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Elizabeth Craig is a Beauty, Boudoir, and Fashion Photographer based in Pittsburgh, Pennsylvania. Her work ranges from weddings to portrait photography. She specializes in boudoir photography – capturing ordinary women in extraordinary ways. During her photoshoots, women of all ages are made to feel like super models while having their hair and make-up done professionally. To see Elizabeth’s work, visit her liveBooks8 website: www.elizabethcraigintimates.com

I am a mother, wife and photographer. My husband taught me everything “photography” 12 years ago. We began shooting weddings together, which we still do today. About 7 years ago, I began photographing beauty and boudoir portraiture and fell in love. This is my primary focus now and I get to live everyday doing what I love.

Q: How would you describe the aesthetic of your website?

EC: Clean and simple. I wanted the focus to be on the photography and nothing else, which is why I hired liveBooks to custom-design my site for me.

Q: How often do you typically update your website?

EC: Usually about 4 to 5 times a year. Sometimes more.

Q: How do you choose the photos that you display on your homepage?

EC: The ones that get an immediate good reaction when seen for the first time. The ones that have a clear and powerful connection in the eyes and that are visually interesting.

Q: What is your favorite new feature of liveBooks8?

EC: Definitely that it has an HTML5 responsive platform and has a very user-friendly site editor. I like that I can get things changed on my site quickly so I can save time. That’s huge.

Q: What’s one piece of advice you’d offer to someone designing their website?

EC: Keep it very simple and all about the photos. Doesn’t matter how awesome your logo is if your photos aren’t being displayed properly! It should be incredibly easy to navigate and clutter-free.

Have a website you’d like us to feature? Email us at social@livebooks.com.

Living in Melbourne, Victoria, Australia, Joshua Holko is a full-time Professional Nature Photographer who specializes in polar photography. Joshua is a fully accredited AIPP Master of Photography and member of the Australian Institute of Professional Photographers (AIPP). He has won countless awards for his photography including being names the 2015 Global Arctic Photographer or the Year.
Joshua is officially represented by Philip Kulpa and the Source Photographica Gallery in Australia and Aspen, Colorado.

To see more of Joshua Holko’s work visit his website: www.jholko.com.

Photography is at its core a still medium that we use to tell stories. The problem with much of the photography that is referenced in the blog post “Will the Real Landscape Photography Please Stand Up” is that there is no story being told by the photograph. Or rather, the story is one of technical perfection and a pretty picture.

Photography is the art of observation. It’s about finding something interesting in an ordinary place or thing. It frequently has little to do with the things you see and everything to do with the way you see them. And that brings us to the art of seeing. An art that is being lost in a sea of technical perfection. Sure it takes technical skill to set up a camera and tripod in a beautiful location with great light and make a pretty picture. It takes artistic skill, however, to create an evocative photograph with emotion and mystery.

Creating images with mystery and emotion starts with seeing with better eyes. Weather, light, and composition all play a vital role in the process but the real emotion is going to come from the story you are trying to tell with your photograph. I wrote in my book review of La Nuit du Cerf (Night of the Deer) about how photography is a subtractive process and what we exclude is often more important than what we include. Photographs are often successfully emotive because of what the photographer chose to exclude, rather than what he or she has included. Giving a sense of something is often far stronger than showing the whole thing. Leave something to the imagination of the viewer in your photographic compositions and you will find your images become stronger, more emotive and mysterious. The story does not have to be completed in a wide-angle frame that encompasses absolutely everything. It is often well worth letting the viewer fill in the blanks in their minds’ eye. After all, no photograph can compete with the stimulated imagination. The more you can fire the imagination of the viewer the more successfully emotive your photograph will become.

I cannot recall who it was who was first quoted as saying “Don’t photograph what it is. Photograph what else it is” but this statement is great advice we should all keep in mind when we are out taking photographs.

I have judged many photographic competitions over the last few years and without a doubt those photographs that are more successful are the ones that tug on my emotional strings. These photographs create a connection with the viewer that is deeper and more meaningful than the feeling a pretty picture might impart.

Learning to see with better eyes takes time but is something we can train ourselves to do. Looking at photography books or attending galleries (not just photographic galleries) and exhibitions are two good ways to improve your vision. Look at how other photographers whom you admire interpreted a scene or subject and analyze what it is that created the connection for you to the work. Think about what is is you are trying to say with your photography before you click the shutter. I frequently ask workshop participants what their photograph is about when they ask for feedback on their images – I often receive a blank stare in return. If the photograph doesn’t know what the image is about, how is the viewer supposed to know? It might be a photograph of a Penguin and that well be the answer, but the real answer should be about what the photographer is trying to say about the subject.

Lets look at this photograph of mine on Gentoo Penguins in the sea ice near the entrance to the Lemaire Channel in Antarctica as an example. This photograph is about “being left behind”. It tells the story of the Gentoo Penguins in their environment. We know (even though they are small in the frame) that there are penguins because of their distinctive shape. We know they are in Antarctica because of the giant icebergs in the background. We know they are in their natural environment as they are walking across the sea ice. Yet, it is that one lone penguin that is lagging behind that creates the emotion in the photograph. When this photograph was judged at the 2014 APPA Awards, the judges giggled and commented about the story being told. The mere fact the photograph elicited giggles speaks to the emotive content. The photograph subsequently received a Gold Award.

Now, if you put your thumb over the screen and cover up that lagging penguin then suddenly the story is now nowhere near as strong and the real power and emotion of the photograph is gone.

The same applies to the overall composition of this photograph. To the left of the large iceberg just out of frame is a large island. To the right-hand side is a mountainous peak, likewise just out frame but neither of these elements are important to the photograph so I excluded them to simplify the frame and distill it down the essence of what I wanted the photograph to be about. I wanted to tell the story about the penguins on the ice with the little feller playing catch-up. Excluding these extraneous elements not only cleaned up the frame, but it also left the imagination to fill in the blanks about what might lie just to the left and right. Our mind’s eye fills in the blanks and at least in my own case, I imagine the sea ice continually stretching out in both directions. This is far stronger than seeing the Island and mountain that are just out of frame.

Learning to see with better eyes is a core aspect to creating emotion in your imagery. Learning to use the elements available is another. Those who have travelled with me to the Polar regions know I relish bad weather. Snow, blizzards, and dramatic weather provides the perfect canvas to create emotive imagery. It doesn’t have to be Polar though – a breaking rain storm or the edge of weather will almost always provide an opportunity to tell an emotive story. The take-away to remember is that the weather provides only some of the feeling and drama to the photograph. It is your composition and choice of what you include and exclude that is going to tell the story. Remember, like all good stories, a photograph should leave the viewer wanting more. That is the key to getting emotion and mystery into your photographs.

Michael Zide is a Landscape Photographer who has chosen to depict most of his work in black and white. For the past 30 years, he has dedicated himself to perfecting his vision for landscape photography. During this period, he spent time in Martha’s Vineyard and other parts of the East Coast capturing his most iconic photographs. He now dedicates a grand majority of his time to running workshops, mentoring, and speaking about the art of landscape photography.
To see more of his work visit: www.michaelzide.com.

I came to photography in my early twenties, one of those course changes that took me by surprise. My interests suddenly changed from pursuing a career in the medical sciences to a growing interest in the arts. For someone without an aptitude to draw or paint, photography offered me the perfect path to developing my creativity and artistic self-expression. Drawn to landscape photography from the very beginning, I moved to Martha’s Vineyard when I was in my early twenties and began a 12-year project to create my own visual interpretation of this well photographed East Coast icon.

In time I became the staff photographer for a weekly newspaper and developed many of the skills necessary to eek out a living in the world of freelance. Moving to Amherst, Massachusetts in the early 1980s, I specialized in marketing photography for educational, healthcare, senior living, and business institutions. From my time on the Vineyard to the present, I have taught photography both full-time and in workshop settings.

Q: How would you describe the aesthetic of your website in three words?

MZ: Attractive, Professional, Useful

Q: How often do you typically update your website?

MZ: I change the site as my photographic galleries need updating or my current “happenings” need to be announced. I would say that happens every few weeks.

Q: How do you choose the photos that you display on your homepage?

MZ: The photographs on my homepage serve as a portal into my vision of the landscape. I choose them as representatives of the surprising moments I have found and photographed over time, hoping they keep the viewer’s attention and spark their imaginations.

Q: What is your favorite new feature of liveBooks8?

MZ: With SEO capability being so important, the new design was created to create a more user-friendly method of enhancing your internet visibility.

Q: What’s one piece of advice you’d offer to someone designing their website?

MZ: Know what purpose you want your website to serve. Keep its appearance elegant and informative. Keep it easy to navigate through, allowing the viewer to take in whatever message you are hoping to communicate.

Have a website you’d like us to feature? Email us at social@livebooks.com.

I tumbled into photography while I was struggling to stay in New York after arriving from India with less than a dollar in my pocket and a visa that only lasted a month. In 1968, my plans were to become a fold singer; New York City was full of hippies and music was everywhere. This lady was listening to me sing in the village and asked me if I would come and audition at the United Nations’ choral group. I got the part and she got me a job as a messenger and took care of my visa problem. I won the grand spires in a photo-contest that led me to a job in the United Nation’s Photo Unit as a darkroom technician.

I had worked for 20 years as a photojournalist and I had a nervous breakdown after my coverage in Rwanda in 1994. At that point, I wanted to turn my camera towards nature and wildlife. Since I come from India and tigers are endangered, I decided to turn my photography towards documenting the tigers. I am also very fond of cats.

This tiger documentary was a coincidence. Mary Fereira who is a United Nations Television (UNTV) documentary producer approached me and asked if I would be willing to share my tiger images and let them follow me while I was in the jungle in India and film with me. So last year they did the filming in India. During the 30 years I worked with the United Nations, I was a photojournalist covering crisis around the world of less fortunate people who suffered during wars and natural disasters. So to be featured as a wildlife photographer was a challenge and thrill.

I want people to be aware of the delicate situation of these tigers existence in our ever changing world and needs. I want people to realize that we all have an obligation to protect our wildlife and the land we live in. There is an ancient saying that this Earth is given to us on loan and we must take the responsibility to nurture and safekeep it for our children and their children.

Even though I have retired from my regular job as a photojournalist, I still work everyday in my studio in Yonkers. I make presentations at universities, schools, conduct workshops, and teach photography. As I am writing this, I am getting ready to leave for China on an invitation to make a presentation to 1,400 students in Beijing next week.

To see more of John Isaac’s work, visit his website: www.johnisaac.com