see also:

• photography and camping main index page

• basics of creating a good photograph
• the 3L's and 3P's of photography
  • Planning, Perception (seeing), Perserverance, Light, Location, Luck
• snapshot to fine art - a digital monochrome workflow
• taking your photography to the next level, part 2, part 3
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• The Project
• Been there - done that - a reprisal against the “It's been done before”
  • “The final image that you produce is only one part of the reason for doing photography. Make the act of creation — the doing of it — an end unto itself. By doing this you will free yourself not only from the shackles of conformity, but you'll also possibly create something that no one else has ever seen before.”
• learn a new technique
• new locations
• analyze what is your preferred style is and set style goals for future works
• learning from artists:
  • Photographers and Painters - a symbiosis
• create ideas out of disconnected, almost random thoughts:
  • for example, if you are into surreal works like Brooke Shaden, try using her methods:
    • write down a series of random words for categories such as:
      • emotion
      • colour
      • subject
      • setting
      • props
      • wardrobe
      • theme
    • then select one from each category and add each of the selected together to form a possible idea and then analyze possible meanings (personal and cultural), metaphors (symbolism) and characteristics that can be attributed to the components and these then allow a flight of ideas and creativity

• On reflection
• the art of landscape photography
• framing art 
  • “Photography is not about the thing photographed. It is about how that thing looks photographed.”
• the language of photographic art
• learning to see - finding one's vision
• develop your creative vision 

• levels of abstraction
• abstracting the landscape

• Enough Already:
  • Leica M with Leica M 35mm f/2 lens, Efke 25 monochrome 35mm film, number 8 contrast filter, Imacon 343 scanner
    • “So much of what I have seen as problems for photographers in shooting film and using digital postproduction has been with the scanners they use. Frankly, most scanners are poor performers.”
    • “color negative film and chromes are just terrible products for a digital age”
    • “Color negatives are “thin” (low gamma) and designed for optical enlargement and separation. They were never designed from the ground up to be a digitally scanned product, with no intention of printing to paper.”
    • “While chromes scan better then color negative material, the film has followed a traditional path of development based on projected, high contrast images — again, it is not a medium designed for scanning and digital postproduction only.”
    • “E6 and C-41 compatible film are dead paths for a digital world. We need something new and designed exclusively for digital scanning.”
    • “Efke 25 is a high-contrast monochrome negative film, reaching a gamma of 1.0 with ease. While paper printers hate the contrast of Efke, it’s just about perfect for scanning digitally. Uniform-sized microparticles of silver create a film that does in practice something that modern T-grain emulsions just do not do. Isn’t it ironic that an old-style film and an old-style camera are a path towards modern-day image making?”

• On Location - wilderness photography alone
• Backpacking - Fuji 617, Rollei 6008i, Toyo VX125 4×5;
• trekking  - Nikon F70 35mm film SLR, 28-105mm, 70-210mm, Fuji Sensia (2001)
• lightweight backpacking  - Pentax67, camping gear (2001)

• Traveling light - 2 dSLRs, 17-35mm f/2.8, 80-200mm f/2.8, 50mm macro or f/1.4, Speedlight, Bogen 3373 light stand, umbrella adapter, Westcott 43“ Double-Folding Umbrella, snoot, gels, Pocket wizards, super clamp, Sto-Fen omni bounce +/- power pack.
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• Never Presume

• Nicky Hamilton revisits his childhood at home and reconstructs his house sets, previsualising lighting and colour palettes - The Lonely Man project