The Photo.net Editors feature a Member Photographer
each month. Their portfolios consist of a broad range of categories,
including documentary, sports, concerts, portraits, fashion, and many
more. These photographers have been chosen based on the quality of
their work, their contributions to the site, and the notable success
of their careers in photography. Take a glance at these featured
Photo.net members' portfolios and brief interviews touching on their
inspiration, photographic background, challenges, and tips and tricks
as photographers. We welcome you to add your comments below each
I think art exists largely in the interaction between
the viewer and the work. This interest in engaging the viewer is part
of the reason why I am interested in creating at least a veneer of
beauty even with inherently decayed or unattractive subjects.
I started off trying to make 'good' pictures, and I
had the idea that the end product was to be something finished,
self-evident, complete-in-itself. Once I began to work in a more
concentrated way, I realized that my own experiments were valid, and
it felt more meaningful to incorporate an element of the
My work is documentary. Nothing is ever
faked...people in general know extremely
little about the reality of police and prisons...the photos need to be
capable of educating the viewer and show things the viewer thinks
should look a certain way in a different way.
Most times I start with some ideas of what I want to achieve... But
when I start photographing, and if I am in the mood, I soon forget
everything and start working on a higher level of abstraction. I let
myself be carried away and start doing things driven by intuition.
For me, it's about a combination of spontaneity and pose. I don't
usually plan ahead specifically, but when I'm shooting, I can be
deliberate and intentional while being fluid and adapting to what
comes along by accident. I try to be aware and responsive.
Working on abstracts can involve thinking in broader
strokes as regards some of the fundamentals. Letting go of some of
those preconceptions about what constitutes a successful image is
something I personally find liberating and I suppose this could be
true for other photographers.
First of all, you must love animals, because you will
spend a lot of time near them. Understand their behavior, and be
patient. Then when you are shooting you must wait for the best light,
wait for get the best opportunity, wait and wait. Keep your eyes wide
open and creativity open as well.
Landscapes or architectural subjects are
congenial to the HDR photography and so I prefer them for this
technique. It's possible to make HDR files from a single frame,
shooting in RAW and changing the exposure in the RAW converter...
One of the main reasons I do outdoor photography is
that it is a great excuse to be patient and listen to nature. I often
hear people complain about good or bad weather for shooting outdoors,
I just don't agree with that—I get outside and let chance favor my
While it is easy to find information and to look at
thousands of images, it is also too easy to skip over useful
information, to follow trends and take shortcuts—too easy to go for
the sizzle and not the bacon.
I enjoy people/street photography the most and find
it more challenging. Within a matter of seconds you
must establish a rapport with your subject, evaluate
your camera settings and compose the image.
When I was starting out, a photographer told me that
a good portrait is like the extension of a conversation, so I try to
make a connection with the subject beforehand. Even with the quick
shots, I always ask if it's OK...
By profession I'm a trained observer and for me
there's nothing more interesting than observing the world around me
and the people in it, the way they behave and interact amongst
Through my photography, I like to emphasize beauty,
as I feel that
aesthetic appreciation will lift our soul and eventually lead to
awareness and respect for the natural and cultural diversity of our