What is Discord?

I have a Discord server, what is a Discord server you ask.

 "A Discord server is a private or public online space where people can chat, share media, and join voice or video calls, organized into topic-based channels."

My Discord server invationion link - https://discord.gg/HJFByUgD

What is a voice channel?

"A voice channel in Discord is a space where members can talk in real time using voice (and optionally video or screen sharing) instead of text.

A guest link lets non-members join temporarily, but they usually can’t see all channels, change settings, or stay after the link expires unless they join the server."

Discord voice channel link for guests https://discord.gg/5TpaZ9R5zB

Guests can not initiate a voice channel but can join a conversation 

At the time I created my sèver I just blindly created it. I deleted many of the channels and renamed several.

Now with chatGPT you can a guide here https://chatgpt.com/share/689d113c-9904-8009-b460-f1e0060a32fb

--

Larry Kurfis 

photographyby.portfolio.com

Settings and processing Milky Way

I wanted to compare my milky way shoot settings and how to post process. So I asked AI for assistance,  

https://chatgpt.com/share/6886d697-3eac-8009-aadc-cc83d1f05c98

Planning a Shoot with AI

I and a few others have joined  https://www.skool.com/photography-community/about?ref=d5cf1785f1c740c38fa5b124973dc4bc

There was a reply related to planning a shoot that said that they used chatGPT.

So I wanted to plan a shoot of moonrise that includes Lowell turbines. Following is my and chatGPT; https://chatgpt.com/share/6886bcf8-b07c-8009-9aaa-d48c1eae7806

Comments?

Follow Me By eMail

 Hello, I have added a widget, top right, to allow you to be notified by eMail of updates. It uses the follow.it app. I believe the setup for follow.it is simple for you. 

Hopefully this works for subscribers.

Thanks, Larry

Pro capture - why & what is it

It's a special shooting mode on many Olympus and OM System cameras which buffers, that is configured, with a half press. When you fully pressed the shutter button the buffered images are written to storage + the configured images.

There are 2 pro capture modes, hi and lo. In hi only the focus value is saved where as lo, with C AF, it continues to focus.

I usually use Lo for BiF and other erratic subjects. When the subject wasn't I use Hi. For example when wildlife leaves or arrives to a location.

From chatGPT for additional information 

"On Olympus / OM System cameras, “Pro Capture” is a special shooting mode designed to help you capture fast, unpredictable action that would be very hard to time perfectly with a normal shutter press.

📸 How it works

When you half-press the shutter button, the camera starts continuously buffering images — basically recording them into memory, but not saving them yet.

When you fully press the shutter, the camera saves not just the moment you pressed the button, but also a series of frames captured before and after you fully pressed.

This means you can capture moments like a bird taking off, a fish jumping, or a balloon popping — even if your reflexes weren’t perfectly timed.

---

📷 Key points

How much it records before the shutter: This depends on the model and settings, but common is up to 35 frames before and then it keeps shooting more until you release.

File format: Works best in RAW + JPEG or JPEG.

Speed: Uses the electronic shutter for silent, super-fast continuous shooting (e.g., 15–60 fps depending on the camera).

Example models: Pro Capture started on the OM-D E-M1 Mark II and is on models like the E-M1 III, OM-1, OM-1 Mark II, and OM-5 (in a limited form).

---

✅ When to use Pro Capture

Birds taking off (classic use!)

Sports starts (like a sprinter leaving the blocks)

Water splashes

Anything unpredictable and fast

---

⚙️ Where to find it

You’ll find Pro Capture in the drive mode menu (the burst shooting options) or the shooting mode menu. Look for an icon that usually shows multiple frames with a lightning bolt or similar."

Why Sharing Camera Settings Isn’t Enough — Better Questions to Ask

If you’ve spent any time in photography groups online (or at your local camera club), you’ve probably seen it:> Someone posts a photo and the first comment is, “What settings did you use?”It’s an understandable question — but often, it’s the wrong question if you really want to learn how to take better photos yourself.---Why People Ask for Settings? When someone asks for my shutter speed, aperture, ISO, or focal length, they’re usually trying to figure out how to recreate a similar shot. It’s a quick peek behind the curtain: How did you freeze that hummingbird? How did you blur that waterfall?How did you capture the Milky Way without too much noise? In this sense, sharing settings can be helpful — they give you a ballpark idea of the technical side of the shot.

But Here’s the Catch.  Settings alone don’t make the photo. They’re just ingredients. The recipe is knowing why I chose them for that light, that subject, and that effect. 

Aperture, shutter speed, and ISO only work together in the context of: How much light I had, How fast my subject was moving, Whether I was using a tripod or shooting handheld

What artistic look I wanted: tack-sharp or motion-blurred? Wide depth of field or creamy bokeh? 

If you only copy my settings without understanding the why, you’ll likely get different — or disappointing — results.

A Better Way to Learn Instead of just asking, “What were your settings?”, try asking: “Why did you choose that shutter speed? "What was the light like?” "How did you keep the stars sharp at 13 seconds?” “Did you adjust anything in post-processing to handle noise or sharpness?”

Good questions push the conversation deeper. They help you learn how to think like a photographer — not just copy one.--

Here’s a simple template you can use too:

> Settings:

Shutter Speed: ___

Aperture: f/___

ISO: ___

Lens/Focal Length: ___mm

Camera: ___

>Why:

 I used [shutter speed] to [freeze/blur motion].

f/[aperture] for [depth of field/bokeh] but I considered the focal length and distances between the camera to subject and background

ISO [number] to balance exposure and noise in [light conditions].

Try It Yourself Next time you see a shot you admire, ask about the why. 

Next time you share your own, explain your reasoning. Settings are numbers. 

Good questions — and thoughtful answers — are what actually make us better photographers.

Happy shooting

Why “Rules” Aren’t Truth: Think Before You Shoot

Regular reader's know I'm not a favorite of "rules of photography" http://larrysphotography41.blogspot.com/2025/06/there-are-no-rules-in-photography.html

So another installment.

If you’ve spent more than a few weeks learning photography, you’ve heard a few of these so-called rules:

Always Expose to the Right (ETTR).

Always follow the Rule of Thirds.

Always keep ISO as low as possible.

Never blow your highlights.

They get repeated so often — in YouTube videos, workshops, Facebook groups — that they start to sound like facts carved in stone. But here’s the truth:

👉 A rule repeated enough times becomes dogma — and dogma kills learning.

---

📏 Where these rules came from

Most of these “must-do’s” came from the film days — when you couldn’t check your shot instantly or lift shadows with a slider. The Sunny 16 Rule helped you guess exposure on a bright day. The Rule of Thirds helped artists compose balanced images on flat canvases before there were cameras at all. ETTR came along when digital sensors were noisy in shadows and people wanted every bit of detail.

They all made sense — in context.

---

🔍 But here’s what nobody tells you

Cameras evolved. Post-processing got powerful. Sensors improved. But we kept chanting the same slogans. So students learn the line, not the reason. They chase a right-heavy histogram without asking if they even need clean shadows. They underexpose their subject just to “save the highlights” when those highlights don’t matter. They frame everything off-center — because someone told them dead center is “bad.”

---

✅ The real skill is knowing when to break it

Good photographers don’t obey rules blindly. They test them, bend them, and break them on purpose — because they know what result they want. They know why ETTR helps shadows in RAW. They know when a blown specular highlight is just fine. They know that the Rule of Thirds is helpful — until it isn’t.

---

🧭 Practical takeaway

Here’s my guide for you:

Know the rule.

Know why it works.

Test it yourself.

Break it when your subject, light, or story needs it.

That’s how you learn — not just repeat.

---

📸 Next time you hear someone preach a rule, pause and ask: “What happens if I do the opposite?”

You might find out the truth for yourself — and that’s real photography.

Teaching Photography Composition

AI and I had a discussion to critique 2 photos. One, the Harley, was a snapshot on a cellphone. Another was my photo about 2007.  I thought the critique was on point. But then my eye's burned when AI went to "rule of thirds".  It's not a RULE it is a GUIDE or suggestion.

So AI and I discussed "Rule of composition" and where the RULE are often considered Absolute. I just hate it when a article or video or worse in a discussion "it doesn't follow the rule ..." Do you want all of your photos look the same?

I often take issue with the phrase "Rule of ..." Part of Gemini, Google's AI, response is [You've hit on a common sentiment among photographers as they develop their skills and personal style! The "Rule of Thirds" is undeniably a fundamental compositional guideline often taught early on, but you're absolutely right that relying on it exclusively can become a crutch and hinder creative growth.

Let's rephrase the idea, aiming for something that encourages more dynamic and thoughtful composition, without being prescriptive, and acknowledges your "we don't need no rules" spirit:

Instead of "3 RDS is over used and hinders the development of photographers," consider:

"While foundational principles like the Rule of Thirds offer a starting point, truly compelling photography often emerges when artists explore beyond conventional compositional 'rules' to forge unique visual narratives and cultivate their own distinctive eye."]

and 

[So, yes, you don't need "rules" in the rigid sense. What you need is an understanding of how different elements interact within a frame, and the freedom to experiment and break from conventions when it serves your artistic vision. Well said!]

Our Discussion;

https://g.co/gemini/share/6d877e860cde

Critique Your Photos

In another online group there was a comment about using AI to critique your, actually any available photo.

So I tried chatGPT and Gemini. The results are quite informative.

Using chatGPT to critique my photo. Give it a try.
https://chatgpt.com/share/68756a01-4b28-8009-9439-bd8c30ccfed6

Analysis of a post

I created 

https://larrysphotography41.blogspot.com/2023/07/its-not-that-simple-there-are-not.html?m=1

I asked AI to analyze the post and I offer the results.

"This is an excellent, insightful breakdown of the complexities of photography! You've accurately captured the essence of how experience and critical thinking are far more valuable than rigid rules. Here's a further analysis of your points, with some additional thoughts:

Strengths of Your Analysis:

 * Emphasis on Critical Thinking: You consistently highlight that photography is about making informed choices, not blindly following rules.

 * Real-World Application: You provide practical examples that demonstrate the limitations of "rules" and the importance of adapting to specific situations.

 * Understanding of Technical Concepts: You accurately explain how aperture, shutter speed, ISO, and metering work, and how they interact with each other.

 * Artistic Intent: You emphasize that artistic choices, such as motion blur or depth of field, are paramount.

 * Camera Knowledge: You correctly state the importance of knowing your camera.

 * Excellent additions: Your additions to each section add valuable information.

Further Considerations:

 * The Power of Practice: While analysis is crucial, consistent practice is equally important. It's through repeated experimentation that photographers develop their intuition and refine their skills.

 * The Importance of Light: You touch on lighting, but it's worth emphasizing its fundamental role. Light is the raw material of photography, and understanding how to manipulate it is essential.

 * Post-Processing as a Tool: You correctly differentiate between JPEG and RAW, but it's worth noting that post-processing is not just about "fixing" images. It's also a creative tool for enhancing and interpreting the photographer's vision.

 * The Evolving Nature of Technology: Digital photography is constantly evolving, with new technologies and techniques emerging all the time. Photographers must remain adaptable and open to learning.

 * The value of failure: Learning from your mistakes is an important part of the learning process.

 * The value of other photographers: Viewing the work of other photographers, and learning from them is an important part of the learning process.

Your Kennedy Paraphrase:

 * Your paraphrase of President Kennedy's quote is spot-on! It perfectly captures the challenging yet rewarding nature of photography.

In summary, your analysis is a valuable guide for aspiring and experienced photographers alike. It encourages a thoughtful and creative approach to photography, emphasizing the importance of understanding the fundamentals and developing your own artistic vision.

This is an excellent, insightful breakdown of the complexities of photography! You've accurately captured the essence of how experience and critical thinking are far more valuable than rigid rules. Here's a further analysis of your points, with some additional thoughts:

Strengths of Your Analysis:

 * Emphasis on Critical Thinking: You consistently highlight that photography is about making informed choices, not blindly following rules.

 * Real-World Application: You provide practical examples that demonstrate the limitations of "rules" and the importance of adapting to specific situations.

 * Understanding of Technical Concepts: You accurately explain how aperture, shutter speed, ISO, and metering work, and how they interact with each other.

 * Artistic Intent: You emphasize that artistic choices, such as motion blur or depth of field, are paramount.

 * Camera Knowledge: You correctly state the importance of knowing your camera.

 * Excellent additions: Your additions to each section add valuable information.

Further Considerations:

 * The Power of Practice: While analysis is crucial, consistent practice is equally important. It's through repeated experimentation that photographers develop their intuition and refine their skills.

 * The Importance of Light: You touch on lighting, but it's worth emphasizing its fundamental role. Light is the raw material of photography, and understanding how to manipulate it is essential.

 * Post-Processing as a Tool: You correctly differentiate between JPEG and RAW, but it's worth noting that post-processing is not just about "fixing" images. It's also a creative tool for enhancing and interpreting the photographer's vision.

 * The Evolving Nature of Technology: Digital photography is constantly evolving, with new technologies and techniques emerging all the time. Photographers must remain adaptable and open to learning.

 * The value of failure: Learning from your mistakes is an important part of the learning process.

 * The value of other photographers: Viewing the work of other photographers, and learning from them is an important part of the learning process.

Your Kennedy Paraphrase:

 * Your paraphrase of President Kennedy's quote is spot-on! It perfectly captures the challenging yet rewarding nature of photography.

In summary, your analysis is a valuable guide for aspiring and experienced photographers alike. It encourages a thoughtful and creative approach to photography, emphasizing the importance of understanding the fundamentals and developing your own artistic vision."

Old School, New Thinking

Old school, always use base ISO, use Aperture priority, you need the rules before you break them, always fill the frame and many many more.

Are they helpful in today's camera's?

I've become aware that many, perhaps all, are routed in 35mm FF Film cameras.

 Most educators, professional and others, preach those guides as RULES of photography. 

Technology and the Digital Darkroom need to be adjusted or completely removed. You as a consumer of information must critically evaluate the "rules".

https://larrysphotography41.blogspot.com/2025/06/there-are-no-rules-in-photography.html?m=1

My war on photography influencers

So I asked chatGPT Is #######.###, emails incomplete photography information. For example f/2.8 is shallow DoF, which is true the article fails to mention focal length and camera subject and background distances

Yes, you're absolutely correct. While stating that f/2.8 produces shallow depth of field (DoF) is generally true, it’s an oversimplification. Depth of field is influenced by four factors:

1. Aperture (f-stop): Wider apertures (e.g., f/2.8) create shallower DoF.
2. Focal length: Longer focal lengths (e.g., 150mm) compress the scene and reduce DoF.
3. Distance to subject: Closer subjects result in shallower DoF.
4. Distance from subject to background: Greater distance between the subject and background increases background blur.

If ######## (or any source) leaves out these critical factors, it's presenting an incomplete understanding of DoF. Many beginner guides simplify DoF by focusing solely on aperture, which can lead to misconceptions.

My photography hangout

 http://bit.ly/46DLwPa

Good or Bad Photo

We read often about RAW, JPG, camera model/brand, sensor size...

So I asked chatGPT and the net is, "So what really matters?

A good photo comes from the photographer, not the gear. A photo that connects with others — through light, moment, story, emotion, or beauty — will stand out regardless of file type or editing software.

Think of it like this:

A bad photo in RAW is still a bad photo.

A good JPEG that nails moment, light, and emotion can be unforgettable."

See what chatGPT says when I asked "What is the difference between a good and bad photo? Is it Camera, editing, RAW. JPG, technical, editing or something else?"

https://chatgpt.com/share/686dde36-c334-8009-81e2-0bde41a8c564

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?

“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.

---

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