Someone used the phrase idolatry of sharpness recently and it stopped me in my tracks. Because it is exactly right. We have turned sharpness into a false god and photography is worse for it.

The most interesting photographs are almost never made by the most technically skilled photographers. They are made by the most curious ones. There is a difference worth understanding.

Most photographers think long exposure belongs to the landscape. Alexey Titarenko spent the 1990s proving otherwise, and the results are some of the most haunting photographs ever made.

Street photography takes itself very seriously. Too seriously. Here is how to find the funny, why it matters, and why the best comic photographs are made by people who are paying very close attention.

Photography contests look like opportunity. Some of them are. Most of them are something else entirely. Here is what the industry does not want you to think too hard about.

Somewhere along the way we decided that cropping a photograph was an admission of failure. It is not. It never was. And believing otherwise is costing you better images.

We delete our failures as quickly as we can. We should be studying them instead. The photographs that did not work are trying to tell you something important.

Most photographers will tell you they are just someone who takes pictures. They are wrong. And the reluctance to say otherwise is costing them more than they realise.

Painters feared it. Critics dismissed it. Institutions ignored it. For over a century, photography was not considered art. That fight was won. But it is not as over as you might think.

There is a moment that most photographers recognize. You step outside with a camera and something shifts. The noise in your head gets quieter. You start paying attention differently. For a long time this was just something photographers said to each other. A feeling. an intuition. Now there is a growing body of research that explains why it happens and what it is doing to your mental health while it does.

A new black and white film about the making of Breathless has more to teach photographers than it does filmmakers. Here is what to take from it.

Most of us learned photography through the exposure triangle. Aperture, shutter speed, ISO. Three variables, each one affecting the others. There is a second triangle. The Monochrome Triangle. Every time a photograph stops us in our tracks, all three points are working. Every time a photograph falls flat, at least one of them has failed.