I see people making the same amateur mistakes over and over again. It’s like watching someone go to a party, but when they walk in the door, they forget everything they learned about parties. They become self-conscious and insecure.

Treat photography as a way to make art by capturing moments, not just documenting them.

A picture is worth a thousand words. A picture is worth 1,000 x 1,000 words if it’s moving, or animated. The most important lens for your camera is your story!

Go back and look at all the most famous photos of all time, and point out what was it that made them so timeless? Why are we still looking at that image? What makes it so special? Is it because there was some kind of unique physical quality to the photograph? Or was it because there was an emotional element to it?

Or is it a combination of both?

What does this have to do with you taking pictures today? When you go out shooting today what types of things should you be thinking about? What’s going on in the frame that tells a story?

Don’t just tell the story with your photos from what you did today, tell the story from what you could have done today but didn’t even try

Heads up. The next few words will change your life.

You’ve got it backwards.

The lens that’s best for any given situation is not the one on the camera, but the one in front of your face.

That lens is what you’re bringing to this party. It’s the only one that’s truly yours, and it’s the only one that has a chance at being perfect for what’s happening right now. Of course there are other lenses you can pick up and use, but it’ll never be as good as what you bring to the party yourself.

This is equally true whether you’re at a party or an interview or a job interview or a date or a business meeting or whatever else. We don’t gather information just to collect it; we gather information so that we can make choices that put us closer to where we want to be. If what you’re bringing to the party isn’t relevant, then even if you get tons of data, they won’t help move you toward your goal—they’ll just give you more options to not know what you’re doing. That’s why every time we talk about gathering information, I emphasize that it always has to be data that matters—data with deep personal meaning and relevance. Otherwise,

The 50mm focal length is near and dear to my heart, and I recommend it as the first lens to buy after you purchase a camera body.

The 50mm lens is the one that shows you what the world looks like when you’re not wearing your camera. It’s the lens that you take off before you go inside a museum or a restaurant or an art gallery.

When you stick this thing on your camera, everything looks different. As if someone took out a color filter from in front of your eyes; suddenly things are clearer, sharper, have more contrast, and stand out from each other more clearly. The colors may become richer or duller depending on the type of glass used in the lens.

The longer focal lengths compress perspective (objects closer to the camera will appear larger than objects farther away) and can make things appear smaller than they really are—both useful tools for street photography. The wider angles will make your subject look bigger than they really are, which is great for portraiture but terrible for street photography.

The 50mm focal length doesn’t give you any of these effects; it simply shows what you see with your naked eye—except now you can see it better than ever before!

If you’re new to photography, you probably know that your camera comes with various lenses. But what do they all do, and which should you use in different situations?

I’ll lay it out as simply as I can. There are three main types of lenses you should consider:

1) Wide-Angle Lenses (15-35mm)

The first lens most people buy is a wide-angle lens. These lenses have a wide field of view, and let in a lot of light. They’re great for landscapes, rooms, or any scene where there’s a lot of depth.

A prime lens is a lens that allows the photographer to change the focus of the image. In an interchangeable lens system, primes are lenses that are not zoom lenses. Usually, prime lenses have fixed focal lengths; however, there can also be zoom primes (prime lenses with a zoom range). The term “prime” comes from the fact that for photography, a longer focal length is considered more desirable than a shorter one, so most professional photographers consider a 50 mm lens to be a “normal” lens (the focal length at which perspective appears “normal”).

The two main reasons why prime lenses are preferred over zooms by many professional photographers is because they are thought to produce sharper images, and they are lighter and more compact than their zoom counterparts of similar focal length. Another reason why prime lenses are preferred is because they offer a larger maximum aperture. This is an important feature if you like shooting in low light conditions. A large aperture means that the camera can let in more light than small aperture cameras.

A typical prime lens will have a maximum aperture of f/1.4 or f/1.8, while a typical zoom will have a maximum aperture of f/2 or f/2.8. This means that if you’re doing photography in low

The problem is that the fun of photography is in the shooting, not in the post processing. We’ve all had that experience: it’s great when we take a picture, and we sit down to edit it later, and discover that we don’t like anything we did with it.

The problem is that this causes us to avoid editing altogether. It also causes us to become too dependent on our cameras’ built-in editors, which are good for taking care of simple problems quickly but fall short for more complex work.

In the middle of summer, it’s easy to forget about fall and winter. When you’re going through a hard time, it’s easy to forget that things will get better. I live in Seattle, so I’ve never seen a redwood forest except on postcards or in pictures. But when I was little, and my family would take trips to the redwood forests of northern California, I would occasionally sit and look at the trees, and think “These trees have been here for a thousand years.”

Now that I’m older, the idea that these trees have been around for a thousand years seems even more amazing to me. Sometimes when I feel discouraged, or like things are out of control, or like nothing is going right anymore, I think of those trees again. They’re still there. And they were there before any humans even existed on earth, much less thought about how long they’d be around.

As long as those trees have been around, there has been life on this planet. And as long as there has been life on this planet, there has been suffering. The suffering isn’t the opposite of life; it’s part of it. It’s not something separate from life; it IS life.