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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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:

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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.

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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.

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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.

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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?

“It Didn’t Follow the Rule of Thirds”

I remember sitting in a meeting around 2016 or 2017, looking at someone’s photo when another person said, “It didn’t follow the rule of thirds.”

I was put off by that statement.

Not because the rule of thirds is useless—it can absolutely be helpful—but because the comment dismissed the photo based on a guideline, without considering the image itself. No thought was given to why the photo worked (or didn’t), what the photographer was trying to communicate, or what made the image compelling—or not.

That moment stuck with me.

Since then, I’ve found myself moving away from rules of composition and toward questions. Questions help us dig deeper than surface-level analysis. They keep us curious.

Instead of checking a mental list of “rules,” I ask:

What makes this photo effective?

What emotion does it convey?

What draws your attention in the frame?

How might breaking a rule add to the image?

These questions encourage reflection, not just obedience. And that’s where real creative growth happens.

Rules can be tools. But when they become rigid, they limit more than they help.

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Would you like to add a visual example to go with it—maybe one of your own photos that breaks the rule but still works?

Don’t Just Give Settings—Ask Better Questions

Newer photographers often ask, “What settings should I use?” It’s a natural question, especially when they’re faced with unfamiliar situations or trying to improve quickly. And more often than not, an instructor or experienced photographer will respond with settings based on their own experience.

But I believe that short-circuits the learning process.

When we jump straight to handing out settings, we unintentionally rob learners of the opportunity to think through the situation for themselves. A more effective—and more lasting—approach is to ask thoughtful, guiding questions instead.

Questions like:

What are you photographing?

Why are you taking the photo?

What do you want the photo to emphasize?

What camera and lens are you using?

These questions help the photographer slow down and think. They prompt a deeper understanding of the creative and technical decisions behind every image.

Some of the answers may seem obvious—or assumed—by the instructor. But that’s the problem. Those assumptions can get in the way of helping someone truly understand their own process and gear.

By asking better questions, we help photographers connect the dots between their intent, their knowledge, and their tools. And that’s where real learning happens.

Newer photographers often ask, “What settings should I use?” It’s a natural question, especially when they’re faced with unfamiliar situations or trying to improve quickly. And more often than not, an instructor or experienced photographer will respond with settings based on their own experience.

But I believe that short-circuits the learning process.

When we jump straight to handing out settings, we unintentionally rob learners of the opportunity to think through the situation for themselves. A more effective—and more lasting—approach is to ask thoughtful, guiding questions instead.

Questions like:

What are you photographing?

Why are you taking the photo?

What do you want the photo to emphasize?

What camera and lens are you using?

These questions help the photographer slow down and think. They prompt a deeper understanding of the creative and technical decisions behind every image.

Some of the answers may seem obvious—or assumed—by the instructor. But that’s the problem. Those assumptions can get in the way of helping someone truly understand their own process and gear.

By asking better questions, we help photographers connect the dots between their intent, their knowledge, and their tools. And that’s where real learning happens.

True, But a Simplification?

In photography education, simplifications are everywhere.

“A wide aperture gives you shallow depth of field.”

“Raising ISO increases your camera’s sensitivity to light.”

“The digital sensor creates the image.”

All of those statements are technically true… but they’re also simplifications.

Simplifications are useful—they help beginners get started. But if we’re not careful, they become assumptions. And assumptions can prevent deeper understanding.

Personally, I like to dig deeper. I ask questions. I challenge simplifications. I tweak them, reframe them, and sometimes throw them out altogether.

For example, ISO doesn’t literally make your sensor more sensitive to light. It adjusts signal amplification and processing. And while a wide aperture can result in shallow depth of field, that’s only part of the story—focal length, subject distance, and sensor size also play a role.

You might call me a bit technical. That’s fair. But I’d rather teach photography as it really works, not just as we simplify it for convenience.

So I keep asking:

What does ISO actually do inside the camera?

Why does sensor size matter for depth of field?

What’s really happening when the shutter opens?

And I encourage others to ask too.

If you're curious, Canon has a great breakdown of how sensors work:

Image Sensors Explained – Canon

Simplifications are a starting point. But questions—they’re the path forward.

What Lens?

“What Lens Should I Use?” Isn’t the Right Question

I’m often asked, “What lens should I use?” But honestly, that’s not the question you should be asking.

If you're talking with a group who knows your gear and understands your why, then maybe it's a fair question. But even then, it's still too broad.

You need to ask something more specific:

Are you shooting with full-frame or not?

What are you trying to capture—artistic expression, journalism, wildlife, documentation?

What are your goals for the final image?

Even if you ask the right questions, who can remember all the possible combinations?

That’s why it’s more important to know your gear—really know it. Understand the tools in your photography toolbox and how each one behaves in different situations.

https://drive.google.com/file/d/15BbyNLdKOnVYUhXBUwDsH5zY5sg1FZOP/view?usp=sharing

Natural Light

I received an email from light stalking "Hi there!

 

Ever wondered why some photographers consistently produce stunning, magazine-worthy photos? 

 

It often comes down to one fundamental photography skill: mastering natural light.

 

Without this knowledge, even your best compositions can look flat, lifeless, or muddy. It's frustrating to line up what should be the perfect shot, only to find your subject looking dull or your colors muted.

 

The good news? "

Basically a sales pitch. But that got me thinking about my photography and what techniques and "drills" can I do?  So I asked chatGPT.

https://chatgpt.com/share/67d83e94-9a88-8009-90b9-7cdb9ad8a1ed

It mentioned exposure compensation but for RAW and without Auto ISO use a fixed ISO and only change one setting at a time. For example for a specific Aperture only change the shutter speed.

Also you may consider using the app Photopills on your cellphone to view sun and moon direction.

Memory requirements, Mac?

Always do your own research. 

I subscribe to several photography education sites. Sometimes they provide conflicting opinions. What is the real, IMHO, answer?

I am suspicious of AI but I use it to compare Q&A's.

Following are a comparison of a question submitted by Ask Tim Gray and the same question submitted to Gemini and chatGPT.

From Ask Tim Gray

"Today's Question

I need to purchase a new Apple computer. I don't understand unified memory and how much I need. I may run Photoshop, Lightroom, and Bridge, along with possibly Denoise AI and Helicon Focus at the same time.

Tim's Quick Answer:

Unified memory refers to a single pool of memory in a computer used for both the main processor and for the graphics processor. This means you should opt for more memory than you otherwise assume you need, because there is not separate memory for the graphics processor."

The same question was submitted to popular AI chat boxes.

 From Gemini "It's wise to consider memory needs carefully when purchasing an Apple computer with unified memory, as it's not upgradable later. Here's a breakdown of what you should consider, especially with your intended software usage:

Understanding Unified Memory

 * How it works:

   * Apple's unified memory architecture integrates the CPU, GPU, and other components, allowing them to access the same pool of high-bandwidth memory. This results in significant performance gains, especially for graphics-intensive tasks.

   * Unlike traditional RAM, unified memory is shared by all components, so it benefits both CPU and GPU performance.

 * Why it matters:

   * Because it's integrated, you must decide how much you need at the time of purchase.

   * Applications like Photoshop, Lightroom, Denoise AI, and Helicon Focus can be very memory-intensive, especially when working with large files.

Memory Recommendations for Your Workflow

Here's a general guideline based on your software usage:

 * 16GB:

   * This is the absolute minimum I would suggest. While it may handle individual tasks adequately, running all those applications simultaneously could lead to performance bottlenecks.

   * If your work is light, meaning small batch processing, and smaller image files, this may work.

 * 24GB or 32GB:

   * This is the sweet spot for professional photo editing. It will provide ample headroom for running multiple applications simultaneously and handling large files.

   * Given that you're using Denoise AI and Helicon Focus, which are known to be resource-intensive, 24GB or 32GB is highly recommended.

   * This will allow for smoother workflow, and less time waiting for software to process.

 * Why more is better:

   * Photo editing software, especially those using AI (like Denoise AI), benefit greatly from more memory.

   * Having extra memory allows your system to cache more data, reducing the need to access slower storage.

   * Future proofing your purchase. Software requirements generally increase over time.

Key Considerations

 * File Size: If you work with very large files (e.g., high-resolution RAW images), you'll need more memory.

 * Workflow: If you frequently multitask between these applications, prioritize more memory.

 * Future Needs: Consider how your needs might change in the future. It's better to have too much memory than too little.

In summary:

For your workflow, I strongly recommend aiming for 24GB or 32GB of unified memory. This will provide a smooth and efficient experience, allowing you to work without frustrating delays."

chatGPT 

"Unified memory on Apple computers is a shared pool of high-performance memory accessible by both the CPU and GPU, which improves speed and efficiency. For running Photoshop, Lightroom, Bridge, Denoise AI, and Helicon Focus simultaneously, I recommend at least 32 GB of unified memory to ensure smooth performance and multitasking. If you work with large files or do extensive editing and rendering, consider 64 GB for maximum efficiency.

Would you like help choosing a specific model or guidance on other specs?"

My choice? You can't go wrong with more RAM. But I'm a Windows PC user.

Your Camera doesn't See What You See

It should be no surprise that you camera image doesn't look like what your eyes see. 

Your lens focal length and distances between subject and background/foreground can drastically change what your eyes see. 

Often you read or hear that editing a photo is changing reality. What it reality? As Adam Savage said . 

Is your photo reality?  Your digital image is a collection of data that was interpreted of shades of gray of  the red, green and blue filters on your sensor. An A to D,  Analog to Digital, converter and complex algorithms create an image you can view.

Moon Replacement

Shoot the Moon

When you try to get a well exposured landscape you usually get a nice landscape you get a white dinner plate for a moon. How do you get a good moon, some features, and a great landscape? It's very if not impossible in a single shot. The one you see are most likely a composite.

This is one way,

This is another way,

And from Photopills I like this one better Outdoor Photography School

Yes this was done with an Olympus but most modern digital camera be able to use this double exposure technique. "The ability to create multiple exposures is certainly not new to photography and definitely not propriety to Olympus cameras. Most newer models of digital cameras have this setting and they all work in basically the same way. If you are looking for a way to add interest to your next shot of"

Ok, I just had to do a quick try at 0800.. 

Why use Auto Mode on your camera?

Where do I start for my settings?

It depends. What is your creative vision?  What is most important in your photo? What controls my artistic vision?

This video may be helpful. 

https://youtu.be/55Ru4DI8qSs?si=TOkmTfIy-9-zjW-R

What Interests you?

When one of my photographers friend has a problem or a question that prompts me to research it, test it with my camera, take a series of photos to demonstrate it.

Please use the comments to let any photography topic you would like me to cover.

Adobe cloud & ecosystem

Some are suspicious of anything with the word "cloud". Your email is in a cloud. Using the WWW, World Wide Web, is in a cloud. Facebook, Instagram and all social media is in a Cloud.

The Adobe Cloud is no different. Using Lightroom Classic sync is no different, as is Lightroom, mobile, Web. 

When you use Lightroom Classic sync your images are in the Adobe cloud. You can access, share and arrange them in Folders and Albums.

This video by Terry White should get you started https://youtu.be/kcO4Emc70KY?si=LXB4a-3OatMpega1

Histogram? Loss of data?

Histogram?

The histogram represents a tonal range of 256, 0-255, values. Spikes on the left or right indicates a loss of detail.

Our cameras use 10 to 14 bits per color. Each color has 1024 to 16384 values of tonal range.

My question is how to change 1024 or 16384 to 256?

To get 1024 to "fit" 256 you group 4 shades to 1. 16384 to "fit" 256 you group 64 shades to 1.

It's like breaking a mile to quarter mile segments, yard, feet, inches, in...

Just like breaking down a mile into smaller units (quarters, yards, feet, inches), a histogram attempts to represent the vast range of color information (10-14 bits per color) into a much smaller number of levels (usually 256).

Mile: Represents the full range of color information captured by the sensor.

Quarter Mile: A larger division, still representing a significant portion of the overall distance.

Yard: A smaller division, providing more detail within the quarter mile.

Feet: Even smaller divisions, offering more precise measurements.

Inches: The smallest unit in this analogy, representing the limited number of levels (256) in the histogram.

This analogy highlights how the histogram, with its limited number of levels, simplifies the vast amount of color information captured by the sensor, potentially leading to a loss of fine detail.

Some time in 2019 I purchased my Nikon D5500. Later I bought 2 ebooks by Steve Perry, "Secrets To Exposure And Metering For Nikon"  which I quoted below 

"The Histogram Lies To RAW Shooters If you’re a RAW shooter - and you should be - there’s an important asterisk associated with all of the info we just covered. When you look at the image and histogram on the back of the camera you are NOT seeing the real RAW image – only an embedded JPEG created from the RAW file. (GASP!) Sometimes even if a histogram indicates blown highlights or solid blacks, there may still be some detail you can recover later with your RAW processing software (especially true for clipping on the left side). If you’re way under or over (highlights are especially problematic), feel free to assume the photo is going to see the inside of the virtual trash bin. Also, since the camera is generating the histogram from the embedded JPEG file, you have to consider what picture profile you’re using. A profile with more contrast will tend to show clipping before a profile with a flatter rendition, even with the same exposure. And of course RAW has more latitude than any embedded JPEG." 

AI vs EI and how they can work together

Ok Larry just what ie EI?

We know AI is Artificial Intelligence where powerful computer's and algorithms come up with responses.

Where as Experience Intelligent use your experience, knowledge and studies provide Intelligence.

At many times when I asked chatGPT or Gemini a question they provided an incomplete answer.

That's where Experience Intelligent can help AI. 

You need your EI to know that AI is not complete. Often times rephrasing your questions leads you to a better answer. Sometimes a response leads to a normal search that provides the answers or something you hadn't considered.

What's the point? Use both but don't forget your EI.

Visual Hook

Next week's photo challenge is to take a new photo(s), up to 3, that creates a visual hook. "The best visual hook is one that resonates with the viewer on a personal level."

I asked this challenge to hopefully get us thinking. We are taught about cameras, lenses, settings, "rules"/guides of composition.

But what make you stop when scrolling the social media photos?

What is it? Camera, lens, settings, lines, 3rd's, framing, ... What make you stop.

A visual hook in Photography is an element that grabs the viewer’s attention immediately and holds their interest. It often creates a focal point, adds depth, or elicits an emotional response.

To find inspiration, consider:

Exploring different photographic techniques: Try experimenting with different angles, perspectives, and lighting.

Looking for unusual subjects: Seek out the unexpected and find beauty in the ordinary.

Paying attention to details: Notice the small things that often go unnoticed.

Studying the work of other photographers: Analyze what makes their images compelling.

Yet another post about Composition?

Is it technical or vision that makes a good photo. 

It's both but great composition can be ruined by poor technically executed photo. Like wise a technically executed photo can be boring.

I believe minor technical errors will be ignored by a strong composition.

Searching my blog for "composition" will have many posts.

This link has another view -> I'm against teaching composition rules. Rigorous following on the rules of composition leads to  a lack of creativity.

I believe that they are guides but it is more helpful to actually show examples of good composition.

This discussion from Light Stalking is more informative than "rules" https://www.lightstalking.com/composition-mistakes/

My Photography Hangout

I'll be using my discord hangout for posting many that I've been posting here.

You may choose to join my hangout here -> https://discord.gg/UM4k6QBB

Photo and related topics

1. What can you do with Chachkas?  https://theexit270.blogspot.com/2020/08/photographing-chachkas.html?m=1

2. The following video discussion is getting your Cellphone camera into the Lightroom ecosystem. This video uses iPhone and the technique is the same as Android phones https://youtu.be/QXU98Srh628?si=B9z8uHiXMHBqd5V

3. Next week's photo challenge is to take a new photo(s), up to 3, that creates a visual hook. "The best visual hook is one that resonates with the viewer on a personal level." 

Please put your photos in the folder here -> https://drive.google.com/drive/folders/16e4L_6TZkiCBVOxHdvKGoqj2mvv_wg-V

4. Using Lightroom Web I created this for a Vermont photography club , https://adobe.ly/42batQ0.

 

Clicking on an individual photo and click the info and comment icons to see the metadata and make comments.

5. A way to get better -> https://www.matiash.com/blog/delete-your-photos

Photograph a sign

After a photography meeting I asked members.

For next week's learning task. Take interesting photographs of a sign, a single sign. Show your best 3 and only 3, for review during next week's meeting.

Use your creative juices to create photos as compelling as possible. Think of color, monochrome, shadows, angles ...

Larry, what's the point of "the sign"? It's not the sign it's about seeing. These links may help.
https://youtu.be/znhXJ-nzogg?si=leyVXhepQZWlbUqA
And
https://theexit270.blogspot.com/?m=1

The Bloody Rules of Composition

 Often I don't explain properly.

Yes I agree that the "rules of composition" are important. 

What I take issue with is the way they are taught. I much prefer to suggest that a photo may look more pleasing if;

You moved ??? right, left, up, down

it would be better if the eyes were ???

Should the ??? have room to move ...

Would it be better if the ??? lead to the ???

Would it be more pleasing if ??? was framed with ???

Would it be better if the ??? was looking/coming toward you 

Does the ??? block the viewer(s) to looking to ???

 

I believe that guiding the photographer to a  better composition is better than quoting a rule. Quoting a rule is easy teaching and understanding is more difficult.

I often prefer to discuss composition issues with the "failures" of  FB and other online photos. This also provides where we can discuss the background, subject size within the frame and distractions in a more non threatening  way.

Several photography videos

Noise that I found very helpful and interesting.

Noise what Noise?? by Simone D'Entremont ->  https://youtu.be/t8XkGix5pzg?si=H4leZ8bk5ImaTr0A

Stop fooling with settings by Simone D'Entremont ->  https://youtu.be/znhXJ-nzogg?si=DfxX94jrSwjGu-4A

Compositioning images in Photoshop by Anthony Morganti -> 

https://youtu.be/p4cE-VaY86s?si=aNO1zWJULfHNHBxI

Using Lightroom Web to share your photos by Brian Matiash -> 

https://youtu.be/CFyFhLJ-Zsg