If I had no calendar I’d gauge my seasons by the rising sun. It seems to be better way to do things anyway. Humans are always screwing around with calendars and time and making a mess of them. Twice per year we think we’re very clever to move our clocks back or forth in the interest of “saving” daylight. It’s a ridiculous notion that does nothing but make everyone cranky on the two Sunday mornings after this feeble attempt of sorcery. Calendars and clocks cause a lot of anxiety in this world. We’d all be better off just paying attention to the sun.

An old woman pointed at the tiny fish, making a point of not smiling at all. The fishmonger picked up on the seriousness of the situation and stood up straight. Venetian women at the Rialto Market are not to be taken lightly and this particular one knew what she wanted.

Morning walks on the boardwalks of the Jersey Shore—something I experienced often in my youth—were always weird. The amusements and food concessions were meant to be experienced at night, or at the very least at dusk. Mornings on the boardwalk were akin to waking up on the on the living room couch on the morning after a party. Stale odors and bits of refuse mixed with the ambience of the misty, salt air. The rising sun revealed stragglers who seemed just a little lost. The fun was over. Morning’s clarity brought new light to the hangover of too much fun and spent adrenaline. Yes, morning walks on the New Jersey’s boardwalks were strange—but I loved them anyway.

Wild animals come into our lives for only brief moments. One must be deft at beholding them. A photographer must also be quiet and at the ready. Fiddling around with cameras and settings can mean lost opportunity. The whirring of autofocus and the thunderous thud of an SLR shutter can scare off humans in the wild, let alone other warm-blooded creatures

When I was a very young boy all the gas stations in our town had colorful, little propellors strung between posts. Designed to attract customers, the propellors would spin in the breeze and make an odd, fluttering sound that I still remember well. I’d look out the window of the back seat of our station wagon and watch the propellors in marvel. I’d roll down the window so that I could hear their sound. I’d get down low as to get a good view of the propellors in the sky. I wondered if they might take off at any moment, carrying the gas stations with them.

Sunday’s farmers market during the summer is always packed. It’s that way in the summer. No one can resist the fresh corn or the plump, red tomatoes. And the peach guy has about twenty samples on which some people gorge for about twenty minutes. They look like overgrown chipmunks, cheeks full of peach slices and the juice dripping off their chins. The long days attract mothers and their strollers and fathers and their sons. Mixed among the seasonal hoards are the regulars who I see week in and week out, even in the lean months of January when broccoli seems to be the only star of the market.

“I need to photograph more,” I said to myself on a crisp, spring day. I was in one of those artist’s slumps where I felt the desire to make something but not quite having the energy to lift myself from my chair. Instead I rocked myself into further justification for doing nothing. I looked out my window knowing that I was wasting a perfectly good day.

My dad was a people watcher. He could sit in a public place all day long and watch the world as it passed by him. I grew up in New Jersey—the outer suburbs of New York. An area ruled by autos, it was rare for us to take public transportation anywhere. But, when we did take the bus, the train, or the ferry, my dad would invent stories about the people on them. I suspect that we all play this game whether consciously or not. We label people and assume certain aspects about their lives. The mental stories become more elaborate when we’re forced into the idle observation associated with public transit.

The San Francisco waterfront was still gray from the early-morning summer fog. For the second time in two weeks I’d visited this very spot with my camera. The waterfront seemed different on this day. As I looked deep into the bay, the reflections danced with a darkness that I found compelling. Mostly amorphous, they changed as we came up adjacent to the San Francisco Bay Bridge. These long, linear reflections made me stop in my tracks. The bridge has become familiar after ten thousand visits to this waterfront, seaming nothing like it did the first time I laid eyes on it some thirty years ago. Back then the sight of the bridge made me gasp, now it brought a faint smile and a deep breath of gratitude.

I suppose that there’s a prevailing attitude among Photoshop users that there are a few go-to blend modes that are useful. The rest are thought of as curiosities, maybe a way to relieve tedium when image-editing fatigue sets in. Case in point: directly below Normal on the blend-mode list resides a mode called Dissolve. If one is driving down the road of blend-mode options, this is one exit that most people pass by. It seems like a route to nowhere.

Assign Profile…
Convert to Profile…

These are two of the most powerful commands in Photoshop—and among the least understood. They sound interchangeable. They sound compatible. Yet, even though they’re related, they are worlds apart in function. My students and clients often get into trouble with these evil twins. Let’s see if we can pull them apart and demystify their purpose.

Let’s establish this right from the start. It’s not your imagination—color management isn’t easy. It isn’t easy because your eyes and your brain and the colorful world around you are all complex. Trying to replicate the way we see and perceive is loaded with conditions and options. The world of color is certainly wonderful but it can present a bewildering mess to the uninitiated. Just try reproducing that certain shade of perfect blue in a photograph or on a lithographic printing press. But, rest assured. As much as color can be challenging, it is also ever rewarding. And the tools we have today to tame it are better than they ever have been before.

I ruin a lot of nice conversations by bringing up the subject of Lab Color Mode. It's not that people aren't interested in what Lab can do, it simply takes me too long to get to the benefits of this powerful image-editing tool. Like most color-theory discussions, there are few people who consider Lab to be cocktail conversation. One of my failings is that I'm an odd fellow who is actually entertained by color theory. So I need to be careful. Lab color theory is not something most people want to hear about. However, turning listless, lifeless, boring, or damaged photos into exciting images is a topic that many find worthwhile. So, let's start there and see where it takes us.

Thank you for capturing the world in a way no one else ever has.

Ibarionex Perello of The Phoblographer talks about 5 ways his phone has made him a better photographer.

In celebration of Earth Day enjoy this video of Chris Hadfield explaining how to take photos of the Earth from space.

Last week the Google Art Project added high-resolution scans of many of the wonderful photos housed in George Eastman House to its growing collection.

Tethered is an ongoing investigation into the tethering effect we experience in our everyday lives. It communicates this feeling by portraying what a specific period of time (e.g. 2:00pm-4:00pm) visually looks like when compressed and juxtaposed from different days of the week.

I am a big fan of natural light photography.

Don't their faces just say it all?

Empire Magazine created a series of photographs paying homage to 20 iconic movie scenes.

I have never really considered color psychology while photographing.  Frankly, I try not to consider anything because it usually ruins the moment for me. But, I want to push this a bit and possibly turn it into a project. 

Alice in WaterLand, a photo series by Elena Kalis, is imaginative, surreal, and really fun.