I recently met with a photographer I’ve been working with on a once-a-week private lesson basis.

After the holiday break, we met for the first time, and the pictures he made during the holidays looked great.
 

He’s progressed well beyond the basics and is now making pictures that have an advanced level of complexity,
 

And as we begin to explore more complex photography, we encounter challenges.
 

A lot of the struggles aren’t so much about camera operation as about understanding how to get the picture we want based on the light we’re working with, the camera operation, and other equipment we might use.

Understanding the characteristics of light becomes a big part of our more advanced studies, practice, and the creation of more complex photography.

Also, understanding the difference between light and lighting.

Light is our raw material.

We could think of light as light sources, and those light sources are either transmitting or reflective.
 

Lighting, on the other hand, is the manipulation of light and usually involves additional equipment.
 

This was the case in the more complex picture the photographer intended to create.

There are a lot of moving parts to making pictures, and light and lighting are two of ‘em.
 

But it’s those moving parts that add to the complexity of our work and the compositional depth we can only get with an understanding of how to create complex pictures.

Although all the pictures the photographer showed me were thoughtfully composed and served their purpose, the photographer thought they could’ve been better.
 

That’s what I was there to help them do.

The picture the photographer imagined was possible, but it took additional lighting in terms of a flash and a flash modifier that would control the distribution of the light emitted from the flash.
 

The picture they wanted to create required a visual separation of light sources, especially in terms of color and distribution.
 

So, beyond the gear, it also took the ability to control the tonal differences between light affected by flash and light not affected by flash.
 

The photographer can do this, but the struggle lies in working with all the compositional pieces.
 

This is what we’ll be working on in our future lessons.

All that said, his advanced skills and thought processes are grounded in a strong understanding of photography basics.
 

And since the photographer has a strong foundation in the basics, I’m confident that they’ll be able to do whatever they wanna do.
 

If we don’t have a strong foundation in the basics, our photography won’t evolve.
 

The Photography Basics/Introduction to Photography class classes are available for registration, or you could get the same instruction as a series of Private Lessons.

However you choose to study and practice with me, I’ll help you become the best photographer you can be.

And if you’re not sure which class fits your needs, just ask—I’m always happy to help.

About Sam

Sam D'Amico, a professional photographer and photography instructor, helps anyone who wants to be a better photographer. 

He'll work with his students to increase their understanding of camera operation, composition, light, and lighting. 

Sam started working as a professional photographer in the mid-1980s.

Most notably, from 1992 to 1997, while working as a freelance photographer, he photographed over 500 assignments for the New York Times.

Additionally, Sam received awards for his work while exhibiting his photographs in shows. 

Sam began teaching photography professionally in 1998 through the Highland Park, N.J. recreation department. 

In 2002 Sam moved to Washington, D.C., and began teaching at the accredited Washington School of Photography in Bethesda, Md.

It was in 2003 that Sam developed his curriculum and started teaching classes in Washington, D.C. 

In 2018 and 2022, the Sam D'Amico Photography Classes were voted the "Best of DC" art class by the readers of the Washington City Paper. 

Many photography teachers spend a lot of time teaching about DSLRs and rules of composition that create homogenized, rigid photographs.

On the other hand, Sam teaches about camera operation, thought process, and the individual photographer's visual communication intent. 

This approach to teaching allows his students to use ANY camera (yes, even the camera on their phone) and break free of the rules of composition.

Approaching the creative process this way allows for fluid and spontaneous photographs unique to the photographer creating them.

Sam encourages his students to find their ways as photographers. 

He instills the skills in his students that result in creative, engaging, and unique compositions that reflect the photographer's intended one-of-a-kind visual expression.