This past weekend I went out to get some shots and to test out a faster shutter speed for using ICM. I’d been using a default of 1/4 of a second for most of my shots, sometimes slowing it down even more up to a second or more. But never any faster. I’d read on someone’s website that she had been using 1/10 and other speeds that I thought weren’t really compatible with intentional camera movement. Why not give it a go?

I’ve set the goal of incorporating painting into my fine art photography for the purpose of compositing texture and color.

So I picked up a set of acrylics, brushes, and paper to mess around with it a bit. I come from a background of zero artistic talent when it comes to drawing. And definitely don’t have any natural talent for painting. But I look forward to learning as much as I can to see how I can incorporate different elements into my work.

Once in a while, I'll bother with a name for a piece to initiate a conversation about a concept, or at least, that's my intention, however lofty. But it's funny how a word can drastically change the interpretation of a piece and even serve to destroy it. This is why I typically stay away from naming pieces unless the name truly serves my purpose.

As a few of you know, I usually don't create work without people. Though I find myself highly interested in the abstract of late, I hope to work more along these lines soon. But the odd object may attract me from time to time, like this grounded clunker of a ship. I can't call it a ghost ship because even ghosts would want something a little more seaworthy.

Photographers who practice street photography are fond of contacting one another, seemingly out of the blue, for the opportunity to break the monotony of going it alone. In my experience, many of these outings are not as productive photo sessions I conduct on my own but they fulfill other purposes, one of which is belonging to a loosely-knit community of global photographers. No matter what you like to call it, street photography is a practice. At its core is the journey. And apart from our everyday senses, a special emphasis is placed on capturing and taming countless rogue photons to produce images.

Hell is quite often, here on earth. If it's not manifesting in our external worlds, then it's a long, cresting wave internally that tends to wash over us on its way to the beyond...only to come back again, like tides caught in an amusement park tank. I often think about how different our internal worlds are from one another. Or at least, I theorize as much.

If you do a lot of portrait editing, there may be times when you want to quickly soften rough skin and wrinkles without using a lot of time-consuming techniques. I’ve got the solution for you. In this tutorial, I’ll show you how to soften rough skin and wrinkles in Photoshop and how you can apply the same technique to skies in landscape photos. Let’s get started!

I thought I’d check in and share a few images that I omitted from my Facebook and Twitter feeds. I’m currently sharing individual images on Instagram (because that’s the only way to do it) but I’ve decided that I want to make better use of my own space, here on my website. I’ve preached enough about this but I no longer find it terribly helpful to me to share every single image that I post on all platforms. I’d rather have my audience come here and visit me to see what I’ve been up to. Plus, my growing weariness of social media has had the effect of wanting to reduce my footprints on all platforms.