In the quiet serenity of Wendy Constantine’s world, trees stand as silent witnesses to a life shaped by the gentle dance between nature and art. As the director of product design at Pearson, and residing near Boulder, Colorado, Constantine’s artistic journey has been a winding path, meandering through childhood memories, academic pursuits, and a profound connection with the tactile allure of analog processes. Through her body of work, particularly the captivating series Reverie, Constantine invites viewers into a dreamlike realm where the intersection of analog and digital, intention and spontaneity, gives birth to images that whisper rather than shout.

Constantine’s roots delve deep into her childhood, where a converted chicken coop served as the cradle of her existence just outside Baltimore, Maryland. The journey continued to the Bay Area, where redwoods and cypress trees left an indelible mark on her soul. The image of wide trunks, windblown branches, and the filtered sunlight through leaves became the palette of her earliest memories. This love for trees became an enduring theme, shaping her worldview and finding expression in her art.

The pivotal moment, however, occurred during her college years at UCLA in the late 80s and early 90s. The threat of the art department’s elimination sparked a rebellious act – climbing a tree in protest and drawing from its branches. This act, a defiance etched in memory, marked the genesis of Constantine’s journey into the realm of visual expression. Her college years also introduced her to the art of photography, armed with an old 35mm film camera gifted by her father. This humble tool initiated her into the discipline of shooting with intention, a theme that would echo through her later work.

Calhoun County, AL – In a recent conversation with the Calhoun Journal, Lauryn Moore, the creative force behind Paw Prints Pet Photography, shared her remarkable 14-year journey in the world of photography. Over the years, she has skillfully captured the growth and milestones of families and children, collaborated with businesses in marketing and branding, and become a familiar face at local daycares and preschools, freezing moments in time for families to cherish.

However, Paw Prints is not just a pet photography venture; it’s a heartwarming tale of love and support centered around two remarkable characters: Caroline, the lovable labradoodle, and Noah, an incredible young boy facing unique challenges. Beyond the lens, Paw Prints is a platform to contribute to Caroline’s care and training and support Noah’s medical journey.

Through each session and every click of the camera, Paw Prints aims to capture the essence of furry companions while making a tangible difference in the lives of Noah and Caroline. Each photograph tells a story, each moment becomes a cherished memory, and hope is encapsulated one snapshot at a time.

Dogs, being unique individuals with distinct personalities, are the stars of Lauryn’s lens. Silly photos that capture the quirks and traits of each furry friend are her specialty, alongside timeless portraits. Paw Prints is set to host a special event on January 20th at 286 Old Hwy 202, Anniston, AL 36201, where pet enthusiasts are invited to the PawPrints Launch Paw-ty & Open House at B Inn B Kennel Club.

The event promises an afternoon of tail-wagging fun, furry celebrations, and exciting activities, including discounted Mini Sessions for capturing precious moments with pets, giveaways with paw-some prizes, treats for pets and humans, an opportunity to meet the team, and explore pet products from local vendors.

Paw Prints by Lauryn Moore Photography offers flexibility in its photography sessions. Full sessions can be done in the studio with a variety of props and treats available. Alternatively, sessions can take place in the comfort of the pet owner’s home or at selected sites, ensuring a relaxed and enjoyable experience for the furry clients. Lauryn has worked with dogs of various temperaments and sizes, from aggressive to shy and hyper to calm.

Each photography full session with Paw Prints costs $300, which includes 25+ hand-edited shots per session. Families with multiple dogs can add each additional dog for only $50. Paw Print operates as a subdivision of Lauryn Moore Photography, focusing on children and family photography.

Join Paw Prints on this meaningful journey where every photo contributes to a cause, and every wag of a tail tells a story. It’s an invitation to create lasting memories, connect with fellow pet enthusiasts, and celebrate the launch of Paw Prints by Lauryn Moore Photography. The event runs from 10:00 am to 2:00 pm, promising a paw-fect opportunity for a furry good time.

To contact Lauryn you can email at laurynbrookmoore@gmail.com or visit her facebook page.

Bison are people too…

Ok, not really, but I always find it kind of comical when people say that, especially about their pets. Your dog has emotions, feelings and a personality, but he’s not a person. Your pup is probably even better than most humans… still not a person.

Nevertheless, when we see animals displaying emotions similar to people, it makes us laugh, makes us wonder, gives us a sense of connection to the lower species.

Of course, many mammals, both human and otherwise, utilize tears as an eye lubrication system. Rabbits, goats and sea mammals such as whales and dolphins lack tear ducts, but for the rest of us, tears are a critical feature if maintaining proper eye function. In direct winds, especially cold ones, eyes dry out quickly and forces your eyes to tear up to relubricate.

However, people also shed tears to express various emotions such as sadness, anger, grief, awe, and even happiness. It’s unclear if animals can do this as well, however no science has been able to prove one way or the other.

This bison was captured in Utah shedding a tear in an amazing video from wildlife photographer Chris Henry. And while this fellas is mostly likely just trying to keep his eyes moist in the cold, you can’t help but feel like he just might be getting into his feels.

Talk about a stunning shot:

A number of commenters provided potential reasons for the melancholy mood of the bison, and they were nothing short of hilarious:

“Bros seen some sh*t in his life. Reflecting.”

“Even the animals feeling inflation.”

“Homie needs a hug.”

“Poor mans family got eaten up.”

“Ponder why it shed a tear… cause his son went to college.”

If you love wildlife, and more specifically great wildlife photography, check out Chris Henry’s page… it’s incredible.

Among the more buzzed-about shows at the top of this year’s fresh slate of winter openings is Silverlens’s solo show of photography by Filipina artist Wawi Navarroza. Navarozza has already made a splash in the Southeast Asian art scene as an up-and-comer, and Silverlens has offered the artist her first outing in the United States, showing a selection of portraiture made over the past five years, titled “The Other Shore”.

The artist draws from her experience moving between cultures—she’s lived in Manila, Madrid, and Istanbul. Shifting between bricolage self-portraits and still life photography, her choices in color, props, and poses reveal cultural signifiers that tell the story of how she encounters the various cultures she lives in. Below, check out a small selection of photos on display at Silverlens, open now through March 2.

Wawi Navarroza 2 Rocks, 2023. Courtesy of the artist and Silverlens.

Wawi Navarroza Portals / Double Portrait (Self-Portraits), 2023. Courtesy of the artist and Silverlens.

Wawi Navarroza Pretty Savage / Anthurium Minoa Theodora Sforza, 2023. Courtesy of the artist and Silverlens.

Wawi Navarroza The Fire Youʼre Made Of (Ignis Mirabilis, Self-Portrait After the Fire), 2023. Courtesy of the artist and Silverlens.

Wawi Navarroza Brave New World, 2023. Courtesy of the artist and Silverlens.

Wawi Navarroza Todo Lo Que Tengo / Bottomless / Bereket (Self- Portrait with Vessels), 2023. Courtesy of the artist and Silverlens.

Wawi Navarroza La Bruja II / Vagus (Self-Portrait Rebirthing the Self),, 2023. Courtesy of the artist and Silverlens.

Wawi Navarroza The Heart Is A Lonely Hunter/The Self-Portraitist (After Alcuáz, Self-Portrait), 2023. Courtesy of the artist and Silverlens.

Wawi Navarroza The Heap/Viva La Vida (Portrait of A Female Artist at 40, Self-Portrait), 2023. Courtesy of the artist and Silverlens.

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Well it’s a new year and the Christmas holidays are behind me.

I spent Christmas morning with Jo and her family and had both the small Sony A7 and Canon G cameras ready for anyone to pick up to get photos of gift opening around the tree and there now is a file on my computer marked 2023 Christmas.

I am still waiting for the calendar to return for Shaun’s parents. Remember I had chosen photos from our vacation on Washington’s Fidalgo Island. I expect to get a call from Walmart any day now telling me I can pick it up. I also took family photos of Jo, Shaun and their children on New Years day and will make a couple 8 x 10 prints of them to include with the calendar.

When I wrote about making the calendar I mentioned that I might print my own instead of getting a calendar and I asked Jo if she wanted to do the same thing with their calendar.

For this next year we each will choose a photograph that we have taken and I’ll print it. I’ll use 11 x 17 print paper and put an 8 x 10 photo at the top and a calendar with squares for each day at the bottom. It’ll be fun choosing a photograph for our calendars each month.

My printer is a Canon P-900 that can make prints up to 11 x 17. I had been using an Epson 3880 that printed 16 x 20 paper, but after years of print making and some unwanted lubrication by my two male cats (that have now been banned from my house except for breakfast) that well used printer will soon be in the Pritchard dump.

I lucked out finding a great deal on the used Canon P-900 with extra ink at the last Vancouver Used Camera Sale. It’s fun printing the photos I take.

As long as I have lived here I have been able to print my photographs. Before digital I had a darkroom lab in my basement with four enlargers: two for 35mm film, one for medium format and another for 4 x 5 film. Fortunately those time consuming printmaking days are gone. Printmaking with digital technology is so much better and gosh so much easier.

I have two printers, the Canon and a little Epson 4 x 6 printer. For Jo’s daughter Evinn’s birthday party I set up that little printer, took pictures of guests and gave them prints.

That was fun for everyone and I think a real hit at Evinn’s party.

Technology is really getting exciting for anyone that enjoys getting a photograph that they can hold in their hand. For Christmas Jo got a small Kodak wireless, battery-operated printer that can work with Wi-Fi using either her camera or her iPhone. That printer only makes 4 x 5 prints, but it easily fits in a small pack or purse and works anywhere.

Sure a photo file can be sent with the Internet, but gosh, taking someone’s picture and giving them a print is neat. I know we have been doing that with Polaroid for years, but a Polaroid is more expensive and the image is only on the Polaroid and not saved on a memory card.

I remember when the only way to give someone a photograph was by handing them a print. Don’t get me wrong, I really like and prefer digital, but it’s fun to give someone something they can hold in their hand and hang on the wall in their home. That’s why I like calendars and print my own photographs.

Nashville based photographer Mark Denman wrote, “When the world asks, ‘What was it like?’ only the photographers can say, ‘See!’”

Stay safe and be creative. These are my thoughts for this week. Contact me, John Enman at www.enmanscamera.com or emcam@telus.net.

Shooting the busiest scenes we encounter while traveling in Asia can be very challenging. After 15 years of running photography tours and teaching in the area, I know that busy markets and streets can either be a photography heaven or a nightmare.

In this tutorial, I will describe how I handle these scenes, inspired by all the students that I have observed over the years. I will be using locations that I often visit in my photography tours in Asia, but of course, there are thousands of other busy locations in this part of the world.

Imagine scenes like the most insane markets of Asia, whether these are busy vegetable markets or fish markets. For example, Ahmedabad vegetable market in India, Bogra vegetable market in Bangladesh, some crazy fish markets like Sassoon in Mumbai, Mirissa in Sri Lanka, or Kyeemyindaing fish market in Yangon. Or really, any streets in Dhaka or Kolkata!

These are very overwhelming scenes that give many troubles to all photographers, whether they are beginners or pros. These are very interesting scenes to photograph because of how many opportunities they offer, but these are also very difficult scenes to photograph given the amount of mess in the background and how fast our subjects are moving.

A Bit of Technical Things

In this article, I am talking about shooting the very busy places that we may encounter in Asia. Whether it is a busy market, a very busy street where there are a lot of people, a lot of moving things. And you want to capture the chaos, the mayhem of this scene. I am specifically talking now about trying to capture the atmosphere of this scene, which means using what is considered a wide-angle lens (anything from 16 to 50mm).

If you want to be a photographer who tells interesting stories, making the viewer feel like they are there, and feel the emotion of the scene, you want to be shooting a little bit wider and you want to be closing your aperture to have more in focus and tell more stories, more about the place where you are. After all, someone could be taking close-up portraits with an 85mm f1.2 in a busy market. This would help clean up the background. But would this be telling the viewer about the mayhem of this location?

Step 1: Forget Your Subjects and Focus on the Light

The first thing to do in these sorts of places is to focus on the light. Here is an example I often use when teaching in these busy locations: imagine arriving in a market with several hundred people there. There are the market ladies (or men), the clients, the traffic in between, the people carrying the goods back and forth… It is a real mayhem. If you think in terms of subject, you will have to be scanning and analyzing these several hundred faces. This is when things get very overwhelming: there is too much happening, there are too many people.

There is an easy way to remove the clutter from your brain: focus on the light.

Imagine, again, that in this very busy market, I can identify several spots where the light is interesting. Suddenly I am not looking at thousands of elements, but only these few spots of light. This is already simplifying the scene a lot.

Here are some examples of interesting light to be found in these locations:

1. The actual sunlight falling on some areas and not on others.

2. A subject in the light while its background is in the shade.

3. Light bouncing from the floor and coming back on your subjects’ faces.

4. Some amazing beams of light created by holes in a roof and dust or smoke in the air (the most dramatic!).

Once you have “found the light,” do not turn to religion yet. Now it’s time to think about your background.

Step 2: Clean Your Background

Here is one of the most challenging things to do in a very busy location! There is always a plastic bag, a white polystyrene box, or a piece of sky that will become a distraction and lead our eyes away from our main subjects.

Once you have found interesting light(s), ask yourself, “Where is the background that will give me the cleanest shot?”. Here I am talking about shooting busy scenes. One of the best things you can do when having many subjects in your frame is to have the most simple background.

It’s extremely hard to capture a busy scene with a busy background. Things are all over the place and my brain can’t appreciate a messy picture. I need the image to pop, I need my brain to quickly and easily identify who the subjects are and where they are. If I have to look closely at the photo for 5 seconds to understand it, I do not like it.

Here are some examples of clean backgrounds:

1. A simple wall.

2. A black background.

3. The sky.

4.The floor.

Step 3: Use a Foreground to Hide a Messy Background

I often find it useful to hide a messy background with a pretty foreground. And it does make sense when shooting these busy scenes: you can use a very small foreground to hide a huge messy background if you place your camera very close to this foreground element.

Once you have found an interesting foreground, think about using the rule of thirds to know where to place it in your frame, and try and fill your frame with the elements that you chose to have in your image.

Here are some examples of simple foregrounds:

1. Someone’s clothes.

2. Someone’s face.

3. An interesting texture.

4. A “storytelling” foreground.

Step 4: Play the Layering Game

You must separate all your elements so that you can create a more simple composition, which will be easier to understand for the viewers. This is to me one of the most fun moments when I take photos, which is why I call this a game. Waiting for the perfect timing and everyone is in the right place, seeing it happen on the screen or viewfinder and clicking that image perfectly. Such a source of pleasure!

Having your subjects in front of each other will simply make the image difficult to analyze for your brain to understand. The brain likes simple things, which is why shooting busy locations is hard. When walking into these types of places, I always remind my students to simplify their images as much as possible. Using a simple background is probably your best option there, but keeping your subjects separated will also help.

You can also focus on a more vertical approach to layers. If you encounter a scene where some people are up and others are down, this will help you to add more layers to your image while avoiding them being in front of each other.

This is even more valid if you like shooting silhouettes. Because your subjects are just black, having them in front of each other will create a big black mess in your frame, which is not something easy to read. You have to wait for the time when your different subjects are not behind each other.

Step 5: Use a Static Frame

By “static frame” I mean try to find some elements in your frame that do not move. In markets, it is actually quite easy as many sellers just sit in one place. You could be using these static elements to either start framing your image on one side or the other, or use them, as we talked about before, to hide a messy background.

These static elements that you find will also often lead the viewers’ eyes to the rest of the image. It could simply be a line (like a fish) or someone’s gaze. Which is important to capture at the right moment.

Examples of potential static frames in a busy location:

1. Street sellers.

2. The things that street sellers are selling (like leading like fishes, for example).

3. A car (or car’s window).

4. A building.

Step 6: Use Unexpected Foregrounds – the Beauty of Candid Photography

Now, we are almost ready. We have identified the best light, we have managed to clean our background, and we have an interesting element in the foreground. But sometimes, this is not enough. This is when you need to be aware of everything happening around you. There may be people that are about to step in front of you and that would create interesting foregrounds.

And this is why I love candid photography so much: you will encounter a lot of unexpected foregrounds that will help you create unexpected compositions. This is how we learn to create more interesting compositions: let the people in your frame move on their own free will instead of telling them what you think is good. You will be surprised by what people do and how it can instantly create a very new type of composition template for you.

Step 6: Use Your Camera’s Technology

And to achieve that, using the technology of our fancy cameras will definitely help you. And by this I mean use the tilt screen of your camera!

Behind us is the time when we used to only look into our viewfinders. We now have fancy cameras with screens that can tilt. This means we could be sitting and looking at a screen, which gives us a lot of field of view on each side of us. Use this to be able to anticipate the people who are about to walk into your frame. Are they going to be a distraction or could they be useful for your composition and story?

Step 7: Move Fast!

Now this part is less about composition but more about your general attitude when visiting such locations. It is hard for photographers to take all the time they need to create the perfect shot when standing actively. There could be people carrying heavy loads, or simple sellers that don’t want you to stand in front of their stand forever.

So you have to be swift as you do not want to disturb the people around you. To do this, you need to first identify your scene (which is what all the previous parts of this tutorial are about) and only then move into position to take the shot. This will help you not to stay in a spot for too long.

There is another element to take into consideration when taking photos in some busy locations in less visited places in Asia: if you stay in a place for more than 20 seconds there will be a crowd of people around you and it will create traffic jams. People, in this part of the world, are generally curious about visitors and want to interact. If you have been to India or Bangladesh you probably have been asked countless times in the streets “What’s your country” or “What’s your good name sir?”

This can potentially create 2 problems for photographers:

First, it may create some traffic issues and block the way for other people to do their business. And I think as travel photographers we do not want to disturb the people, who are already nice enough to let us take photos in their workplace.

Secondly, the crowd of people around you will attract the attention of the actual people you are shooting. And so instead of attending to their usual businesses, which would tell a good story for your image, your subjects may start staring at your camera or looking at the people behind you.

This is quite an important element to take into consideration when taking photos in such busy places. And you have to learn to quickly identify a scene, move in, shoot, and keep moving.

My tip here is just to first stand and watch the scene that you plan to capture and identify what potential moments could be happening. For example, if a lady selling vegetables has a good spot of light on her, with a nice background. Look around and see what happens when customers come to her. Is there an interaction? Does the woman look up to her customers which would brighten her face? Is there a money exchange between the two of them, which would tell a more meaningful story?

Once you have identified these “decisive moments” then you can be ready and jump in your spot to take the photo when you see they are about to happen again.

Step 8: Wait for the Opportune Moment

In my experience, the primary challenge when photographing these locations, whether in Vietnam, Bangladesh, India, or Sri Lanka, is to capture the scenes when everyone is engrossed in their activities. Whether they are loading or unloading trucks, working in a factory, or simply engaging in market activities such as buying vegetables, my goal is to portray the essence of what my subjects are doing. The key for me is to avoid having individuals stare into the camera while others remain unaffected.

I prefer to extract myself from the images I capture, aiming to photograph scenes where my presence minimally influences my subjects. Although my mere presence already has an impact on the scene, I strive to reduce my influence as much as possible. This approach aligns with my personal preference for images that depict authenticity. Of course, your preference may differ.

When attempting to include numerous people in my photos, I’ve encountered situations where someone in the frame is posing, smiling, and looking directly at the camera, assuming that’s what I desire. It becomes particularly disconcerting when everyone else is engaged in candid activities, and only one person is posing for the camera—unless that person looking at the camera is the main subject offering a unique expression.

As a photographer, your aim should be to capture moments when everyone is either naturally posing or entirely absorbed in their activities. This consistency is crucial for creating compelling photographic narratives. If everyone is occupied with work, but one person is posing for the camera, it disrupts the dynamic.

To mitigate this, here are some tips. Firstly, using a mirrorless camera with a tilt screen can be advantageous. The tilt screen allows you to position the camera away from your eyes, giving the impression that you’re not actively taking a picture. You can engage with people, interact, and inquire about their activities while looking away from the camera, prompting your subjects to do the same.

For those using a static frame, as described earlier, be patient and wait for the perfect moment when people’s gazes naturally create lines leading to the rest of the image.

Step 9: Attend to the Minute Details

This is the final consideration just before capturing your image, and it remains a challenge for both myself and the most advanced students on my tours: the small details at the edges of your frame.

When photographing in the most bustling locations, your brain and eyes are occupied scanning the frame, focusing on the main characters—your primary subjects—typically located in the middle or on the thirds. There’s a multitude of activities occurring, and perhaps people are in motion, requiring you to adjust your position to maintain separation between layers. Alternatively, you might be fixated on your “static frame,” anticipating moments when subjects gaze into the distance.

Despite these demands, it’s crucial to stay attentive to the small details. By this, I mean we often unintentionally crop out people’s toes or fingers while concentrating on other parts of the frame. In such cases, these seemingly inconspicuous elements matter. A small fragment of overexposed sky at the edge of your frame can become a distraction. When shooting in incredibly hectic scenes that are already challenging for our brains to decipher and comprehend, any additional distractions may render the image unreadable.

About the author: Etienne Bossot is a travel photographer based in Asia. You can find more of Bossot’s work and writing on his website, blog, Facebook, and Instagram. This article was also published here.

Wildlife photography is one of the most rewarding experiences it’s possible to have with a camera, and with young photographers like Dani Connor coming to wider attention, the future of the genre is in good hands. Starting out with portraits of the family dog and going on to make a name for herself via her video diaries on social media, Connor is currently turning her lens on a variety of different mammals in the UK and further afield.

Read more:

Macro photography, a realm often overlooked, offers photographers a unique way to transform ordinary subjects into extraordinary images. This niche pushes the boundaries of creativity, turning mundane objects into captivating subjects, and is worth a try by anyone who enjoys the photographic process.

Coming to you from Goughie, this interesting video discusses the benefits of engaging in macro photography. This journey is not just about capturing the tiny details of the natural world but also about learning and experimenting with different techniques. The video reveals how even simple tools, like a self-timer, can significantly enhance your work and reminds us that we don’t always need to lean on equipment for creating good images.

The video further explores the importance of composition in macro photography. It shows how the photographer, initially focused on getting as close as possible to subjects, realizes the critical role composition plays in creating impactful images. This shift in approach underlines a key lesson: technical skill is important, but understanding composition is crucial in elevating work from good to great. Check out the video above for the full rundown.

If you would like to continue learning about macro photography, be sure to check out “Mastering Macro Photography: The Complete Shooting and Editing Tutorial With Andres Moline!”

Macro photography, a realm often overlooked, offers photographers a unique way to transform ordinary subjects into extraordinary images. This niche pushes the boundaries of creativity, turning mundane objects into captivating subjects, and is worth a try by anyone who enjoys the photographic process.

Coming to you from Goughie, this interesting video discusses the benefits of engaging in macro photography. This journey is not just about capturing the tiny details of the natural world but also about learning and experimenting with different techniques. The video reveals how even simple tools, like a self-timer, can significantly enhance your work and reminds us that we don’t always need to lean on equipment for creating good images.

The video further explores the importance of composition in macro photography. It shows how the photographer, initially focused on getting as close as possible to subjects, realizes the critical role composition plays in creating impactful images. This shift in approach underlines a key lesson: technical skill is important, but understanding composition is crucial in elevating work from good to great. Check out the video above for the full rundown.

If you would like to continue learning about macro photography, be sure to check out “Mastering Macro Photography: The Complete Shooting and Editing Tutorial With Andres Moline!”