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.

---

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:

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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.

---

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 OM-D E-M5 iii 

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.