Every Shot Matters: Workbook - FREE DOWNLOAD by Simeon Smith


Hey, everyone? 

Remember that book you all helped me crowd-fund earlier this year that reached it funding target in, like, 4 hours and went on to be 400% funded? Yeah? 

Well as part of that I said I'd upload a free workbook for anyone not wanting to write in their print copies of the book, or for anyone to use and share with their photographic friends. 

I had some grand plans for the workbook, but had some trouble sorting it all out and had other projects to work on and got busy and... didn't release the workbook. I'm sorry. That was pretty shitty of me. 

Well today Jason (off of https://www.jasonbrewerphotography.com), got in touch and was like "Hey, what happened to that free workbook you were releasing?" and I made a lame excuse. So he was like "Just release it already! Upload a PDF, people don't care about the fanfare you had planned!" (paraphrasing, he didn't know about the fanfare I had planned, but...)

Anyway, thanks to Jason, you too can now download, print and hold the Every Shot Matters Workbook in your very own hands. 

Thanks again to everyone for your support. Please share this workbook far and wide! 


From The Hip by Simeon Smith

Lomography started it all. 

I blame Maria.

She introduced me to this weird world of film cameras via the plastic fantastic cameras of Lomography. 


If you’ve never heard of the company, they try to portray themselves more as a movement than a business, and do this via their “10 Golden Rules”, one of which is “shoot from the hip”. 

Shooting from the hip is supposed to be about surprising yourself. About not being sure what’ll come out. About guessing. About speed. About stealth. 


I think it’s something that all kids do, if given a camera. Take a photo without looking through the viewfinder. Most beginners do it too, just playing around, trying things out. But if you’re a beginner or a kid with a camera, you’re not going to be any more or less surprised by shooting from the hip than by trying to compose the shot properly. Especially if you’re using a plastic toy camera. 

The people that really need to shoot from the hip are people that have been taking photos every day for the last few years. We’re the ones that have been repeating the same, boring composition ideas time after time. We’re the ones that “know how” to take a photo, but have forgotten how to make art. We’re the ones that could do with surprising ourselves. 


So the other day I was meeting Howard for lunch. We had veggie burritos at Bynmill Coffee House near my office. On the walk there, and the walk back I shot from the hip. Exclusively. No looking. 

Are these great photos? Well, no, not really. 

But are they different to what I’d usually do? Sure. Did they get me out of my comfort zone? YES. Were they a challenge to select and edit? Definitely. 


Give it a go. Shoot from the hip.

Push The Button. by Simeon Smith

body language.jpg

Push the button. 

Push it out of sheer joy. 

Push it because you might catch the moment. 

Push it because you might not. 

Push the button. 

Push it out creative impulse. 

Push it out of boredom. 

Push it just to hear the familiar sound of the shutter firing. 

Push the button. 

Capture your brightest hopes and darkest fears.

Capture your friends and your frenemies.

Capture your home town and your destination. 

Capture the journey. 

Capture things you can’t remember when you look back at the images. 

Capture things you can’t make out when you look back at the images.

Capture things you thought were interesting, but aren’t. 

Capture things you weren’t sure why you were capturing, but now can see clearly. 


Focus on what’s important. 

Focus on what isn’t important, because what’s important is too much to bear. 

Focus on the detail and on the bigger picture. 

Focus on the foreground and the scenery. 

Focus past infinity. 

walk on.jpg

Summer '17, B&W [GALLERY] by Simeon Smith

Shot to Fomapan 400 film on my Leica IIIa and Howard's old Canon AE1.

Summer '17, Colour [GALLERY] by Simeon Smith

Shot to Fuji Superia 200 film on my Leica IIIa and Howard's old Canon AE-1.