There Are No Rules in Photography

People love to talk about "rules" in photography. Rule of thirds, leading lines, golden ratios — you hear it everywhere. Let’s cut through that: there are no rules to break. These so-called "rules" are just suggestions, habits, patterns that someone noticed worked sometimes. They can be useful, but they aren’t laws. In creative photography, there’s nothing to follow and nothing to break. You do what works for you, for the shot, for the story you want to tell.

Now, photojournalism? That’s different. There, the rules matter. Ethics matter. You can’t make things up or stage moments and still call it journalism. When you're documenting reality, honesty comes first. In that space, you follow the rules — not for the art, but for the truth.

Photography Competitions? They’re a Sham

Let’s talk about competitions. People chase awards like they’re some golden ticket to becoming a better photographer. They’re not. Photography competitions are often nothing more than a popularity contest wrapped in a business model. Some are just cash grabs looking to rake in entry fees. Others reward whatever style happens to be trending this year.

They don’t make you better. Winning a competition rarely teaches you anything. Losing doesn’t either. And the judges? They’re just people with opinions, just like you.

If you want to grow as a photographer, don’t chase trophies. Spend your time making photos that matter to you. Practice. Try new things. Get honest feedback from people you trust, not strangers who have thirty seconds to glance at your image. Real growth happens when you shoot for yourself, not for judges.

---

Bottom Line

Photography is personal. It’s how you see the world. Forget about the rules. Forget about the competitions. Just pick up your camera and make something real.

Tip: Left-Eye Dominant? Here’s How I Keep Both Eyes Open When Shooting

I’m left-eye dominant, but I shoot with my right eye through the viewfinder. That combo can be tricky—especially when trying to keep both eyes open while tracking action. My dominant eye (the left) naturally wants to take over, pulling attention away from what I’m trying to frame with the right.

Here’s the simple habit that works for me:

I close my left eye briefly to lock in composition and exposure with my right eye. Once I’m visually “anchored,” I reopen the left eye. By then, my brain is focused on the viewfinder, and my left eye can just scan the scene for movement or distractions.

It’s a small adjustment, but it’s made a big difference—especially when shooting birds, sports, or anything that moves fast. Over time, it’s become second nature.

If you’re left-eye dominant and using your right eye to shoot, give this a try. Your brain will adapt faster than you think.

Good Form in a Shared Space

I’ve been thinking about something that pops up now and then, especially in photography groups and online communities.

Let’s say two photographers, on different days, take the same photo. Not just similar — I mean really similar. Same subject. Same angle. Same lighting. Maybe even the same moment of the day. And viewed side-by-side, they’re essentially identical.

Here’s the thing: even if I’ve taken that photo myself, and even if I think I’ve done a good job with it, I generally won’t post it on the same platform where someone else just shared theirs. To me, that’s a matter of good form.

Why? Because once it’s been shown, it’s been seen. I’m not trying to compete with someone who already captured that scene. I’m not trying to prove I was also there, or that I saw it better. The image may be mine, but the moment in the conversation isn’t.

Sure, someone could argue that every image is unique — different pixels, different sensors, different edits. That’s true. And from a technical standpoint, there’s always a way to find differences. But when we share photos with others, we’re not just posting pixels. We’re sharing presence. And I try to be mindful of how I show up.

If I do have a photo that’s nearly identical to one already posted, I might:

Keep it for myself, or use it as a learning exercise.

Share it privately, or on a different platform where the context is different.

Look for a variation — a tighter crop, a different processing choice, a more personal take.

For me, this isn’t about rules or unwritten laws. It’s about respect — for the other photographer, for the audience, and for the photo itself. There's no harm in stepping back and letting someone else's image stand on its own.

That’s not to say others should do the same. But in my experience, being a little intentional in how we share makes the community stronger and more enjoyable for everyone.

— Larry

The Story of The Shot - a video

Things to think about, focal length, lighting, composition, editing.

https://youtu.be/AO4IdZ-bw6Q?si=YfIz_DmAH8CK3kLp

The Photographers Eye an article by Anthony Morganti

I received the email a few months ago but I marked to look at it later

The Photographers Eye an article by Anthony Morganti

Stop Teaching the Rules of Composition

Yes, I write a the points I want to get across and ask chatGPT to actually make sense and create a blog post. It's a better wordsmith than I.

When I started getting back into photography, I took a class to shake off the rust. During one session, the instructor put up a photo for group discussion. Before anyone could talk about the light, mood, or subject, one of the students—clearly well-equipped with gear—dismissed it with, “It doesn’t follow the rule of thirds.”

I almost walked out of the room.

Not because I disagreed with the rule itself—but because of how it was used to shut down conversation, not open it up. That moment stuck with me.

---

Why the “Rules” Fall Short

We’ve all heard the so-called “rules of composition”: rule of thirds, leading lines, symmetry, framing, fill the frame, don’t center your subject (unless you should). These ideas can be useful—especially for beginners who feel overwhelmed. But too often they’re taught like commandments, rather than what they really are: tools.

The problem isn’t the rules. It’s when we treat them as requirements instead of suggestions.

Following composition rules can lead to technically fine photos that completely miss the mark emotionally. And if we stop there, we miss the point of photography altogether.

---

A Better Way: Teach by Seeing

In my experience, people learn composition not by memorizing rules, but by learning to see. That means looking at photos—lots of them—and talking about what works and why. Not in terms of lines and grids, but in terms of feeling, flow, tension, calm.

Ask questions like:

Where does your eye go first?

What holds your attention?

Does this image feel balanced, or off-kilter in a good way?

What makes it memorable?

This kind of conversation helps people tune their eye and their instincts. And the beauty of it? No expensive gear required.

---

Developing a Photographer’s Eye

Learning to see is about building visual awareness—not obeying checklists. You study great photographs, you take your own, you miss the mark, and you try again. Over time, you start to feel what makes an image sing. Sometimes that means the subject is dead-center. Sometimes it means no lines are leading anywhere. And sometimes it means breaking every rule you were taught, because that is what tells the story best.

---

Conclusion

If you’re learning photography—or teaching it—don’t start with rules. Start with vision. Look at images. Talk about what you see. Talk about what you feel. Then go make more photos.

You don’t need to follow the rule of thirds to take a great photo. You just need to learn to see.

To Short for a Blog Post

Tips and short comments are added to my TeamReach 

Larry Kurfis wants you to join the group, Practical Photography By Larry in the TeamReach App.

Instructions:

Install TeamReach on iPhone (https://itunes.apple.com/us/app/teamreach-team-management/id1101253705?mt=8

Install TeamReach on Android (https://play.google.com/store/apps/details?id=com.teamreach.app

Enter code: PPL_M540

“Fill the frame” isn’t a rule — it’s a decision based on intent.

Many photography instructors tell students ""Filling the frame" in photography is a composition technique where the main subject dominates the entire image, leaving little to no space around it. This approach emphasizes the subject, reduces distractions, and directs the viewer's attention, creating a stronger and more impactful image. "

But they miss the mark. 

“Fill the frame” isn’t a rule — it’s a decision based on intent.

If the final image is destined for an 8x10, then composing tightly in a 2:3 viewfinder risks losing key elements in the crop. The photographer has to mentally overlay the intended print ratio at the moment of capture.

> “Fill the frame based on the print size.”

Not the sensor. Not the LCD. The print.

It shifts the mindset from “what looks good now” to “what will survive and look strong later.”

My blog https://larrysphotography41.blogspot.com/2020/11/why-worry.html?m=1

Why "Use a Wide Aperture for Shallow Depth of Field" Isn’t the Whole Truth

Why "Use a Wide Aperture for Shallow Depth of Field" Isn’t the Whole Truth

Photography instructors often teach that a wide aperture (like f/2.8 or f/1.8) creates shallow depth of field—those dreamy blurred backgrounds. That’s true… but it’s only part of the story. And for many photographers, especially those using Micro Four Thirds or phones, it can lead to confusion.

Let’s break it down.

What Really Controls Depth of Field?

Depth of field (DoF) is influenced by four key factors:

1. Aperture (f-number) – Wider = shallower DoF. Narrower = deeper DoF.

2. Focal Length – Longer lenses isolate subjects more (e.g., 85mm vs. 25mm).

3. Distance to Subject – Closer focus means shallower DoF.

4. Sensor Size – Bigger sensors give shallower DoF at the same framing and aperture.

Why It Matters

If you're using a phone with a fast f/1.5 lens, you might wonder:

> “Why isn’t my background blurry?”

It’s because your phone’s sensor is tiny, and its lens is ultra-wide. Even at f/1.5, almost everything stays in focus due to optical physics.

If you're using a Micro Four Thirds camera, you might notice that f/2.8 doesn’t blur backgrounds as much as a full-frame camera. That’s because your sensor is smaller—so you get more depth of field at a given aperture and framing.

What Instructors Should Say

Instead of just “use a wide aperture,” instructors should teach:

> “To control depth of field, consider aperture, focal length, distance, and sensor size together. A wide aperture helps—but only in context.”

That’s real instruction.

A Practical Example

Phone camera: 4mm f/1.5 lens = almost everything in focus

MFT camera: 25mm f/1.8 lens = some blur, more control

Full-frame: 85mm f/1.8 lens = rich background blur, even at a distance

Same f-number, totally different results.

---

Bottom line: You deserve instructors who explain, not just prescribe. Photography is part science and part art—but learning works best when we teach the science clearly.

Lightroom Classic will successfully denoise but Lightroom desktop failed with orf files

 Lightroom Classic will successfully denoise but Lightroom desktop failed with orf files

ChatGPT said:

Thanks for the detail. Your observation matches known behavior:

Lightroom Classic vs. Lightroom (Desktop) with ORF Files and Denoise AI

• Lightroom Classic (as of mid-2023 onward) supports Denoise AI with many raw formats, including Olympus .ORF files (from your OM-D E-M5 Mark III).

• Lightroom (Desktop) may fail or not support Denoise AI on certain raw formats, especially if they’re not fully supported in the cloud-native processing pipeline.

---

Why This Happens

1. Lightroom Classic uses a local, full-featured processing engine that supports broader raw compatibility.

2. Lightroom (Desktop) is cloud-integrated, and Adobe appears to have more limitations in Denoise support, possibly prioritizing newer or more common formats (like CR3, NEF, ARW, etc.).

Adobe’s official list of supported formats for Denoise AI in Lightroom Desktop may exclude older or less-common Micro Four Thirds files—even if they work fine in Classic.

---

Workaround Options

1. Use Lightroom Classic for Denoising ORF files and then:

   • Sync the DNG result to Lightroom Desktop.

   • Or export and re-import if syncing isn't active.

2. Use Adobe DNG Converter first (though unlikely to help, since Classic works fine with native ORFs).

3. Use Topaz Denoise AI as an external editor if you prefer the Lightroom (Desktop) environment.

---

You said:

So a workaround could be to select the photos that require denoise. Use classic and import only them. Denoise and other editing. Insure sidecars are created close classic, if needed, then proceed using the ecosystem to take advantage of the ecosystem

ChatGPT said:

Yes, exactly—that’s a smart and efficient workaround. Here's how you can streamline the process:

---

Workflow: Denoise ORF Files via Lightroom Classic, Then Rejoin Ecosystem

1. Select Photos Requiring Denoise
   In Lightroom (Desktop or Mobile), flag or keyword the raw ORF files you want to denoise.

2. Import into Lightroom Classic

   • Open Lightroom Classic.

   • Use File > Import and point to the original files (from the synced location or original drive).

   • You can filter by flagged/keyworded images if helpful.

3. Apply Denoise AI

   • Use Denoise in Classic (creates a new DNG).

   • Do your initial edits here if desired.

4. Ensure Sidecars Are Saved

   • In Classic: Metadata > Save Metadata to File (for XMP sidecars with the original ORFs).

   • The new DNGs store edits internally—no sidecar needed.

5. Close Classic

   • To avoid sync conflicts, don’t run Classic and Lightroom (Desktop/Mobile) simultaneously unless you're fully cloud-managed.

6. Resume Editing in Lightroom Desktop/Mobile

   • Reimport denoised DNGs to Lightroom Desktop (if not already synced).

   • Enjoy the ecosystem (Lightroom Web, Mobile, etc.) for everything after denoise.

---

Bonus Tip

To keep things tidy, consider adding a color label or keyword like "Denoised" in Classic so they’re easily searchable later in the cloud.

Five Years with the OM-D E-M5 Mark III: Still Learning

I purchased my OM-D E-M5 Mark III nearly five years ago. In that time, I thought I had learned most of the tips, tricks, and techniques — and knew when to use them.

I was wrong.

Live Composite: My Go-To Tool

Like many OM System users, I rely heavily on Live Composite — at least 95% of the time — when capturing moving lights in darkness. Depending on ambient light, framing the shot can be simple… or frustrating. I’ve often boosted ISO to the max, taken a test shot, reviewed it, adjusted, and repeated.

It worked. But it wasn’t efficient.

Revelation #1: Live View Boost

Somewhere in a conversation with ChatGPT, we stumbled on Live View Boost — a setting I had tried years ago and dismissed. Why? Because the display doesn’t reflect your current exposure settings (aperture, shutter speed, ISO). It just brightens the screen.

But that’s exactly the point.

With Live View Boost turned on, I can now frame and compose in near-total darkness — something that’s often impossible using just the standard view. Yes, it doesn’t preview exposure, but it boosts the display brightness enough to see what I’m doing. I pair this with the INFO button to show the histogram and level indicators.

How I use it now:

• I enable Live View Boost for Live Composite, Live Time, and Bulb modes (in the menus).
• I use it purely for framing, not exposure judgment.
• It saves me test shots and time.

This one setting significantly improved my workflow.

Revelation #2: Setting the Right Shutter Speed for Live Composite

Another question lingered: What’s the best way to choose the base shutter speed for Live Composite?

Again, ChatGPT provided the path I hadn’t seen explained clearly elsewhere:

“Choose your aperture for the creative look you want, set your ISO for overall brightness, then use Live Time to preview how your exposure builds in real time. Once you find the exposure that looks good, use that shutter speed as your base for Live Composite.”

That method just makes sense. And it works.

My updated approach:

1. Choose aperture for depth of field.
2. Adjust ISO for scene brightness.
3. Use Live Time to preview and time the correct base exposure.
4. Set that shutter speed in Live Composite mode.

Why Olympus/OM System Stands Out

ChatGPT summed it up nicely:

“The Live Time (and related Live Bulb/Live Composite) feature found in Olympus/OM System cameras is unique in its implementation. It allows you to watch the exposure build in real time on the screen during long exposures — ideal for light painting, fireworks, and astrophotography.”

And:

“If real-time exposure monitoring is critical to your workflow (e.g., for fireworks, light painting, or nightscapes), OM System is the only brand with a truly integrated solution. Their Live Composite and Live Time tools remain unmatched in usability.”

Conclusion

After five years, I’m still learning new ways to get the most from this camera. Features I once ignored have become key parts of my night shooting process.

Oh, I love my Olympus.

---

Would you like a title image or diagram to go with this post for your blog?

Photos Organization

A lot of articles, videos, presentation and Blogs have been done. 

So Larry, why are you writing another?

Many has a lot of fluff and oftentimes it's and after thought. 

Even if you believe you have organized by date are the on a single storage unit, on several camera cards, Thumb drive or external/internal drives.

Basically you have a mess. Oops? 

How do I clean it up?First, purchase an external ssd drive. A 2 terabyte is a good start. Get 2 of them. 1 is your primary and the other one is your backup.

Create a folder. Give it a name such as "My Photos"

Now what? 

In date format consider YYYY->MM->DD

In Gatagoy you may choose CATEGORY and create subfolders for each. Perhaps ANIMAL, PEOPLE, TRAVEL, SPORTS, ...,

Either way now move you photos to your organization format.

Did you start using Lightroom Classic? Yes? Then ONLY move your images using LIGHTROOM CLASSIC LIBRARY module.

A non Lightroom Classic user can use the computers operations.

https://larrysphotography41.blogspot.com/search?q=Organization+&m=1

Taming the Photo Chaos: A Practical Guide to Organizing Your Image Library

Taming the Photo Chaos: A Practical Guide to Organizing Your Image Library

So Larry, why are you writing another guide about photo organization?

Because despite all the articles, videos, and tutorials out there, many are filled with fluff or feel like an afterthought. If you're like me, you’ve got images spread across old camera cards, thumb drives, and a mix of internal and external hard drives. Even if you think they’re organized by date or project, they’re probably still a mess. Oops?

Let’s fix that.

Step 1: Invest in Two External SSDs

Get two 2-terabyte external SSD drives. One will be your primary storage, and the other is your backup. Don’t skip the backup—drives fail, and cloud services can be expensive or slow for large libraries.

Step 2: Create a Master Folder

On your primary drive, create a folder called something like "My Photos." This becomes your home base.

Step 3: Choose Your Organization Method

You’ve got two main paths:

Option A: Date-Based Organization

Use a structure like:

My Photos

 └── 2024

     └── 04

         └── 12

This keeps things chronological and is ideal if you remember when you shot something.

Option B: Category-Based Organization

Structure by subject:

My Photos

 └── ANIMALS

 └── TRAVEL

 └── PEOPLE

 └── SPORTS

This is great for people who think in themes rather than timelines.

Step 4: Move Photos Into Your New System

Now it’s time to transfer your photos into the new structure.

Important:

If you use Lightroom Classic, do all moving and organizing through the Library module. That keeps your catalog happy.

If you don’t use Lightroom Classic, you can move files using Finder (Mac) or File Explorer (Windows).

Step 5: Backup

Once your primary drive is organized, copy everything to the backup SSD. Update it regularly.

Bonus Tip: Stay Organized Going Forward

Pick a system and stick with it. Make it part of your workflow to move new images into your chosen structure right after each shoot.

---

In Summary: You don’t need complex software or hours of tutorials. Just a bit of planning, two drives, and a simple folder structure can tame your photo chaos. No fluff, just action.

Ready to clean it up?