Photography is one of the most accessible forms of art available to us today. With the prevalence of smartphones, almost anyone can capture a moment and share it with the world.

But there’s a difference between taking a snapshot and creating a photograph. The former is simply a record of what happened, while the latter is an expression of the photographer’s vision and creativity. To truly create a photograph, you need to give yourself permission to play and experiment with your camera, and to accept that sometimes, you might fail.

When we’re learning a new skill, we often feel pressure to get it right on the first try. We’re afraid of making mistakes, and we’re worried about what other people will think of us if we fail. But the truth is, failure is an essential part of the learning process.

Every great photographer has made mistakes, taken bad shots, and experienced moments of self-doubt. The difference between them and someone who gives up is that they didn’t let those failures stop them from experimenting and pushing themselves to improve.

So if you want to take your photography to the next level, you need to give yourself permission to play. This means setting aside time to experiment with your camera, to try out new techniques and styles, and to take risks. It also means accepting that not every shot will be a masterpiece, and that’s OK. The more you play, the more you’ll learn, and the more your skills will grow.

Create a challenge

One way to give yourself permission to play is to set yourself a challenge. Choose a theme or a style that you want to explore, and give yourself a set amount of time to create a series of photographs.

For example, you could challenge yourself to take 10 black-and-white street portraits in a week or to create a series of abstract images using only natural light. By setting a specific goal, you’ll give yourself a framework to work within, but you’ll also have the freedom to experiment and play.

I wanted to capture some creepy vintage-looking paranormal images of ghostly specters. Using techniques like double-exposure, with vintage wet plates look. My camera Sony A7RIII does not do in-camera double-exposures, so I had to get creative. I used two different 80mm lenses to capture the original images, the Sony85mm portrait lens (beautiful dreamy sharp images) and the Lensbaby Sweet80, soft, blurry, dreamy ethereal images). I then blended them in Photoshop and add some Nik Analogue Effects with the Double Exposure too, added the Weplate look, some light leaks and dust and scratches.

Break the rules

Another way to give yourself permission to play is to break the rules. Photography has a set of conventions and guidelines that we’re often taught to follow, such as the rule of thirds or the importance of sharp focus. Sometimes, breaking those rules can lead to more interesting and dynamic images.

Try intentionally breaking a rule or two in your next photoshoot and see what happens. For example, you could intentionally blur your subject to create a sense of movement. Or you could frame your shot in an unconventional way to create a more abstract image.

Of course, giving yourself permission to play also means being willing to fail. Not every experiment will result in a great photo, and that’s OK. In fact, some of the best learning experiences come from mistakes and failures. When you take a photo that doesn’t turn out the way you wanted it to, don’t get discouraged. Instead, take the time to analyze what went wrong and think about how you could do things differently next time.

My challenge

I chose with my challenge to not get perfect focus, to intentionally miss the mark. I wanted soft blurry images which only hinted at a solid form. From a professional portrait photographer, that is certainly breaking all the rules. I got my model in position and took a photo with my 85mm lens, then switched cameras and lenses and captured my sweet80 shot, then had the model move out of the frame and captured the same photo with each lens with no model.

Of course, sometimes I liked having the face in focus, but old habits die hard, as they say. This time trying to get as much in focus as possible. The 85mm was much better suited to this task. The Sweet80 failed on this task but was perfect for the model shot.

Ask for feedback

One way to learn from your failures is to share your work with other photographers. Joining a photography community or sharing your work on social media can be a great way to get feedback and constructive criticism. Be sure to seek out communities that are supportive and encouraging, (like our Photofocus Community) rather than ones that focus solely on technical perfection.

The most valuable feedback is often the kind that helps you grow as an artist, rather than simply pointing out your mistakes.

I was pleasantly surprised that my peers (and students) actually liked my final images. They commented on the fact that I don’t take myself too seriously and am willing to challenge myself often inspires them to have a go. Once upon a time, I would belittle myself for not getting things perfect on the first try, but now I take everything as a learning experience. The good and the bad.

Giving yourself permission to play with your photography is essential if you want to grow as an artist. It means being willing to experiment, take risks, and break the rules. It also means accepting that not every shot will be a masterpiece, and that’s OK.

By playing and experimenting, you’ll learn new skills and techniques, and you’ll develop your own unique style and vision. So go ahead, give yourself permission to play and learn and grow. If nothing else, it might be fun.

From 11 – 14 May, Photo London 2023 will stage its eighth fair at Somerset House, with a varied mix of 126 leading international galleries from 55 cities, alongside special exhibitions, such as one spotlighting this year’s master of photography, Martin Parr, and another dedicated to contemporary Mexican photography. 

Ahead of the opening, our photography team whittle down the must-sees at Photo London, and around the city. 

Photo London 2023: the highlights

TJ Boulting

Inspired by her obsession with Blobbyland theme park, and formative childhood holidays, Maisie Cousins created Walking Back to Happiness, a nostalgic, unnerving and curious series of AI works showing at TJ Boulting gallery. Also not to be missed is a site-specific installation of the works circling a sculpture presented in a cupboard-like booth at Photo London, a surprising and intimate space to discover. 

The Photographers’ Gallery

Two visit-worthy shows are currently on at The Photographers’ Gallery. First is the boundary-pushing Deutsche Börse Photography Foundation Prize 2023, in which the award’s four nominees (Frida Orupabo, Arthur Jafa, Bieke Depoorter and Samuel Fosso) explore complex contemporary themes across race, ethics of collaboration, sexuality and history. On show on the floor below, ‘A Hard Man is Good to Find!’, a delectable survey of queer photographs of the male body created in London between the 1930s and early 1990s.

Robert Morat Gallerie (Photo London)

For Lena Amuat & Zoë Meyer, photography is an inventory for our visual understanding of the world. Collecting models, artefacts and specimens, the duo isolate the objects away from any historical or scientific fact in their mobile studio. The items become readymades under their seductive yet controlled perspectives. On show with Berlin’s Robert Morat Gallerie, is a solo booth of works from Amuat and Meyer’s series Artefakte und Modelle.

Homecoming Gallery (Photo London)

Homecoming Gallery will be showing Derrick Ofosu Boateng’s saturated and joyful compositions, Fenna Schilling’s mesmerising painterly collages, Pia Riverola’s nostalgic yet sensual responses, and the latest exciting addition to the gallery’s roster, Stig De Block, whose graphic perspectives document uplighting explorations. One not to be missed in terms of reading the room of contemporary photography. 

Flowers Gallery 

For the renowned Flowers Gallery’s showing at Photo London, works by Edward Burtynsky, Elger Esser, Gabby Laurent, Janelle Lynch, Shen Wei, and Lorenzo Vitturi can be seen. While all dynamic in their own right, some interesting parallels can be drawn between the artists in terms of an awareness of our landscapes and natures, through the past and present. The body too becomes a vessel through which ideas are explored in contrasting ways, also with a connection to past and present.  

Photo London 2023 runs from 11 – 14 May 2023 at Somerset House, London, with a preview day on 10 May. photolondon.org (opens in new tab)

To become a self-made sports photographer and travel the world, Lynn University alumnus Justin Cohen ’06 used his talent, passion and connections to make his dreams a reality. Cohen developed a passion for photography as an eight-year-old when his parents gifted him his first camera. Cohen always carried a camera growing up to nurture his love for photography. Cohen admits he was “that annoying friend” taking photos of every moment … 30 years later, the art of photography has given him a career and many fond memories along the way.

Cohen hails from Cincinnati, Ohio. He traded the Midwest for South Florida and took advantage of Lynn’s personalized campus experience, smaller class sizes and the chance to compete on the men’s tennis team, where he finished as runner-up in the 2006 NCAA Division II National Team Championship. While studying communications at Lynn, Cohen served as the sports editor for iPulse—Lynn’s student-run publication—and worked as a student ambassador.

Cohen leveraged his education at Lynn and held various jobs after college—starting in sales and then working with the Intercollegiate Tennis Association (ITA) in Princeton, New Jersey as the director of events and championships, overseeing all college tennis tournaments and events. Afterward, Cohen moved on to pursue a career as a full-time sports photographer.

1. Statics and movement 

By combining rigid architectural characteristics with organic structures, Michael has created an interesting interplay between a still moment and movement. The contrast turns the human silhouette into an additional graphic element of the photography and, because of this, the photograph is eye-catching and visually appealing. Integrating a person into the background allows parallels to be drawn between graphic and dynamic structures, preserving the balance within the image.

2. Strong contrasts

Dark shadow areas eliminate detail in the architectural elements and anonymize the person. “The strong contrasts go well with this silhouette image and help focus the eye on the essentials,” Michael says. The light background supports the dominant lines, creating a clear demarcation between both pictorial planes. Despite the static composition, the interaction between the light and dark parts of the image creates a certain dynamic that is characteristic of a light and shadow situation.

3. Color management 

The choice of color here radiates a sense of objectivity, allowing the image to appear clear and the details to be visible. “The colors in the blue spectrum fit well with the minimalist style of the image,” says Michael. Due to the surface structure of the material, the colors change throughout to create a unique effect. The color gradient highlights the graphic elements and demonstrates how multifaceted these components are. This interaction creates a visual contrast between color and structure.

4. Graphic elements 

By limiting the colors, the architectural elements stand out and are transformed into graphic lines. The graphic elements operate like building blocks and create a clear pictorial composition. The dominant structures skilfully guide the viewer’s gaze throughout the photograph.“This station is interesting in terms of its architecture and it offers countless possibilities when composing pictures. The windows in the background, the stairs that form diagonal lines up to the struts are all elements that help to structure the picture graphically,” says Michael.

Tech details

Camera: Fujifilm X-Pro 3 (opens in new tab)

Lens: Fujifilm XF-35mm F1.4 R (opens in new tab)

Aperture: f/2.5 

Shutter speed: 1/1700sec 

ISO: 250

Michael Eugster

Zurich-based Michael Eugster focuses on candid moments on urban streets. By observing people, he captures unique moments and documents everyday life. His work was presented at the PhotoSchweiz 2021 exhibition. 

Others in this series

When Paul Lender shows up for a pop-up photography event, it’s a little bit like a circus sideshow.

He lugs an 80-year-old Burke and James Commercial View Camera (an old-school, folding camera with an accordion-esque extension) into a venue like Lakewood’s GoodKind Coffee or downtown Cleveland’s Rebuilders Xchange, and sets up a small studio space.

A customer shows up for their allotted time, and poses. Lender carefully focuses the camera and, once things are fine-tuned, clicks the camera’s shutter for a long exposure, capturing the image on a light-sensitive plate. Then he dips the plate into a mix of chemicals, revealing and properly exposing an image, before washing and sealing the photo. Over the span of 15 minutes, Lender produces one singular portrait.

The wet plate collodion process, in action: Lender showcases the science live, and produces high-resolution images that are, at their heart, one of a kind.

At these three or four annual pop-ups and through commissions, Lender has helped to make a 170-year-old photography process a current part of Northeast Ohio’s photography world. Welcome to Cleveland TinType.

Lender is one of just a few photographs in the region who was drawn to tintype photography, and one of the only to host pop-up style events for customers to purchase his work. Greg Martin also uses the wet plate collodion process for many of his portraits, while Michael Rhodes creates tintypes partly through his involvement in the Civil War reenactment community.

“The appearance of them is so unique; I think people are very attracted to that one-off, ‘it’s gonna last forever’ appeal,” Lender says about the format. “Some people say it’s the most honest photo of themselves that they’ve ever seen.”

Pandemic Beginnings

Lender, a full-time biologist at Avery Dennison, grew up taking photographs for Willowick Middle School’s photo club and, later for Eastlake North High School’s yearbook and student newspaper. He returned to the photography hobby on the side in 2008 with his Left of Center digital photography brand, focusing on portraits, senior photos and weddings. Despite that digital focus, he was interested in tintype photography and, in 2012, even acquired a large-format camera to try it. It wasn’t until the pandemic that he decided to dive in.

“Like everybody else in photography, you got shut down. You couldn’t do inside sessions, you couldn’t do outside sessions. My kids’ activities got canceled, so I wasn’t hauling them around to ballet classes and things like that,” Lender says. “I had all this time, and I was like, ‘Well, let’s finally figure out this tintype thing.’”

Following a few phone calls to fellow tintype photographers, and hours and hours of YouTube videos, Lender finally gave the wet plate collodion process a try — a “disaster for about the first month or so.” The process involves mixing iodine with collodion, a sticky nitrocellulose material, to then coat a plate, which is dipped into silver nitrate to create a light-sensitive particle on the plate: a wet type of film, which is then developed with other chemicals.

After plenty of trial and error, Lender finally managed to figure out the formulas and how to properly expose his tintype images.

Then he decided to offer tintype photo sessions to the public, never expecting them to take off. At his pop-ups, Lender charges $75-$95 for tintype photographs, depending on the size.

“I had no plans whatsoever of generating income from the wet plate collodion process,” Lender says. “I figured it would be a very easy process to keep as a hobby because I didn’t think anybody would want to pay for it — and it turns out that quite a lot of people want to pay for it.”

Sense of Timelessness

Looking at Cleveland TinType’s Instagram, and you’ll see vibrant black-and-white eyes peering at you; chemical swirls and flecks of dust adding textures to background panels and wrinkles and smiles. Moving subjects are captured in a swirl of blur.

The imperfect, in-the-moment nature of tintype photography gives it some of its charm, Lender says.

“Every time I pour that chemistry, something a little bit different is going to happen,” Lender says. “Every single one of them is going to be different; even if I keep you standing in the same spot in the lights, there’s always that artful creation of it that’s just a little bit different.”

It’s a far cry from Left of Center’s carefully composed photographs, but it brings a creative challenge to Lender’s photography life. And, unlike digital photography, tintypes are inherently built to last and to be seen, in-person.

“A digital photo lives in a digital camera, bits and bytes on an SD card. You drop it on your computer, you maybe edit it, you post on Instagram or Facebook or TikTok or wherever, and it might never really exist beyond that, except on your phone when you show it to somebody,” Lender says. “There are tintypes from 170 years ago; there are still thousands and thousands of them. You hope that the same thing happens with the ones we’re making today.”

Lender plans on hosting his next Cleveland TinType portrait pop-up this summer. Interested customers can sign up for appointments ahead of time, once it is announced; he suggests following the Cleveland TinType Instagram or checking out his website, locphoto.com/popups, for details when they become available.

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Editor’s note: May marks Asian Pacific American Heritage Month, which celebrates the histories of Americans hailing from across the Asian continent and from the Pacific islands of Melanesia, Micronesia and Polynesia. NPR’s Picture Show will be bringing stories from these communities to our audience this month.

I developed this photo essay, Roots Hanging from the Banyan Tree, over the past three years. Photography became my therapy as I grappled with loss, grief and racial reckoning over the course of the pandemic. Searching for my identity as an Indian American woman became intertwined with the struggle to ground myself after losing my grandmother to COVID-19.

After her passing, my understanding of life and death shifted. In conversations with my mother, I learned that we both felt a sudden severance of our roots. In my grief, I grasped for memories of a simpler time. I connected with the Patil family, hoping to find a semblance of my childhood in their homes. Through documenting their daily lives, recollections of cultural rituals from my childhood began to flood back in. I also found that I was not alone in my experiences and fears of losing my connection with my heritage.

These images represent my experiences growing up between two cultures while navigating girlhood and early adulthood. I saw myself in the Patil family’s young children. While looking back through my old family albums, I found that our shared rituals and experiences were nearly identical. I suddenly felt less isolated in my experience as an Indian American and as a third-culture woman.

In their home, I was able to revisit memories as a young adult and recognize the beautiful aspects of the Indian American experience. What began as my thesis work grew into a labor of love that has shown me that my roots and cultural connection have been with me all along. As children of a diaspora, our cultural roots continue to grow and spread, but the soil is ours — we flourish where we are planted.

Maansi Srivastava (she/they) is an Indian American documentary photographer and photo editor focusing on widespread social issues through a lens of family and community. She previously worked at the Washington Post and NPR. This June, she’ll begin a yearlong photography fellowship at the New York Times. See more of Maansi’s work on her website, maansi.photos, or on Instagram, @maansi.photo.

Zach Thompson copy edited this piece.

Grace Widyatmadja oversaw production of this piece.

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