Hi NPN! I'm Sean Bagshaw. Ask Me Anything...no really!

[Sean_Bagshaw]

@Ryan_Stikeleather

Thanks to you and NPN for putting this together…this is really awesome!

Do you have a fitness routine that keeps you in shape, and ready to hike? I hike a lot, but I’m not sure I’m all that “fit”… I’d really like to be a more physically fit hiker. I should probably just lay off the candy bars, but let’s pretend I’m already doing that.

You bet Ryan! I’m having a blast. I do my best to stay fit. My main exercise is biking. When the weather is good I try to get one to two hours on the mountain bike every day and when the weather is bad I ride a trainer indoors if I must. I also do some hiking and trail running (trail shuffling is more how I go) and in the winter I do back country skiing. Unfortunately I do go through periods of inactivity when I’m traveling or working on a big project with a tight deadline. It can be hard to pull out of these periodic nose dives. And, instead of candy bars, we’ll pretend I’m laying off the beer and wine.

@Sarah_Marino

In what ways do you think being a member of Photo Cascadia has contributed to your professional success in landscape photography? I ask because in my previous profession, I had a really close network of colleagues and that group of people really helped me in all aspects of my career. I haven’t been able to find a similar community in photography (in part because so many photographers seem to see each other as competitors rather than colleagues), so I always look at Photo Cascadia and think you are all really lucky to have found each other.

Hi Sarah! Always an honor and a pleasure. Yes! We are very lucky to have found each other (props to NPN for that). I would say that it would be hard for me to imagine what my life would be like now without the Photo Cascadia people in my life. I think that the group has been a key part of my career, not because the group itself is a big money-making venture. But because we are all such good friends and colleagues. We support each other, bounce ideas around, give referrals, call each other on our sh*t, collaborate and cross-mojinate. I completely agree with you that having a close network is wonderful and also that many photographers are reluctant to share and can be adversarial and territorial. We are lucky that as a group we are all pretty low key, low ego, in it for the fun and camaraderie and we don’t take ourselves too seriously. Kudos to Adrian Klein for seeing that in us and bringing the group together 10 years ago. And you can come hang with us anytime!

@jessiemonsters

Hi Sean! Fellow shower avoider here, who needs em’, right? Thanks for donating your time.

I recently heard a definition of the creative process by James Clear that asserted that the creative process is “the act of making new connections between old ideas” and thus is a “task of recognizing relationships between concepts”. In thinking about creativity in this way, as imaginative connection, what has nourished (or hindered) your ability to continue to lead a creative life?

Hi Jessie! Yeah, showering just means coming in from the wilderness and cutting the photo ops short. Man…I am blown away by the quality of questions coming in from y’all. I love that idea about the creative process: “making new connections between old ideas”. For me, the source of my creative inspiration seems to almost always be the experiences I have in the outdoors. When I’m out exploring and adventuring I see, feel and think things that I am motivated to capture and communicate. I’m not a great writer or poet and probably would be a mediocre painter at best. Photography really seems to be my best option for self-expression. So it seems as long as I continue to get off my ass, be curious and traipse the planet I will find inspiration for a creative life…if I can be so fortunate.

@Todd_Grivetti

When I’m out shooting I usually burn up my buffering on the SD cards pretty fast, especially when shooting wildlife. Granted, using Canon EOS T6 and T3, they are limited. I am wondering what SD cards do you utilize and recommend?

I keep 32 and 64 GB cards in my gear, but the write speed is usually slower than I would like. There are several brands and many mixed reviews.

Hi Todd! I have to admit this isn’t a problem I run into. My work is pretty slow and deliberate and rarely “burns” anything up. I don’t shoot wildlife and even on a good light session I might click the shutter 50 times in an hour, so my buffer just laughs at me. All my cards are SanDisk (never had one fail) of varying speeds and capacities but I have never noticed a lack of write speed for my work. I know that there are some super high-speed cards out there these days. Didn’t I see a lot of people talking about high-speed Sony cards in the last few months? Check with Colby Brown maybe? He’s always on top of all the latest tech.

@GEGJr

You mentioned you chase the light more than location. I shot as a professional portrait photographer for many years but been a nature and landscape enthusiast for more years. As a portrait photog I’ve had to shoot environmental photos in all kinds of light and of course even had to make my own light despite those who say they only shoot natural light. I know professional landscape and nature photogs always say to avoid shooting between 10 and 4 on high sunny days but as a portrait photog I’ve shot plenty during those hours. My question is I’ve yet to have anyone define what good light looks like. To me all light is good if you’re shooting the right subject in the right direction at the right exposure. Can you elaborate what characteristics of light you look for as it relates to specific types of scenes or subjects?

I think like anything in photography, a lot comes down to personal taste and the look you are going for. I agree that great photos can be taken in all types of light at all times of day. There are many lighting situations that I find photogenic. A few of my favorites are:

• Low angled side light (sunrise, sunset, all night above the arctic circle in summer) for its color, softness and the way it casts shadows that bring out dimension and texture.
• Low angle back-light to create silhouettes, rim light, advancing shadows and translucent leaves and flowers.
• Twilight or other indirect lighting because it is soft, subtle and even and can also be very colorful.
• Storm light or other situations when there are big contrasts between dark and light within the scene.
• Reflected light…a common time I shoot in the middle of a clear day is in caves, canyons or shadows when light is bouncing off a surface out of the frame and illuminating shaded objects.
  These are just a few of my favorites. I search them out wherever and whenever I can find them.

[Sean_Bagshaw]

@Rick_Diffley

Thanks Sean for the opportunity to ask a question. What is your favourite location or thing to shoot in the Palouse?

My pleasure, Rick. It’s pretty hard to beat Steptoe Butte with a 400mm lens at sunrise and sunset…but that isn’t news to anyone. The road that parallels Kamiak Butte is also wonderful. I also love some of the old barns and homesteads…but they are deteriorating rapidly and falling down. I haven’t been to the Palouse in several years so I wonder how many of them are even still standing?

@Randy_Van-Winkle

Hi Sean, Thanks for doing this Reddit Style AMA! Hopefully this becomes a regular feature @David_Kingham. My question is this, what do you think the main differences are in both cognition and technical execution between a full time professional photographer and an aspiring hobbyist? And how broad is that gap? BTW - I love your videos, no nonsense and high production! Keep up the great work.

Howdy Randy. I believe @David_Kingham does plan to make this a somewhat regular thing. I think it is great!

Hmm…boy. That’s a tough question for me. I think when it comes to pros who are hard-hitting photojournalists, sports photographers and big project commercial photographers the gap is probably pretty wide. Those all require a high degree of skill to be able to hit the mark over and over again in clutch situations. They also require a lot of experience and knowledge of the subject, the client and how to deliver on time, every time in high-pressure situations. When it comes to landscape photography I think there can be a lot more overlap. Our subjects generally aren’t dangerous, they aren’t going anywhere and we can photograph them at our leisure. I have many friends who do landscape photography purely for fun and pleasure who I consider some of the best in the world. Miles Morgan is someone who comes to mind, right off the top. Look him up if you don’t know his work. I think that many of the people here on NPN fall into that category.

@raynor

Couple questions:

-What are your favorite photography books (any kind)?
-Do you still have sheep poo on your F-stop backpack for your trip to the Faroes?

Mr. Czerwinski! So nice to see you here! If any of you are ever in Crested Butte, CO, make sure to stop in and see Raynor at the Crested Butte Fine Art Gallery.

• Let’s see…I was extremely motivated and energized by all of Galen Rowell’s books back in the 80s and 90s. Art Wolfe always has captivating images and interesting perspectives. Eddie Soloway, Michael Kenna, Nick Brandt, Bill Neill…all have books that inspired. And for sheer scale and commitment, QT Luong’s monumental book on all the US National Parks called Treasured Lands.
• So much sheep poo. And a nice thank you note from Johan the farmer.

[Sean_Bagshaw]

@cody

How do you deal, or have you ever had to deal with a jealous wife (of adventures, not other women lol). Being a full time architectural/real estate photographer I’m self employed and able to get time off of work much more than my wife, so if I want to take a little trip with a buddy she gets upset that she can’t go. We do trips together but I think it still bothers her. Anyone in your circle deal with this?

Additionally, if you take a trip with your family anywhere, do you just put the camera away?

Haha! All pertinent questions for photographers with families. Jennifer and I have certainly had to work through some stuff over the years, not just around photography, but in communicating and being good partners in general. They should teach relationships in school. Communication is key…and I’m a big proponent of counseling now. The thought of counseling did not appeal to me before but I can say it was a big help in getting our wires uncrossed and understanding each other better. Jennifer wasn’t necessarily Jealous because sleeping in a truck, being cold and wet and not showering never appealed to her. But I was so focused on photography and keeping the business going that I certainly had some blinders on and wasn’t as tuned in as I should have been which caused some resentment to build over time. I only wish I knew then what I know now. Probably TMI, but you asked.
And yes…on family trips I put the camera away. I learned that a little sooner, but still took a while to see that sitting in the dark waiting for hours for me to get the shot wasn’t fun for anyone but me. I will sometimes sneak out for a sunrise shoot on family trips if I can be back making breakfast by the time everyone else gets up.

@Joel_Cleare

Have you traveled with kids? Our kids are old enough to start traveling with us. Where on this Earth have you been that has a good balance between photography and family vacationing ?

Great timing on your question. See my reply to @cody above. Yes, I have done a ton of traveling with my kids. Mostly on family trips I leave the camera behind…or I just take quick tourist snaps. Places that have lodging right in the middle of the photo ops can work, because I can get out the door before sunrise, grab some photos close by and be back before everyone else is getting up. Some examples of places that might work are National Parks, some Oregon coast towns,the Alps/Dolomites, tropical islands, Lofoten in Norway maybe.

[Igor_Doncov]

Thank you for doing this. This is a long list of questions so I don’t know if this basic question has already been asked.

What’s your preferred camera for landscape photography and why? Also, which is the lens you use more often and what other lenses do you normally carry when shooting?

[Sean_Bagshaw]

@Rob_Weir

What advice do you have about the best ways to improve your photography?

Hi Rob. Sorry for the delay. I missed you question earlier. The best ways I know to improve are:

1. Practice. Get out and do it…a lot.
2. Read about it…a lot.
3. Take classes, go on workshops, watch tutorials.
4. Get involved in a photo club or photography meet up group.
5. Hang out with other photographers.
6. Post photos and request critiques here on NPN.
7. Study the work of photographers whose work speaks to you.
8. Go to photography conferences.
9. Ask a lot of questions.
10. And practice even more.

[Sean_Bagshaw]

@Igor_Doncov

What’s your preferred camera for landscape photography and why? Also, which is the lens you use more often and what other lenses do you normally carry when shooting?

Hi Igor. My current camera is a Canon 5D Mark III. I like the build quality, resolution, image and color quality and dynamic range. I have always been a Canon user, but mostly because that’s what I know and have invested in. All of the main camera brands make excellent cameras for landscape work, several of which compete with our surpass the camera I use. But they are all quite good and the camera isn’t going to determine the photographer. I see amazing photos by all my colleagues…but I can never tell which camera they used.

I try to work with as little gear as I can to be able to take the photos I want to take. I usually have three lenses with me: 16-35mm, 24-70mm and 70-200mm. These cover almost all of the photos I take. The 24-70mm is what I often begin with, but certain situations just need a wider angle or a telephoto.

[Brian_Schrayer]

Hi Sean! First of all I just want to say thank you for taking the time to do this. Also, I want to say that your processing tutorials and YouTube channel have been very helpful for me.

My question has to do with processing. Thanks to your video tutorials I feel like I have a fairly good grasp of the “how to’s” of processing, but the area that I often struggle with is “diagnosing” my photos when I look at the RAW file in Lightroom. By “diagnosing” I just mean that I sometimes find it difficult to determine what adjustments to make and where to start with those adjustments.

I have a fairly simple workflow which involves using basic adjustments in Lightroom before processing with TK’s luminosity masks in Photoshop. My general approach is to make global adjustments to contrast and then move to midtone adjustments and if necessary to work the highlights and shadows using luminosity masks. After all of that I make adjustments to vibrance / saturation and color balance as needed and then occasionally I will also use other tools such as Orton, Dehaze, Clarity, etc.

I would be curious to know your approach for how you go about diagnosing your images in order to determine what processing tools to use. I know this is kind of a broad question and is largely dependent on the type of image (ie: high dynamic range vs. low contrast intimate scene, etc.). This might also be a good idea for a YouTube video or a tutorial series. Hint Hint!

Thank you for taking the time to respond!

[Rod_Leiva]

Hi Sean, I’ve only been doing photography for just under 2 years. After how many years of experience do you need under your belt before you could be considered a professional?

[Sean_Bagshaw]

@Brian_Schrayer

Hi Sean! First of all I just want to say thank you for taking the time to do this. Also, I want to say that your processing tutorials and YouTube channel have been very helpful for me.

My question has to do with processing. Thanks to your video tutorials I feel like I have a fairly good grasp of the “how to’s” of processing, but the area that I often struggle with is “diagnosing” my photos when I look at the RAW file in Lightroom. By “diagnosing” I just mean that I sometimes find it difficult to determine what adjustments to make and where to start with those adjustments.

I have a fairly simple workflow which involves using basic adjustments in Lightroom before processing with TK’s luminosity masks in Photoshop. My general approach is to make global adjustments to contrast and then move to midtone adjustments and if necessary to work the highlights and shadows using luminosity masks. After all of that I make adjustments to vibrance / saturation and color balance as needed and then occasionally I will also use other tools such as Orton, Dehaze, Clarity, etc.

I would be curious to know your approach for how you go about diagnosing your images in order to determine what processing tools to use. I know this is kind of a broad question and is largely dependent on the type of image (ie: high dynamic range vs. low contrast intimate scene, etc.). This might also be a good idea for a YouTube video or a tutorial series. Hint Hint!

Thank you for taking the time to respond!

Hi Brian. My pleasure and thanks for the good word.
I find that learning what you can do is much easier for some people than learning what you want to do or what you intend to do, while that comes naturally for others. I find it challenging to teach what you want to do or what you intend to do…or as you say, diagnosing the image (other than concrete things like remove dust spots), for a few reasons. When it comes to the creative aspects, I don’t think there is a single or correct answer to this question. There are virtually unlimited ways any image might be interpreted and developed. And every person will have their own intentions and stories they wish to tell through an image. That is what should guide the choices made. Also, I often have a hard time putting into words why I chose to make a particular adjustment…other than, “it just felt right”. So often my process isn’t something I can predict ahead of time. Rather, it is a series of experiments and feelings. I try something. If I don’t like it I mess with it until I do like it, or I scrap it and try something else. No two images follow the same recipe…I don’t even have recipes. I do have a general sense of what I want to communicate with an image, however. Things like, dark and brooding, brilliant and colorful, soft and subtle or complex and dimensional might be examples. Over time you do start to learn what worked for you in past similar situations which can help you reproduce that move in the present…but that’s a matter of lots of practice and experimentation.

The best way I know for putting the process in words I learned from @Tony_Kuyper. He explains the approach as playing multiple rounds of the game, “what do I think the image needs next?” The first thing you notice might be that “the image feels like it needs more contrast”. So, your job now is to figure out an adjustment that will add more contrast. Then ask the question again. “Now it feels like the image needs…” and figure out an adjustment that addresses that need to your liking. Repeat this as many times as required until you feel like the image doesn’t need anything more.

I think your general workflow is a good framework. But don’t get too locked into a set of steps. Allow yourself to do some experimentation and try taking it one element at a time, asking yourself what you feel the images needs next each time.

That’s the best I have for you. Not sure how I would turn that into a video that anyone could follow or want to watch though.

@Rod_Leiva

Hi Sean, I’ve only been doing photography for just under 2 years. After how many years of experience do you need under your belt before you could be considered a professional?

Thanks for the question Rod. I don’t think there is any set amount of time. I guess it depends on the person and also what your definition of professional is. If professional means that you get paid to do it, then I guess as soon as you can get people to pay you to do it you are a professional. If professional indicates a certain level of skill or artistry, then perhaps the amount of time would be determined by your natural aptitude and how much time you spend working on it each day. Photography clicks with some people and they get really good really fast. For example, that is my perception of my friends @chip Phillips and @Ryan_Dyar for example. They both seem to have a natural ability from the beginning (not to say that they haven’t also worked really hard to get where they are as well). I also know people who are among the best in the world, but they still do it as a hobby and don’t think of themselves as professional. To me, the term professional is more an indicator of someone’s business practices and behavior than how good an artist they are.

[Hale_Kell]

Hi Sean - thank you for your wonderful tutorials and general good advice and commentary.
I have never heard you mention using a tablet for post processing - are you a mouse guy or just a quiet tablet user?

[Sean_Bagshaw]

@Hale_Kell

Hi Sean - thank you for your wonderful tutorials and general good advice and commentary.
I have never heard you mention using a tablet for post processing - are you a mouse guy or just a quiet tablet user?

Hi Hale. I use both. I don’t use the tablet for everything like some people do. I don’t love it for things like menus and sliders. But for painting or drawing type moves I do like it.

[KenHebert]

Hi Sean and thank you & NPN for doing this. You mentioned scouting is a key element for you. Do you take notes / cell phone pics / sketch etc ? Along with that do you keep a photo journal?

[Mark_Hespenheide]

Sean, I was quite impressed by your Before/After example that you posted of “Secret Window” over the summer here: https://community.naturephotographers.network/t/secret-window-before-after-developing-example/7040.

Beyond the technical aspects of the post-processing you shared, I was struck by some of your comments at the end of the article.

Do you feel like the “after” version of the image is authentic to what you experienced in the field? Artistically embellished, but within the bounds of accepted practice? (I apologize; I don’t think I’m articulating my question well – I’m not trying to accuse you of anything)

Your comment about the extended tonal range of modern cameras making the raw file misleading or disheartening is also very curious to me. I’ve shot Sony for a long time now, 10+ years, and I find that I miss the colors of their old a850, but acknowledge that the files from the a7r2 are much more malleable. But I’m generally reluctant to push the files that far because of residual fears of hypersaturation from the early digital years.

It almost makes me want to load a point-and-shoot with some Provia or Velvia and make some record shots in the field so that I’ll have something to reference…

Thanks for any thoughts on the subject.

[Norma_Tareila-Matley]

Hello Sean,

My question is about the equipment I use.

I have worked with both B&W film and Color in the day using my beloved Leica which served me very well in its time. Now I have a Nikon D500, lighter weight 500mm 5/6 lens before many cameras trials and error. I like it for my bird photography. I also use a Fuji-XPro1 for landscapes. Just as I believe I have my camera equipment where it should be something new, more expensive comes on the market. My question is; is it always necessary to go with the “new kid on the block” or should I continue to master the equipment I have. I have confidence in my ability to take quality images. Am I missing something if I don’t go out and purchase the newest “hot item”. Right now everyone in my world are purchasing the Sony A9 with the 200-600 lens for birding. I would rather spend my time and money making great pictures. I don’t get hung up in the equipment frenzy but want my tools to work with me and for me. What is your opinion about the equipment you use and do you have an opinion about the newer cameras that are being marketed? Has the technology changed so much in the last year that it is important to consider these new products? Thank you, Norma Tareila-Matley

[frank (Frank Fang)]

Hello Sean,

Thank you for your tutorials! I feel your background in teaching makes a big difference in the content and delivery. I was curious if you ever run into former students of yours from school who have taken up landscape photography? I guess I’m imagining yourself in the field and then running into a former student who is also taking photographs. Leave it to me to ask a weird one

Regards,
Frank

[Sean_Bagshaw]

@KenHebert

Hi Sean and thank you & NPN for doing this. You mentioned scouting is a key element for you. Do you take notes / cell phone pics / sketch etc ? Along with that do you keep a photo journal?

HI Ken. I’m largely a visual person so I don’t keep too many notes or do much journaling. I also have a pretty spotty memory so I do benefit from some sort of documentation to help me remember. Cell phone pics are certainly helpful. I also make collections of locations of interest on various photo sharing platforms such as IG and 500px. I do keep a loose bucket list of places to check out in a Google document as well. But my main way of marking potential locations and remembering locations I have been to is Google Maps and Google Earth.

@Mark_Hespenheide

Sean, I was quite impressed by your Before/After example that you posted of “Secret Window” over the summer here: https://community.naturephotographers.network/t/secret-window-before-after-developing-example/7040.

Beyond the technical aspects of the post-processing you shared, I was struck by some of your comments at the end of the article.

Do you feel like the “after” version of the image is authentic to what you experienced in the field? Artistically embellished, but within the bounds of accepted practice? (I apologize; I don’t think I’m articulating my question well – I’m not trying to accuse you of anything)

Greeting Mark. Great questions. No need to apologize. This is a common thread of discussion for me and one I don’t take any offense over. It can be difficult to remember exactly what the visual experience of a scene was, and our perception isn’t just vision but combined with our other senses, thoughts and feelings. So the best I can say is my After version is authentic to how I remember experiencing the scene and I feel it communicates what my overall experience was. If it was possible to hold the photo up while also standing there in the moment, would the light, color, contrast, tonalities, focal length, perspective and depth of field match? Almost certainly not. I doubt that would be true of any image, film or digital, processed or not. But I can say that the After photo is much closer to what I experienced than the raw file is. More important to me, the After photo is what I intend to communicate about the experience. I’m not too concerned about rules or accepted practice in my work (other than being legal, honest and ethical). I don’t, to this point, do composites or illustrations, but only because that’s not where my interest lies, not because I’m against it. I’m interested in achieving an image that feels right to me and communicates something deeper than simply what I saw. That’s where my creative spark and motivation lies.

However, we all get to choose the way we do our photography and we all get to choose what we like and don’t like. I am aware that for some people, sticking closer to how the camera recorded a scene is more important than injecting one’s personal vision or voice and I think that’s a fine way to go as well. It just isn’t particularly interesting to me. I think there is room for all. The only thing that I have an issue with is when someone else tells me I’m doing my art wrong and should do it according to their set of rules to be valid. I’m fine if someone doesn’t like my work. I’m not fine if they tell me I’m outside “accepted practice”. I know that’s not what you were saying…but others have and will.

@Mark_Hespenheide

Your comment about the extended tonal range of modern cameras making the raw file misleading or disheartening is also very curious to me. I’ve shot Sony for a long time now, 10+ years, and I find that I miss the colors of their old a850, but acknowledge that the files from the a7r2 are much more malleable. But I’m generally reluctant to push the files that far because of residual fears of hypersaturation from the early digital years.

I think those of us who shot in the film days became somewhat conditioned to “believe” what came out of the camera. How the film looked when it came back from the lab…that must be how it is supposed to look. In my opinion, this thinking has carried over in ways that aren’t helpful. The fact that you miss the colors of the a850 even though you acknowledge that images from the A7rII give you much more to work with is a great example of this. Why not adjust the A7rII image to look like the ones from the a850 if that is what appeals to you? Neither camera is right or wrong. To me, the camera shouldn’t be the one determining how your images look. That’s your job. Whichever camera you use, the scene is the same and your artistic vision is the same. Let that be your guide. The camera is only making processing choices, the same as you but without any humanity or creative vision. I’d much prefer the less appealing but more malleable raw image file so I can better guide it to my intended final destination. The camera is not the artist, it’s merely the instrument collecting the raw materials for the artist. If you don’t want your images to by hyper-saturated, you get to control that. But, if someone intends to hyper-saturate their images, that’s a choice too. It may or may not agree with our personal sensibilities, but at least we get to see that person’s actual creative voice.

@Mark_Hespenheide

It almost makes me want to load a point-and-shoot with some Provia or Velvia and make some record shots in the field so that I’ll have something to reference…

If your intentions are to match the look of Provia or Velvia, then sure. But neither of those films gives any truer representation of a scene than anything else. Velvia colors can be totally crazy and the shadow detail is not at all what I see with my eyes. While different films did give us some choices for how our images would look, they were limited choices and the film still had most of the control. I much prefer having exponentially greater choice and control from today’s raw files. The fact that they aren’t finished out of the camera but contain so much malleable information is what allows us to be the creative decision-makers, not the camera.

Thanks for initiating this topic. As you can see, I have many thoughts on it.

[Sean_Bagshaw]

@Norma_Tareila-Matley

I have worked with both B&W film and Color in the day using my beloved Leica which served me very well in its time. Now I have a Nikon D500, lighter weight 500mm 5/6 lens before many cameras trials and error. I like it for my bird photography. I also use a Fuji-XPro1 for landscapes. Just as I believe I have my camera equipment where it should be something new, more expensive comes on the market. My question is; is it always necessary to go with the “new kid on the block” or should I continue to master the equipment I have. I have confidence in my ability to take quality images. Am I missing something if I don’t go out and purchase the newest “hot item”. Right now everyone in my world are purchasing the Sony A9 with the 200-600 lens for birding. I would rather spend my time and money making great pictures. I don’t get hung up in the equipment frenzy but want my tools to work with me and for me. What is your opinion about the equipment you use and do you have an opinion about the newer cameras that are being marketed? Has the technology changed so much in the last year that it is important to consider these new products? Thank you, Norma Tareila-Matley

Hi Norma. This is one of the great conundrums we all are challenged with. I don’t think there is anything wrong with updating your equipment. After all, I’m not driving the same car or riding the same bike I was 20 years ago (but maybe I should be?). However, I do not think it is important to always have whatever the latest is. The technology has not changed so much in the last year that your images will be radically better. If money is not a consideration and you enjoy having the newest gear, then go for it. On the other hand, I think that sort of gratuitous consumerism isn’t ideal for the planet.

If your budget or sensibilities indicate that you need to make a choice between things or experiences, go with experiences. You say you would rather spend your time and money making great pictures. I agree with you on that. Sometimes I get lured into purchasing something just because it is new and cool. But mostly try to buy new equipment when my old equipment wears out, is obviously out of date or when a new item will do something I can’t currently accomplish without it.

@frank

Thank you for your tutorials! I feel your background in teaching makes a big difference in the content and delivery. I was curious if you ever run into former students of yours from school who have taken up landscape photography? I guess I’m imagining yourself in the field and then running into a former student who is also taking photographs. Leave it to me to ask a weird one

I love that question, Frank. I’m not aware that any of my former students are doing landscape photography as a career and I haven’t run into any in the field yet. However, I do keep up with quite a few of them and many are into the outdoors, adventure and other types of photography. One became a fashion photographer. Another started a company that photographs cars. One is an engineer who invents GoPro accessories and camping utensils. And this one became a marine biologist who does cool adventures and takes some great photos. And quite a few of them became scientists and teachers!

[chris6 (Chris Wyatt)]

Hi Sean,
Any suggestions how how to pick a workshop or tour. As a former teacher you know that everyone has a different learning style as well as teachers having a different teaching styles. I’ve been on several tours where I first picked the location and then the photographer based on their photos. Unfortunately I’m not always getting someone who can teach or help me get better. Honestly, one was there only to shoot for himself. If they have reviews from former students they always post only the favorable ones. Would like to take more tours but I want a good photographer/teacher if I do.

Thanks for your great videos on the TK panel and how you pp your images. They have helped me a lot.

[vandana (Vandana Bajikar)]

Hey Sean. I hate using layers and masks find it very hard. This year I put goal to learn TK masks using your tutorials. How hard it is?

[Sean_Bagshaw]

@chris6

Any suggestions how how to pick a workshop or tour. As a former teacher you know that everyone has a different learning style as well as teachers having a different teaching styles. I’ve been on several tours where I first picked the location and then the photographer based on their photos. Unfortunately I’m not always getting someone who can teach or help me get better. Honestly, one was there only to shoot for himself. If they have reviews from former students they always post only the favorable ones. Would like to take more tours but I want a good photographer/teacher if I do.

Thanks for your great videos on the TK panel and how you pp your images. They have helped me a lot.

Hi Chris! I was just reading a comment on FB, I think by @Michael_E_Gordon, lamenting that we don’t have something like Yelp for photography workshops. I’m not sure how to really know what kind of workshop experience you are going to get ahead of time. If you know other photographers (IRL or online) who do workshops I would poll them. Also, here on the NPN forums could be a great place to ask for workshop recommendations. It might also work to email or call workshop leaders and interview them a bit. Sorry I don’t have a better resource for you. If you want to contact me through my website I’m glad to suggest some I know and respect. Good luck!

@vandana

Hey Sean. I hate using layers and masks find it very hard. This year I put goal to learn TK masks using your tutorials. How hard it is?

Hi Vandana! I think many people feel your pain. Layers and masks can be a tricky concept to get on terms with. That is a great goal, and you can totally do it. I’m here to support you as much as I can. I would say that before you begin with the TK Panel and luminosity masks, make sure you are comfortable with the basics of layers and masks in PS first. I have a free course called 10 Steps To Getting Started In Photoshop that might be helpful. YouTube is full of helpful tutorials as well. Also, Julieanne Kost does a great job teaching the basics and has many free videos, as does the Adobe site.

Once you feel solid with the basics of layers and masks then here is the progression I suggest for learning to use luminosity masks and the TK Panel.

1. View this video on my YouTube channel to get acquainted with the basic concept of luminosity masks.
2. Start with the free Basic V6 Panel and watch the free videos that come with it.
3. When ready, move to the TK7 Panel and work through the TK7 Video Guide to become familiar with all the features and functions of the full panel.
4. Work through the TKActions Quick Tip videos on my YouTube channel.
5. Move on to other courses that I offer.
6. Email me with any questions that come up as you go along.

I hope that helps.