Flora in Monochromatic (Best of student’s work)

Monochromatic images are very powerful, so it is not a surprise that monochromatic flower images look even more amazing!

How to take monochromatic flora pictures? There are two simple ways:

1) get closer and fill your frame only with that one particular flower or its petals only

2) work on your background and use the color matching your flower. And by matching we mean the same color or a very similar tone/hue/shade of that color

Simple right? 😉

If you are not sure what monochromatic means – here’s a short recap. Monochromatic comes from the Greek word monos meaning one, and khroma meaning color.

Student’s pictures explain the monochromatic topic the best. We are inviting you to see som examples in the gallery below, how our dear students from previous PHOTOGRAPHING FLORA classes created beautiful monochromatic images.  Such images are really impressive!


And what do our students say about Photographing Flora class?

I enjoyed experimenting with all these techniques! Wonderful class! Thank you!
Anna Blatterman 

Thanks Monika & Patrik. Great class! Learned quite a lot from your extensive workshop materials, and challenging assignments. My floral photography endeavors will continue to improve.
Jay Salzman

I find that watching video critiques of everyone’s photos is so valuable. You explain things very well, Patrik! This is a fantastic class and I’m learning so much from everyone in it.
Mika Geiger 


PHOTOGRAPHING FLORA class begins in May 1st, please join us here and learn how to photograph flora (and monochromatic) shots too.


We are looking forward to meeting you in class!

Patrik and Monika Banas

Vangie Killalea


Jan Cafaro


Francine Sreca


Patricia Daley


Holly Middagh


Julie Hammond


Doreen Weekley


Holly Middagh


Judith Roberson


Maureen Rogers


Jay Salzman


Ann Fitzsimmons


Pam Corckran




Sunny Marker


Sarah Herman


Leann Stella



Lynn Riding


Debbie Lieske




Judith Roberson




The Lightroom Range Mask

Revealing form and dimension in your images:

For most of the time its been around, the local adjustment tools in Adobe Lightroom have paled in comparison to the power and precision of the comparable masking and adjustment tools in Photoshop.  Lightroom’s attraction has always been its approachability and intuitive ease of use.  The gap between Lightroom and Photoshop noticeably narrowed with the introduction of the Range Mask feature added to the local adjustment tools.  It’s now much easier to quickly make very precise and refined selections for your local adjustments within Lightroom, and as is typical of Lightroom the process is simple and very intuitive.

In this video tutorial, we take a deep dive into using Range Masks with local adjustments in subtle ways to enhance three-dimensional form and texture in your images.

-BPSOP Instructor – Mark English

Mark Teaches:

After the Click: Refining Your Vision in Lightroom & Camera Raw

The Art of Printing & Selling Your Art

Develop your artistic voice

What do you find beautiful?

Is it nature?
Or something abstracted to the point of being unrecognizable?
Perhaps you find uniformity beautiful?

Whatever your answer, this is your personal style — your artistic voice — coming through.

Eliminate the unnecessary

Hans Hofmann (21 March 1880 – 17 February 1966) was one of the older abstract expressionist painters working in New York. As as an art teacher and writer he had strong influence on the younger American abstract artists after 1940.

Hofmann wrote, “The ability to simplify means to eliminate the unnecessary so that the necessary may speak.”

This is the central tenet of fine artist and photographer Brit Hammer’s newest course, Finding Beauty.

The art of minimalism

In photography we strive to declutter our images. Anything that distracts from the intended subject must be pushed out of frame.

How little can you have in your shot until it feels empty to you?

This is one of the questions you must ask yourself. By pushing more and more out of frame until you can’t go further, you arrive at the essence of a scene.

The process of arriving at a minimalist image can be applied to any genre of photography, including lifestyle and photography, architecture, and even outdoor sports.

Are you ready to develop your artistic voice?

The secret to developing your artistic style is to ask yourself the right questions, Brit explains in her tutorial “Find Your Artistic Voice”.

This same methodology of questioning has been applied to photography in Finding Beauty.

Below are some of the student images taken in just the first 3 weeks of the March Finding Beauty class. Images from the rest of this large class will be shared in subsequent posts.


Images: Curt Meinecke

“This is the best advanced class I have ever taken. Finding Beauty has been a true eye-opener me. Brit has helped me to develop a different style of photography that I am sure will help my overall photography. I highly recommend this class — especially to those who already have a basic understanding of photography — although that is not a requirement.” — Curt Meinecke


Images: Laura Russomano

“If you are looking to move more into fine art photography, then Finding Beauty is the course that will help you get there. While focused on minimalism, I found the concepts and techniques presented in this course to be easy to understand, while challenging me to expand my vision and shooting style. Brit’s critiques were extremely insightful and helped me to become more focused on developing my artistic voice.” — Laura Russomano


Images: Gisela Nily

“Less might be more! A beautiful image draws the eye and invites pondering what it actually is and what it might be. Warmth and calm can be achieved in an image. These are new ideas for me…I have been a person who likes riotous color and dramatic contrasts. This course has opened my eyes to so much more. Thank you!” — Gisela Nily


Images: Cristina Persico

Images: Cristina Persico

“I have always admired lifestyle images and the serenity they convey. Thanks to Brit’s teaching and suggestions in this beautiful course I learned how to tell a story in a different perspective. Thanks again for teaching me to seek beauty in simplicity!” — Cristina Persico



Finding Beauty

Authentic Photo Stories

Celebrate Your Life in Beautiful Images

Photography Essentials

Amazing Travel Photos Made Easy

** No post processing skills necessary for any of Brit’s courses **



Brit Hammer is an international award-winning photographer, bestselling author, and a celebrated artist whose work has aptly been called “fresh and optimistic”.

Her students love her “combination of extensive and well-organized photographic design principles…intuitive eye, patience, enthusiasm and holistic nurturing [because the results are] unbelievably incredible and inspiring student growth.”

Visit her website at brithammer.com

Dynamic Range

I usually try to stay away from seriously technical stuff, because to be honest most of it is above my pay grade!!


I feel so relieved having to ‘come right out’ and admit it. However, I feel like I should still contribute my two cents worth. This is because questions about exposure keep coming up in my online classes with the BPSOP, and recently in my Stretching Your Frame of Mind” workshops I conduct all over our (round) planet. I’m going to try and make this as simple to understand as I tell all my fellow photographers.

In photography, the “Dynamic Range” is the relationship between the darkest and lightest areas in a photo, generally going from pure black to pure white; pure black is pretty much impossible to achieve since there’s always a little detail in those areas.

There’s ‘High Dynamic Range’ which is achieved on a bright sunny day where there are areas in the sun and areas in the shade. ‘Low Dynamic Range is when it’s an overcast day or there’s little to no difference in your composition’s highlights, middle tones, and the shadows.

When photographers submit images, the one thing that they don’t pay attention to is the differences between the brightest part of the composition and the areas that are in shadows. If they’re shooting out in the light, then any centers of interest in the shadow are too dark. Conversely, if they’re shooting in the shaded areas the brightest area are blown out and all detail is lost…not good unless you’re consciously trying to do that.

Btw, when photographers are always listening to what the meter in their camera tells them, they really don’t have control…but I digress!!

Our eyes are simply amazing. As good as some of the current digital cameras are as far as the range between the bright areas and the areas in shadow their sensors can see, they’re no match for the human eye.

Cameras have a narrower dynamic range than the human eye, and get somewhere from 5 to 15 stops depending on what article you’re reading. This means that on a bright sunny day you often have to choose whether you “blow out your highlights”, or you make the shadows lacking of any detail. The human eye can perceive about 20 to 24 stops of dynamic range in ideal circumstances; depending on who you’re listening to.

Btw, it’s always better to shoot in RAW at a low ISO so you can take advantage of all the embedded data, and open the shadows enough to see a lot more detail.

One of, if not the most important aspects of Dynamic Range is that photographers never think about it; admittedly because it’s hard to control. Often, there’s just no way to have a range of tones in your images. It’s vital to have an understanding of your camera and it’s meter. I can tell you from years of shooting and teaching that the meter in your camera is going to be wrong most of the time. This is why I really push students to shoot on manual so they do have at least a little control.

Case in point: I had a student that was shooting in the barn on her ranch, trying to take a portrait of her favorite horse. The barn doors were opened so she could also show several horses in a corral just outside.

It was a bright sunny day when the sun was almost overhead, and inside the barn was considerably darker. The range of exposure between the outside and inside was too great to get the entire photo exposed properly.

The inherent problem is that our eyes can see all the color and detail in the barn and when looking outside, they will automatically adjust. The camera can’t do that, it’s either one or the other.

In other words, you can get a beautiful well exposed portrait of your horse and the outside will be void of any detail, or you can expose for the outside, and you’ll lose everything in the inside.

So here comes the dilemma, or at least as far as I’m concerned.

There is a way to come out with a well exposed photo, and that is combining two or three photos into one or as they call it…HDR

I say to each his own, but to me that’s computer art and not photography. I’ve been shooting for fifty years, and in that time I have never had to blend more than one photo….and my pictures have been coming out pretty good.

Look for alternatives…ways to solve the problem in the camera. I have found that by thinking before shooting I’ve come home with photos I can share with others.

-BPSOP Instructor: Joe Baraban

Joe Teaches:

Stretching Your Frame of Mind I 

Stretching Your Frame of Mind II

The Use of Gestalt in Photography

  • I wanted to drop a quick thank you and let you know how much I enjoyed the class. I was not really sure if I would enjoy doing timelapse to be honest but it was great fun and you certainly gave us a solid foundation. I will certainly be doing more and I look forward to seeing your work this year! Read More
    Doreen Timelapse
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