In this episode of the Perceptive Photographer Podcast, we discuss the impact of the “New Topographic—A Man-altered Landscape” exhibition on modern landscape photography.

The New Topographics opened in 1975 at the George Eastman House, curated by William Jenkins. Unlike traditional landscape photography from earlier in the 20th century, employing romantic lighting and composition to evoke feelings of awe and beauty, the new topographic presented a stark, documentary-style approach. Instead, the new topographics focused on the man-altered landscapes resulting from human activity, such as urban sprawl, industrial sites, and suburban development.

This approach meant viewers were forced to confront an uncomfortable set of truths about the state of the environment and the impact of human activity on the land. The photographs depicted mundane and unattractive scenes such as empty parking lots, urban sprawl, or strip malls that asked us to view beauty versus what we could see.

For me, one of the key aspects of the new topographics was the shift in the conversation to be more about environmental issues as a whole we do versus what we could save. The new topographics did not overtly make political statements, yet they compelled viewers to engage with the political implications of the photographed landscapes. By documenting the realities of urbanization and industrialization, these photographers forced us, as viewers, to confront the possible consequences of their actions on the environment.

I encourage you to reflect on their own photographic practices and the messages they wish to convey through their work. Not just as an attempt to be a new topographic photographer but rather as something that matters to you in your work. Are you drawn to the untouched beauty of nature, or do you find yourself more interested in the impact of human activity on the environment?

The new topographic serves as a reminder of the importance of seeing the world around us and using photography as a tool for dialogue about what matters to us, even if what we end up photographing isn’t all pretty.

Well, after listening, I hope you better understand the nature of the New Topographic and how to think about your own work. If you are interested in exploring those themes more hands-on with some guidance, check out my Meaningful Imge Core course for 2025 on my website.

Welcome back to another episode of the Perceptive Photographer podcast, as we continue our exploration of the distinctions between simplicity and minimalism in photography. If you missed the first part, I highly recommend catching up at some point with part one where I cover some of the more central differences between the two.

While simple compositions can be clean and balanced, minimalism takes it a step further by intentionally focusing on space, form, geometry, and shape. Every element in the frame should serve a purpose. When making an image ask yourself why each component is there and what it adds to the overall composition. Minimalism is about revealing the essence of your subject. Remove anything that doesn’t contribute to the viewer’s experience.

I like to think of it as a deconstruction of subject that is core to the final frame, which involves breaking down the environment to its most essential elements and only those elements. For example, in Hiroshi Sugimoto’s classic photograph, the horizon line is centered, and the image consists solely of sky and water, devoid of any distractions. By reducing elements, viewers focus on what truly matters in the frame.

Negative space is a cornerstone of minimalist photography. It creates a sense of openness and contemplation, allowing us to focus on the subject without the clutter of additional elements. Negative space is really about two things: isolating your subject, making it the focal point of the image and helping to define form and shape of the thing in the frame. . Negative space can evoke be an effective tool to evoke range of emotional responses, from calmness to loneliness. Be mindful of these nuances when composing your shots.It is also important to call out that successful minimalist photographers often exhibit a repetition of themes, forms, and processing styles, which helps convey their artistic vision. Elements like line, symmetry, and balance become more pronounced when distractions are removed. 

Minimalism is often appreciated for its profound psychological impact when we look at the image. The emotional responses elicited by negative space and minimal content can vary widely, depending on the viewer’s interpretation.Both simple and minimalist photographs have their own merits, and neither is inherently better than the other. The key is to explore minimalism in your work and consider the intentional choices you make in your compositions. As you delve into this style, remember the importance of intention, the power of negative space, and the emotional impact your images can have.

Welcome to another deep dive into the world of photography! In episode 523 of the Perceptive Photographer Podcast, released on March 17, 2025, I wanted to take a moment to honor my late brother on his birthday, which coincides with St. Patrick’s Day. I’ll be raising a toast with a glass of Midleton Irish whiskey in his memory tonight.

I had promised this two-part podcast as while back but just now am getting to it. So thanks to all the listeners waiting on the concepts of simplicity and minimalism in photography.

Historical Context of Minimalism

To truly grasp the essence of minimalism in photography, it’s essential to understand its roots. Minimalism as an art form emerged in the 1950s and 1960s as a reaction to the emotional intensity and spontaneity of abstract expressionism. Artists sought to strip away these elements, focusing instead on structure and order. This movement emphasized reducing elements to their most essential forms, a principle that has profoundly influenced minimalist photography.

Characteristics of Minimalist Photography

Minimalist photography is characterized by:
Negative Space: Utilizing empty spaces to draw attention to the subject.

Limited Color Palettes: Often monochromatic or using very few colors to maintain simplicity.
Geometric Shapes and Patterns: Emphasizing form and structure over content.

Two of the most well known minimalist photographers, Hiroshi Sugimoto and Michael Kenna, exemplify these characteristics in their work. Their images often invite viewers to engage with the form and structure, leading to a more contemplative experience.

Simplicity in Photography

In contrast, simplicity in photography aims to clean up distractions while still providing context. For instance: A portrait might use a shallow depth of field to focus on the subject while retaining enough background detail to convey the setting. Simple photographs often tell a story or convey an emotion, making them more accessible to a broader audience. Again with the core focus on the subject not the form, space and objets.

Key Differences Between Simplicity and Minimalism

While both approaches can yield meaningful results, they require different perspectives:

Narrative vs. Conceptual: Simple photography often tells a narrative or emotional story, while minimalism invites viewers to engage with the conceptual aspects of the image.

Context vs. Abstraction: Simple photographs provide context, whereas minimalism focuses on abstract representation of form and shape.

Actionable Tips

Identify Your Intentions

Before you start shooting, ask yourself what you want to convey with your photograph. Are you aiming to tell a story or evoke an emotion (simplicity), or are you focusing on the form and structure (minimalism)?

Use Negative Space Wisely

In minimalist photography, negative space is your best friend. It helps to draw attention to the subject and creates a sense of balance and harmony in the image.

Limit Your Color Palette

To achieve a minimalist look, stick to a limited color palette. This doesn’t necessarily mean black and white; you can use a few complementary colors to maintain simplicity.

Focus on Geometric Shapes and Patterns

Look for geometric shapes and patterns in your environment. These elements can add a sense of order and structure to your minimalist photographs.

Clean Up Distractions

For simple photography, focus on cleaning up distractions in your frame. Use techniques like a shallow depth of field to isolate your subject and keep the background uncluttered.

Reflect on Your Work

Take time to reflect on your photographic practices. Consider when to focus on simplicity versus minimalism in your work. Understanding the intention and context behind your photographs can significantly enhance their impact.

Upcoming Workshops

I’m am letting you know that some spaces have opened back in my my upcoming workshop, “Seeing Color,” where we’ll delve deeper into these concepts and explore how color can influence . You can register or reach out with any questions on my site.

Conclusion

As we wrap up this episode, I want to express my gratitude to all of you for your support and engagement. I look forward to continuing this discussion in the next episode, where we’ll further explore the nuances of simplicity and minimalism in photography. Until then, keep reflecting on your intentions and experimenting in your work.

I am participating in the Photoshop Creativity Summit at the end of the month and one of my sessions is on the processing of framing and getting your work onto the wall. That session has really had me thinking about the impact of finishing the work and what it means to finish the work. Over the years, I have made a lot of photographs that have been processed or even printed that just ended up on the hard drive or in a box.

Yet some of these images make it to the wall. When they do make it to the wall it has shifted my perspective and appreciation of those images so much more, so in today’s podcast, I spend sometime reflecting on and pondering the value of actually fully finishing the work.

In episode 521 of the Perceptive Photographer Podcast, I dive into the Hawthorne effect and its impact on photography. I chat about how observing and photographing can change our behavior and perception. Reflecting on my own experiences, I discuss how having a camera in hand alters my awareness and creative process. I also touch on the differences in photographing people versus landscapes. Don’t forget about the upcoming photography events, including the Photoshop Creativity Summit 2025 and the Meaningful Image Workshop. I encourage you to reflect on your own experiences and thank you for your continued support.

In this episode of “The Perceptive Photographer,” I celebrate the podcast’s ten-year anniversary, marking its 520th episode. I reflect on the significance of milestones in my photographic journey and the evolution over the years. I emphasize the importance of recognizing and celebrating achievements, no matter how big or small. I encourage you to look back at your past work to appreciate your progress and to celebrate your own creative milestones.

In this episode of the Perceptive Photographer podcast, I take a step back to reflect on the evolution of a photographer’s journey—your journey, my journey, and the ever-changing creative path we all walk. I share some of my own experiences that shifted my relationship with photography, and I explore the pressures that come with making images in today’s world.

Maybe you’ve felt it too—that weight of expectations, the pull of past successes or missed opportunities, or the feeling that you should be further along than you are. But what if, instead of holding onto those old benchmarks, you allowed yourself to be fully present with who you are right now? What if you gave yourself permission to take risks, to explore, to trust that growth doesn’t always look like a straight line?

This episode is an invitation for you to embrace your own creative evolution. To push beyond your comfort zone. To recognize just how far you’ve come and to step into the next phase of your artistic journey with openness and curiosity.

Let’s reflect together and keep moving forward as artists.

Don’t forget the upcoming Photoshop Creativity Summit, happening from March 23rd to 26th.

In this episode of The Perceptive Photographer, I explore the nature of knowledge—what we know, what we don’t know, and the even more elusive realm of what we don’t know we don’t know. This idea is especially relevant in the creative process, where growth often comes not just from refining our skills but from stepping into the unknown with curiosity and openness.

One of the key themes I discuss is the role of play and experimentation in creativity. As children, we naturally embrace play, testing ideas without fear of failure. Yet, as adults, we often lose that ability, held back by self-doubt, the fear of making mistakes, or the pressure to create something “successful” rather than simply exploring possibilities.

Creativity thrives in uncertainty, but that can be an uncomfortable space to inhabit. By intentionally seeking out moments of not knowing—whether it’s trying a new technique, exploring a different subject matter, or questioning our own assumptions—we create opportunities for deeper artistic growth.

I encourage you to embrace uncertainty, challenge your habits, and push beyond your comfort zones. The unknown isn’t something to fear; it’s where creativity truly comes alive.

Don’t forget the upcoming Photoshop Creativity Summit, happening from March 23rd to 26th.

In this episode of The Perceptive Photographer, I explore the idea of focus—not just in terms of sharpness or camera settings, but the deeper reasons behind why we take the photos we do. Using the classic journalistic questions—who, what, when, where, why, and how—I reflect on how these can help us connect more emotionally with our work. Photography isn’t just about capturing what’s in front of us; it’s about understanding our motivations, the emotions we bring to the moment, and how we translate that into meaningful images.

I talk about how our audience, whether real or imagined, shapes the way we shoot. I also consider the role of our emotional state—how our feelings influence composition, subject matter, and the stories we tell. While technical skills matter, I emphasize that photography is ultimately about expressing something personal. Balancing the mechanics with a deeper sense of purpose allows us to create work that feels both intentional and resonant.

Along with these ideas, I share details about an upcoming artist talk and gallery show in Seattle with fellow photographer Nikki. If you’re in the area, I’d love for you to join the conversation. After all, photography isn’t just about making images—it’s about connection, storytelling, and seeing the world in a way that’s uniquely your own.

In the latest episode of “The Perceptive Photographer,” I dip my toe back into the pool of critiquing photographs. Critique is more than just forming an opinion; it’s a structured approach to understanding and evaluating photographic work. In this episode, I’ll try to offer up some advice to help you improve your critique skills. We start with a Quick Look at critical Theory and m ethodology

• Critical Theory: This refers to the assumptions and ideas we bring to the critique. It has its roots in academic discussions, such as those from Frankfurt University, where it was initially developed to study Marxism and consumerism. In the art world, this concept helps us analyze and interpret various forms of artistic expression.
• Methodology: This encompasses the specific processes we use to analyze the work. Different methodologies can lead to varied interpretations of the same photograph, highlighting the subjective nature of art critique.

As I have discusses many times on the podcast, one my the core principle in the critique process is the importance of suspending judgment. It’s crucial to set aside initial assumptions about a photograph—whether you perceive it as good, bad, or interesting—until you’ve thoroughly examined it. This approach allows for a more objective analysis and helps prevent personal biases from clouding your critique.

Many of us, myself included, often seek to validate our initial beliefs about a photograph rather than objectively assess its merits. This tendency can lead to a skewed critique process, where we force our opinions onto the work instead of allowing the work to inform our understanding. It’s essential to approach critique with an open mind, letting the photograph guide your analysis. When critiquing a photograph, consider the questions you’re asking yourself and the motivations behind your critique. For instance:

• What am I trying to understand?
• Is it the technique, the concept, or the emotional impact of the work?

By clarifying these questions, you can better navigate your critique process and gain deeper insights into the work.Conclusion

Critiquing photographs can be a challenging process. By suspending judgment, asking the right questions, exploring different methodologies, and considering the context, you can approach critique with greater clarity and intention. Engaging in meaningful dialogue and participating in critique workshops can further enhance your skills and appreciation for the art of photography.

I hope episode 516 can help you improve your critique skills a bit. Always remember, the goal is not just to evaluate a photograph but to understand and appreciate the depth and complexity of the work.