very last photographs Martin Parr ever made, shot at the place where photography began.
Photographer Spotlight: Lee Griffith
Lee Griffith started developing film in a shed with duct taped light leaks and chemistry stored in bottles his mortician gave him. Decades and a near-death experience later, he still shoots ninety five percent spontaneously, rotates through Polaroids and Hasselblads depending on how his hand feels in the dry cabinet, and credits a small town yearbook printer for the high contrast look that still creeps into his black and white work. We asked him about all of it.
What Graphic Designers Know About Your Photographs That You Don't
A graphic designer decides exactly what you read first, second, and third. Nothing is left to chance. Most photographers never think this explicitly, they just feel whether a composition "works." Borrowing the designer's vocabulary directly gives you a sharper tool than instinct alone.
Is Noise Ruining Your Photographs?
Every photographer worries about noise in their images. Almost nobody worries about the noise in their head, the unfinished argument, the unanswered email, the mental list running underneath everything, quietly deciding whether you're actually present enough to see what's in front of you.
Learning to See: Part 2
Alex went out for the second time with a new habit and an obsession. Light. The walls and doorways suddenly had something happening on them that hadn't been visible the week before. Then a real moment showed up, light and subject together, and Alex froze.
The Photographs You Weren't Trying to Make
You plan the shoot. You scout the location. You go out with the camera ready and the intention set. And you come back with nothing worth keeping. Then on the way to pick up milk, camera slung over your shoulder almost as an afterthought, you make one of the best images you've ever taken. Here's why that happens and what it means.
Weekly News Roundup
A busy week on the gear front. Viltrox, Brightin Star, and 7Artisans all have something new. Ricoh is raising prices on every GR model in Japan starting next month. Lightroom Classic got a meaningful update. And the Black & White International Photo Awards exhibition opens in Manhattan next week, worth knowing about if you're nearby.
Behind The shot With Colin Cunningham
Two unrelated photo challenges and a joke about Lord Cardigan brought John in front of the camera for one of the only portraits ever made of him. Four frames at a dining table in natural light. Weeks later he was gone, and the photograph became something neither of them could have known it would be.
Do You Prefer Odd or Even Numbers?
Have you ever looked at a photo of three people and felt drawn in, then looked at a photo of two and felt like something was missing, without being able to say why? Most photographers have a quiet preference for odd or even numbers in their compositions and have never noticed it. Here's what that preference actually says about you, and how to use it on purpose.
Technical Skill Will Only Take You So Far
Most photographers spend their early years chasing technical correctness. Correct exposure. Sharp focus. Clean backgrounds. These are real skills and they matter. But they're not what makes a photograph memorable. They are the floor not the ceiling.