The Perceptive Photographer

Daniel j Gregory

Welcome to The Perceptive Photographer, the podcast where we explore the art, craft, and creative stories behind the lens. Hosted by Daniel Gregory, each episode takes a deep dive into the fascinating world of photography, where we chat about everything from inspiration and history to the personal journeys that shape our creative process. Whether you’re just starting out or a seasoned pro, this podcast is here to spark new ideas, share practical tips, and help you see the world in a whole new way. Tune in and let’s see where the lens takes us!

  1. 19h ago

    A revisit of audience, meaning and communication in your work

    What do you want me to look at and notice? It is amazing how much this concept of audience, meaning and what an audience has to know about your work comes up. This podcast is a revisit of an oft-discussed topic in our episodes, but nonetheless, the conversation about what we should tell an audience about our work and what we shouldn’t keeps coming up for me again and again.  So in this episode of the podcast, we return to look at what we should share and why we should share information about our work with our audience. I mean, I do get the point that some artist make that they don’t want to “taint” the audience into not having their own experience of the work. That idea comes with some big assumptions, like your audience has enough language to experience the work. So many times I hear photographers say that they like a photograph and can say no more than /i like it. It’s good. The reason for that feedback is that it is all they have in their language set to speak about an image.  I feel that the more we can understand how to help the viewer see the work, the better. This can lead to a different set of questions and considerations that we should make as the photographer to help the viewer. Questions like: What is this? can offer a simple entry point to an image, but by asking more complex questions when we make the work, we might open the door to more meaning.  Questions like: What do you want me to feel? What do you want me to consider? What are you asking me to do? These types of more open-ended questions that go beyond what is just in the frame open up a deeper conversation between the viewer and the image. As I said, this isn’t a new topic on the podcast, but one that is always worth revisiting if you are interested in deeper connections with your work behind the camera, processing, printing and sharing the work.  Also, don’t forget: if you are in Seattle, save the date for my lecture at the Photographic Center Northwest on November 5th—more details to come.

  2. Oct 5

    How long should a project take?

    Intro Welcome to episode 604 of the Perceptive Photographer podcast. Before we jump into today’s topic, how long should your project take to finish? Just a couple of quick reminders. First, if you are in the Seattle area on November 5, make sure you save that date to come down and check out my lecture on landscape, meaning and identity at the Photographic Center Northwest. Also, if you are in the central Oregon area on October 17, I’ll be doing a one-day workshop with the Cascade Camera Club on workflow and editing in Lightroom. In the afternoon, I’ll help with image triage on the photos you bring in, focusing on editing and processing. Should be a lot of fun. Today we’re talking about how long it should take to complete a project, which is a really interesting question. The short answer is it takes as long as it takes; however, a few things can impact our thoughts and approaches to working with projects. Single Image or Projects I think one of the first things that’s important is for you to decide if you’re working on single images or you’re actually working on a project. I think when we do single image photography, it’s fun. We enjoy it. It’s super interesting. But at some point, we realize we have a lot of the same sort of thing happening over and over again, and we think about how those images might relate. Thus, we start a project; even if we aren’t doing a project, we start one. Clarity of Purpose And I think as we start those projects, it’s important for us to consider the clarity of purpose around that project. Are we doing this for technical, artistic, narrative purposes? What do we need to do when the project’s done? What does it mean when we have work that we return to over and over again? Because the essence of a project is determined not by how much time it takes, but whether or not the project communicates what we want. And as I mentioned in the podcast, sometimes what we end up with is a series of small projects that roll up into a larger project a project that might take a very short amount of time or a project that might take our entire life. There is no right length of time for a project. What there is is the right amount of time for us to get what we need out of a project. That might be something as simple as how the camera works or as complex as our identity as it evolves. Conclusion As I mentioned, in the beginning, it takes as long as it takes, but what matters is recognizing when a project is actually done, versus when we’re walking away because it’s hard, or that it probably never should’ve been a project at all. Get the podcast in your inbox. And just a quick reminder: if you wanna get this delivered to your inbox, sign up for the new podcast notification email list, and I’ll make sure you get an email every Monday afternoon when the new podcast comes out.

  3. Sep 28

    5 project ideas to make project. it’s all very meta

    We are up to episode 603 of the Perceptive Photographer podcast, and this week we are going all meta meta on how to make projects. Just a quick note before we jump into the actual meat and potatoes of the podcast show notes. Save November 5 if you’re in the Pacific Northwest area to pop by the Photographic Center Northwest for my lecture on the Landscape as Language and Identity. It should be an exciting evening and will be covering a lot of different photographic concepts. For the podcast this week, as I said, we’re going a little meta. We’re talking about project ideas that help you come up with photo projects. It’s really just brainstorming ideas, but in my brainstorming I came up with meta meta as a title :).  The goal of this week’s podcast is to help you feel more comfortable with your work when you’re feeling creatively stuck. At times, when we are working on our various projects, we can get tired, and that leads to running out of steam. At that point, it can be hard, even when looking at a bunch of photographs that we feel are somehow connected, to actually turn them into a project. So hopefully these five ideas can help jumpstart your process. Personal experiences. I think if we look back over our life over the past year, there’s a lot of great stories to tell. We could tell a funny, happy, sad, or difficult story, but those experiences in life offer us a rich source of interesting ways to approach our photography.  Combine unrelated things. When you find things that, in your mind, don’t seem related, put those words together and then see what comes up. This happened really well for me when I put the words photography and music together. For you, it might be something else; groups of things like family and architecture, food and memory, movement in nature and other pairs could be great for something unique to show up. Contradictions. We’re looking for contradictions: two words that don’t seem to fit together, and then we photograph and explore what those might be. Structures that exist with other narratives and storytelling formats. Looking at how stories are told, or projects are created in books, movies, poems, and plays, is a rich source of materials. Spend some time with one of these other forms and then figure out how to adopt some of that storytelling methodology into our own photography. It is also worth recognizing that every genre has a set of concepts and tropes that it uses for its storytelling and that we can apply those as well. Hypotheticals Working with a list of what might be. Even if we don’t know how they might be possible, this should be just a fun brainstorming list of all the crazy things you can come up with. If you’re not getting very many crazy things, it’s cause you’re spending too much time trying to figure out how you might do something rather than just a list of what you might possibly do one day. Hopefully this list of five things helps you jumpstart your crazy process when you’re feeling a little stuck on your Photographic projects, or they’re feeling a little stagnant and stale. Thanks so much for joining me this week, and we’ll see you next week on episode 604.

  4. Sep 14

    Audience, company and things your shouldn’t do

    Hello, everyone! Thanks for joining me for episode 601 of The Perceptive Photographer. Before we jump into this week’s show notes, I want to take a moment to say thanks to every one who reached out with kind messages and emails during our milestone of 600 episode and to all of those of you who are listening all these years. Your support is awesome and really makes me appreciate the wonderful community around this podcast. This week’s topic is again a smash up of a few random thoughts. The first is that recently I came across an insightful essay (they all are) by Guy Tall, where he discussed the time we dedicate to viewing others’ work verse the amount of time we wished people spent looking at our work. It really stuck with me and gave me pause about how our much of our attention we want on our work and how much we actually give to other photographers’ images. I reached out to several photographers I know, asking them to compare the time they want others to spend looking at their work with how much time they actually invest in appreciating others’ art. As usual, Guy was spot on. As I thought about it more and more, I don’t think many of us take the time to immerse ourselves in the depth of others’ work. If we did, we might learn more, connect more and might even foster a little more rapid growth and inspiration in our own work. I guess what I have been thinking is that if you’re looking to make better work, spend more time looking at other’s work. Writers read, movie people watch movies, photographers should look at photographs. Once that thought ran through it picked up on a piece of wisdom my grandmother, mom and dad and other famous people often shared: “You can tell a lot about someone by the company they keep.” It got me thinking about who we spend time with photographically, and if we are I surrounding ourselves with photographers whose, conversations and critique inspires us or does it do the opposite? When I felt I wasn’t around the right influences and it showed in my work. Not always easy to fix and give up those “friends”, but it might be something we have to do for our own growth. Finally that led me back to a good old topic of am I doing what I should be doing or what I am meant to do. The time spent on looking at work, the company we keep and what we should do can be good or it can be bad. If we find ourselves in a community that doesn’t help us with our goals, we can wonder off true path. Staying focused on what we are meant to do and not what we should do isn’t always easy but the right support goes a long way in helping. Quick note if you are in the Seattle area and you’re looking for an fun experience the weekend of November 6th – 8th (2027) I invite you to join my workshop called “Landscape as Language” at the Photographic Center Northwest in Seattle! We’ll dive into how our landscape photographs are intertwined with our identities and the ways we connect to the environment around us. This master class promises to be a fantastic inquiry of how we communicate through our art, and I would love for you to be a part of it! Thank you once again for tuning in and for being such a vital part of this journey. I can’t wait to jump into the mix with you all again in episode 602 next week.

  5. Sep 7

    Celebrating 600 episodes

    Well, this marks a special episode of the podcast. Today we release our 600th episode of The Perceptive Photographer. I wanted to take a moment to say that it has been a blast to do that many, and at the same time it’s hard to grasp the significance of that number. That is roughly 11½ years of commitment to showing up every week. There are very few things in my life that last that long, so it is pretty cool to have a relationship with this podcast that is as consistent and reliable as it is. In looking back at the past 599 episodes, I feel the more fascinating part isn’t the number of episodes but rather what I’ve learned from the journey of consistently engaging with photography and creativity over such an extended period. So as I look back over these past 600 weeks thinking solely about the impact of the podcast, I came up with some things that I have learned over the years that I wanted to share. First, I’ve realized that you don’t have to be inspired to create something worthwhile (or at least what I think is worthwhile 😀). There have been more than a few weeks where creativity felt like it was gone, and doubts crept in, but I really wanted to have that podcast every week no matter what. The inspiration was in the showing up. So, I’ve learned that true consistency lies in the willingness to pay attention, dig in and celebrate everything that is in your life that might inspire you, no matter how small, and to show up regardless of inspiration. Second, I’ve come to understand that questions are far more meaningful than answers. Sustaining this podcast has been driven by curiosity for what it means to try and be present for my photography even when I don’t pick up a camera at all. I find that by having to show up every week for my creative practice, I find myself constantly asking myself what I see and what is interesting that might make my photos better or the podcast topic list. Lastly, I’ve discovered that paying attention transforms more than just the photographs; it enriches every aspect of my life. As we approach the end of this episode, it’s cool to think that 600 isn’t a finish line. There’s always more to explore, and next week, I’ll be digging into episode 601, and no, I have no idea what the topic is yet. Ha ha ha. Finally, I want to say thanks for joining me on this podcast journey. I hope that for you it continues to inspire you to look, wonder, pay attention and make more meaningful photographs.

  6. Aug 31

    Are great photographers the ones who finish their work?

    What makes something great in our work? As I sit in the studio getting ready to record this podcast, I am finding the irony of the topic to really have a stinging bite to it. As I look across the studio, I see so many things that aren’t done, from putting away images recently returned from the gallery, to still lifes yet unfinished, to the buzz of the hard drive telling me that I haven’t finished the last of the organization of keywords and collections from my travels over the past 6 weeks.  It has me wondering if getting things finished is the mark of a great artist.  I can’t count the number of conversations I have had with other photographers who, like me, don’t always finish what they start. There’s a certain weight that comes with those ongoing unfinished “projects”.  So in this week’s podcast, we’ll clean up, organize and finish a topic on our relationship with finishing our work. Before we jump in, this is episode 598 of the podcast, and I can’t believe that we are just two weeks away from episode 600 of the weekly episodes. Crazy to think that I have been doing this for 600 weeks. Finishing a podcast every week, I can finish, but that printed folio….I digress. Let’s explore what happens when things remain unfinished.  One of the biggest challenges that I think a lot of us face is when we realize that whatever we didn’t finish becomes just another line on our to-do list of things to finish. As this to-do list grows longer and longer, it can weigh heavily on our creative practice and make us think that we’re not able to successfully create anything at any time of any value. That is the trap of the unfinished; it creates in us a feeling that we aren’t able to accomplish what we set out to do on any given day. What are things that don’t get finished? One of the biggest challenges in figuring out the unfinished is that we often finish things that cost us all hours of the night to accomplish our goal, and other things slip by us.  I think, if we are honest about it and sit down and make a list of the things we don’t finish, it might be somewhat depressing at first. However, in the long run, we might actually find that things we can let go of. You know, the parts of our creative practice that don’t really matter to us, but we are told they should matter to us. And like many things we should do and shouldn’t do, they don’t need to happen to keep us moving forward. So, what are some of those unfinished projects we face? Everyone is a little different, but the biggest issue is likely the tasks we pursue endlessly with no real outcome. If we take an honest look at our uncompleted tasks, it may start off feeling a little daunting, but upon reflection, we often discover that some of these projects have no real significance anymore. Again, we feel pressured to finish, not because they genuinely resonate with us, but because we think they should.  What would it look like if we did finish things? One of the interesting aspects of thinking about this for a couple of weeks is realizing the value of having something finished, being able to take it off that to-do list, and marking it as done, for no other reason than getting to have it done. Back in my corporate job, it was a lot easier. I think that to finish things there, there were outside deadlines, outside expectations, people who wanted things done at a certain time, and to get them to be quiet and leave me alone, I would end up just doing it (ha ha), but now I’m working at my own pace, at my own speed. I find that it’s easier for me to get enamored with the new and to get frustrated by the old or what happens to me a lot; I walk out of the studio one day and come in the next and start something new for the day with no thought to yesterday. It’s easy to get discouraged when we think about things that we don’t finish, but in the long run, when we do start to make that shift, I think we end up in a much better place. I think when we finish things, we end up feeling better. We have a sense of accomplishment; we feel like we’re taking steps forward. In many cases, we now have work. We can share, showcase or look at and say, “I have developed skills that matter, regardless of our ultimate decisions on how we finish.” In many cases, the ends are more important than the means. Like all journeys, we’re not sure which road we may be on, but we do know that once we reach our destination of having something successfully finished, things work out better. So how do we get more finished? This is one of the hardest things, I think, because for each of us, there’s something different that gets us to finish; each of us is motivated by different things and inspired by different things. Some of us are more apt to finish than others, but one of the important things I mentioned earlier is to go back to that initial to-do list of the things you wish you had finished, and this is where the important part comes in. We have to decide what is actually worth finishing. Working on a project that goes nowhere and offers no value isn’t something that needs to be finished. Often, we start things because we need to try things, learn things, experience and experiment. We don’t have to clean the plate if we don’t like the food. By letting those things go as needing to be finished, we make space and room for other things to happen, and I think for me that’s the big inside. Is it finished? Doesn’t necessarily mean completing it; it just means I’m ready to walk away from it with purpose and with intention, not because of some arbitrary reason of avoidance, insecurity, anger, or whatever else is brewing in me on that day. For me, the big thing that helped was to grab a couple of highlighters on that list and mark off the ones that mattered, the ones I could let go, the ones that I could do quickly and the ones that would take a long time. Just having that structure helped make a big difference. I also think it allowed me to recognize that there are times and places where other priorities may show up. We can accept that. Now I don’t think that is reflected in that box of things that needed to be moved to the shed that’s been sitting by my studio door for four weeks. That probably could be moved to the studio around the corner in 30 seconds and no longer be on the unfinished list. Still, we have to know what those tasks are. We have to figure those things out. That’s part of our struggle. So this week I would encourage you to spend a little bit of time thinking about your unfinished list and decide what matters to you and what doesn’t. I think the worst thing that could happen is you might free up some time and free up some headspace, and in the best case, you might find that there are a lot of things you could finish quickly and take a lot of pride in your work if you just gave yourself that last little bit of time to focus in and finish something amazing. To sum it all up, finishing projects matters because they provide us with clarity, success, and ultimately, a deeper connection to our creative passion. Don’t shy away from what you have on your plate, even if you walk away.  Recognizing which pursuits resonate with you will illuminate the paths that truly inspire and excite you.

  7. Aug 24

    Your better at sales than you think

    The Sales Pitch I was recently talking with a friend of mine who is an absolutely incredible salesperson. You can walk into his studio to bring him a cup of coffee, and within five minutes you’ll probably be discussing whether you need a painting or a sculpture. He is good at art, and he is good at selling his art. And it got me thinking about how often photographers say, “I’m terrible at sales.” But like my friend, maybe we aren’t that bad. Maybe we’ve simply been thinking about the wrong kind of sales. In this week’s podcast, episode 598, we’ll discuss the right way to think about sales and a sales pitch. Because every time we make a photograph, we are actually making a sales pitch. We are assessing whether what we are seeing, editing, processing, sharing, and printing is worth the cost. In this case, I think cost is equal to attention. I know that some of you think the word sales is bad, and sales is one of those words that makes a lot of photographers uncomfortable. We often say we aren’t good at selling our work, talking about our photographs, or sharing what we create. But here’s the thing: photographers are making sales pitches all the time. We’re just usually selling the photograph to ourselves. We buy our own products. When you’re walking around with your camera, and something catches your attention, you begin a conversation with yourself: There’s something here. You look at the light, color, composition, moment or whatever. You move around. You might change lenses or wait and convince yourself that it is time to press the button. That’s your first sales pitch to yourself. You sold the making of the photograph. The second time you make a sales pitch to yourself is when you edit. Out of hundreds of photographs, how do we decide which ones deserve our time and attention? We’re asking again: Is this photograph worth working on? Is there something I can develop here? Again, making the sales pitch. Now, I am not saying that we always get our sales pitches right. I mean, if you are like me, you have fallen for some bad sales pitches and bought some bad stuff over the years. The photos are no different, but rather than saying I was suckered on a bad deal, I call it useful feedback. 😀 Sharing is sales The same thing happens when we share our work. WE are making the pitch again. This time we might consider an external audience, but we have to remember there’s a big difference between “I believe in this photograph, therefore I want to share it” and “People liked this photograph, therefore it must be good.” The first begins with our own conviction. The second gives that conviction to somebody else. Printing is really a big sales pitch. Printing takes the idea even further. When I commit a photograph to paper, I’m saying I believe enough in it to invest my time and materials. The cost goes up. I have to really do a sales job when I am printing work to have it, or to sell it; the story, value proposition, evidence all have to point to something good, or I end up with a Midnight Home Shopping Network binge buy of a photo on my wall. Wrapping it up Ultimately, we’re not really selling photographs. We’re selling ourselves to our work. We’re deciding what is worth noticing, photographing, selecting, editing, processing, sharing, and printing. The goal isn’t to know which photographs are objectively good. It’s to become better at recognizing which photographs we believe in and when we push our creativity with a hard sell. Thanks for listening, and I’ll see you in the next episode.

4.9
out of 5
58 Ratings

About

Welcome to The Perceptive Photographer, the podcast where we explore the art, craft, and creative stories behind the lens. Hosted by Daniel Gregory, each episode takes a deep dive into the fascinating world of photography, where we chat about everything from inspiration and history to the personal journeys that shape our creative process. Whether you’re just starting out or a seasoned pro, this podcast is here to spark new ideas, share practical tips, and help you see the world in a whole new way. Tune in and let’s see where the lens takes us!

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