Brian Matiash is a professional photographer as well as the Education Manager for OnOne Software. In his role as an educator, he teaches photographers how to improve their photographs and their editing skills with his many webinars, articles and blog entries, but he also has his own passion for photography.
He has specialized in developing and refining his use of HDR (High-Dynamic Range) to use it not merely as a gimmicky visual effect, but rather as a tool to help him realize his own personal vision of a subject and a scene. You can find our more about Brian and his photography by visiting his website and his blog.
To read his guest blog entry on Scott Kelby's blog click here.
Brian Matiash recommends the work of Nicole Young.
For streaming audio click here or subscribe to the podcast for free via
Here is a short video in which I demonstrate how I use Adobe Lightroom to edit down thousands of images from my recent vacation. Using rankings, collections and the Compare view, I demonstrate how to create a more manageable collection of images that best capture the story behind my travels.
This is a technique which I use not only for winnowing down images from my travels, but also large bodies of work including personal projects.
If you like these videos, please subscribe to the YouTube channel for future releases.
Color accuracy is very important to digital photography and it revolves around our ability to get the white balance right. In this video, Ibarionex demonstrates how he considers white balance and how he uses Adobe Lightroom to achieve the best color accuracy.
You've asked me in evaluating your work to be brutally honest. Admittedly, it's something that other photographers have asked for, but I've always been reticent about honestly fulfilling such a request. I have often perceived it as the equivalent of a wife or girlfriend asking, "Do I look fat in this?" A frank, honest answer to that question is likely not going to end well.
However, you have been insistent about receiving such concise, unrestrained and to-the-point-feedback. So, I feel inspired to share with you why your pictures suck.
1. You're Lazy
Admittedly, you talk a good game. You talk much and well about your passion for photography, deftly demonstrating both your technical knowledge and proudly showing off your latest bit of kit. You know a good amount of photographic history and you are very insightful with your comments about the craft.
But Charlie, when was the last time you actually went out and made a significant body of work for yourself? I'm not talking about that job you did for pay, or the workshop you attended or that photo walk where you spotted that cute brunette with the Leica M9. No, when did you last go out and commit to producing images that truly challenged you; images that the mere thought of creating them got you excited about getting up in the morning?
I can tell it's been a long time, because you seem to have put more effort into uploading images to Instagram, Facebook and Google Plus, obsessively returning to those posts to check to see how many people provided you a virtual pat on the head. "Great capture". Really?
2. You're Preoccupied with Gear
I get it. There's obviously something primal in both us when it comes to new kit. I have shared that same rush of endorphins on taking a deep whiff of styrofoam peanuts when opening a freshly delivered FedEx package.
But honestly, how often have you used it since you got it? Yes, the unpacking video you posted on YouTube was wonderful. (My wife, by the way, likes the new haircut). But besides that first weekend burst of temporary inspiration, what you have done with it? What have you created that you truly are proud of? And no, fondling it and firing dry frames doesn't count. It seems like you've spent more hours reading blog posts, forums and watching videos about the gear than actually shooting with it. And what's this thing with you reading reviews after you already made the purchase? Aren't your images enough to discern whether you made the right choice or not?
3. You're Sloppy
It seems like you think that "good technique" is a filter in Photoshop. And if you defined a good photographer by how fast they can fill a 32GB CF card, you might be in the running to be one of the greats, but it's hard to see anything in your final result that warrants even the battery being charged.
You seem to be completely absent when you press that shutter release, taking no ownership of what you include in the frame. Yes, the bokeh is scrumptious and creamy, but this is supposed to be a photograph not bloody creme brulee.
Whatever happened to good composition? Good light? Good taste?
And no, I don't care that there is virtually no noise at ISO 128,000, the images are still devoid of anything that would even qualify it as a snapshot.
4. Photoshopping is not Photographing
Yes, Photoshop is an important and invaluable tool. We couldn't do much of what we do without it, or its equivalent. But how long do you actually have to sit at the computer, weaving that Wacom stylus like an orchestra leader, before you admit that most of that energy is being expended on putting lipstick on a pig?
Yes, those plug-ins and actions are awesome and that compositing technique you learned from Matt Koslowski is pure genius, but I'm sorry to tell you that there is no there, there. I could wash, wax and detail that AMC Hornet I drove in college as dutifully and passionately as humanly possible, but in the end, it would still be an AMC Hornet. Those are the facts.
What ever happened to your passion for making a single good, exemplary photograph in the camera? When did everything become fodder for over-saturation, over-sharpening, over-everything?
5. You Refuse to Edit Your Own Work
Though you are asking for my feedback, you must not think much of me. If you did, why else would you inundate me a batch of good, bad and near-misses? When did it become my job to figure out what you are trying to do as a photographer?
What am I supposed t make of this mish-mash of portraits, landscapes, close-ups, abstracts and those picture of your cat (which, okay I'll admit is just adorable)? I have a hard enough time trying to edit and assess my own work, much less yours. I just needed to see 10-12 images I wasn't expecting the entire photographic catalog of the International Center of Photography. If I wanted this kind of punishment, I could just put on a pair of headphones and listen to Debbie Boone singing 'You Light Up My Life" on a continuous loop for 24 hours.
If you can't sit down and decide which of your photographs captures who you are and aspire to be as a photographer, how do you expect me to? I am challenged in just finding a pair of matching socks in the morning.
I could say more, but I think I should show a little restraint.
I know you love photography as much as I do. You couldn't spend as much time and effort, subject yourself to the occasional ego-bruising, if you weren't as in love as you obviously are with making photographs. But the reality is that becoming a good photographer, hell becoming a good anything, involves commitment, diligence and the willingness to regularly fall on one's face. You obviously have some of that in you, because you are still around making images, when everyone else has taken up golf or knitting.
I hope that what I shared is helpful to you, but if it wasn't, I completely understand.
As part of our expansion of the content we are providing on The Candid Frame, we introduce the first video tutorial in which we focus on how a Levels adjustment in Adobe Lightroom helps improve the look and feel of your image. A Levels adjustment can dramatically improve contrast, particularly one photographed in open shade or on an overcast day. It should often be the first step to take when working on an image in your favorite photo editing application.
Please subscribe to the channel and look forward to more content from The Candid Frame.
Russell Preston Brown is a photographer who holds the unique
position of educating photographers everywhere in the use of Photoshop. In his
role as Senior Creative Director at Adobe, he has helped to teach people on the
many creative possibilities available in this image-editing software. But it’s
his role as guest-curator for the new exhibit, Digital Darkroom, which opens in
December 2011 at the Annenberg Space for Photography that has inspired this
conversation about an exceptional exhibit of photography. You can out more about the exhibit by visiting the Annenberg Space for Photography website. You can find out even more about Russell Brown and his work by visiting his website.
Russell Brown recommends the work of Scott Martin.
For streaming audio click here or subscribe to the podcast for free via
Julia Dean is a photographer, educator, and the founder of the Julia Dean Photo Workshops. Julia received a Bachelor of Science degree in photography at the Rochester Institute of Technology and a Master of Arts degree in journalism at the University of Nebraska. She began her career as an apprentice to pioneering photographer Berenice Abbott. Later, Julia was a photo editor for the Associated Press in New York. She has taught for 29 years at such places as the University of Nebraska, Los Angeles Valley College, Los Angeles Southwest College, Santa Monica College, the Santa Fe Workshops, the Maine Photographic Workshops, Oxford University and the Julia Dean Photo Workshops. You find out more about her and her workshop by visiting her website.
Scott Kelby is a photographer, writer and educator. He is the founder of the National Association of Photoshop Professionals and the Kelby Media Group. He has authored over 50 books on photography and photo editing and created the event which is Photoshop World. His books, video, podcasts and workshops have helped nurture the work and career of thousands of photographers from all over the world. He has a abiding passion for sports photography as well as playing a mean guitar. You can discover more about Scott and his own photography work by visiting his blog and you can find out about the many things his organization has to offer by visiting the NAPP website.
Lewis Kemper has been photographing the natural beauty of North America, and its park lands for over 29 years specializing in nature and outdoor photography. He is a Canon Explorer of Light and during his extensive travels, he has been to 47 states from Alaska to Florida. His work has been exhibited and published in magazines, books, and calendars worldwide. His photography and writing appears regularly in Outdoor Photographer and PC Photo magazines. He has recently released a monograph of his work, Capturing the Light, and you can discover more about this and his great body of work by visiting his website.
