ZEISS LENSPIRE — Interview with ZEISS Camera Lenses.

It is an honor to do any interview, but when one of the world’s top lens manufacturers comes knocking on your door, it is the icing on the cake! Please take a moment to peruse the other amazing interviews on LENSPIRE while you are there,

ZEISS lenses are incredible to work with—this goes without saying—and it was the transition to the Milvus line that has allowed me to now make enormous prints with confidence.


SLICES OF SILENCE — interview with Nathan Wirth.

I was incredibly honored when Nathan reached out to me for an interview for his “Artist Spotlight” series, so I happily obliged. I hope you will take 15 minutes (or so) to have a read; this is one of my longer interviews, so set aside some time. Cheers!

And ff you’ve not heard of Nathan, please take a moment to check out his work while you are there… it is spectacular!



An in-depth interview with one of the most well respected photography magazines in Europe.



TOP 10 TIPS FOR SELLING MORE ART!!! — Frame Destination

This is not an ‘interview’, but rather a wonderful article written by the good folks at Frame Destination about how to sell more art. I think there are some wonderful tips in here and I hope you too will get something out of it.



I’ve had some issues getting the latest newsletter uploaded properly, so this one is acting as a placeholder until which time I can resolve that. Thank you for your patience.

(Newsletter Archives are located below this most recent newsletter)




Welcome to fall and cooler temps—at least here where I live in the Southeast US. I’m happy to report that tourist season is pretty much over at this point and my photo locations have thinned with people, so coupled with the cooler temps, back to work I go. I would like to mention right off the top that I am now officially offering one-on-one and small group workshops. By small group, I mean 1-3 people. I will also offer large group (8-10+) workshops, but those require advanced planning so that I can design a syllabus that will be good for the group as a whole. The benefit of the small group workshops is they are 100% customizable. Please see more information on my website at I’m already booking and am really enjoying my time spent with each of the participants thus far. From basic camera operation to more advanced techniques (both in the field and at the computer), I am here to help! 


The dreaded ‘artist’s funk’—yep, I’m in one right now! We all go through it from time to time and it’s only a matter of when it will hit, and why. For me, I believe some of it had to do with the disruption from hurricane season, other office work, and life in-general. I don’t know about you, but I tend to work best when I have rhythm in my artistic workflow, and that workflow became disrupted this past summer, especially later in the summer. Regardless, I’ve been through this before and I know I will pull through again just like I have in the past. Heck, even writing this newsletter is helping get me back in the flow. I should hope so, it’s been many moons since my last edition of 3HREE was released. Back to the point—there are many things we can do to help pull us through these times. I find inspiration in music, movies, and just being outdoors WITHOUT my camera. See, if I always try to have my camera with me, things become ‘forced’, if you will, and that never leads to good imagery. Many times, it’s best to just put it down for a bit and allow the natural rhythm to return… and it will! I remember the first time I went through this I thought I was done, that was it, no more in the tank, etc. Then, something remarkable happened… my VISION returned with a vengeance and all of a sudden, I was overwhelmed with artistic drive. I know the same thing will happen this time as well—I’ve been through many of these funks since the first one hit me eons ago and I know better than to let it discourage me too much. 
My point is that as far as ‘happenings’ are concerned, I do not have much to report other than the aforementioned workshops. There are all kinds of things that have happened to be honest, but as far as KHP is concerned, no groundbreaking images or anything like that. The horizon is now within reach though, and just yesterday I did some new field work that has promise. I had a good laugh at myself however; since it had been a bit since the last time I truly worked with my camera, I fumbled in my workflow more often than was comfortable. But the vision was working its way back to me, and for that, I am truly thankful!





The debate is all over the internet and one can simply do a search to bring-up about a billion returns on the subject of whether or not a fine-art photographer should have limited edition prints or not. This is a question that kept me up night after night when I first began making my prints, but one that I came to terms with quite some time ago.
Ansel Adams once said (and I paraphrase)... "to set a limit on the number of prints from a photographic negative is to set a limit on the art form itself." This is absolutely true and cannot be argued. Photography is a medium that is in its very nature... repeatable! When an image is captured and processed in the digital environment, so long as the file is never deleted or corrupted, an infinite number of prints can be made that are EXACTLY the same as each other. So, why place a limit on this possibility? I would love to think that one of my images would sell so many that the only thing that would limit it would be the fact that I would no longer be around to make the print anymore. But I also have to be realistic in the fact that this is likely a pipe-dream at best. Besides, I want to continue to spend my time making more and more images which in turn makes the single-image theory of producing only one print and retiring more and more difficult to land upon. If I am constantly producing new images that may or may not be better than my earlier work, how would I expect for one of my earlier works to sell millions, or better yet... why would l want it to? So, then the question becomes what makes art collectors happy... the answer to that is broad, but for starters it is the knowledge that what they are buying is rare. I'll say that again... what they are buying is RARE! And by rare, I mean that it is not going to be limited at 1000 or even 100; for me, rare means a very small number, but I'll get to that in a second.
Let me just state for the record that my relationships with the collectors of my artwork is extremely important to me. Sure, as I stated above, I produce art because it makes me happy. However, what makes me even more happy is when someone wants to have it hung in their home or office. Providing my artwork in limited editions is in my control to its fullest; if having a limited-edition print makes it rare, and making it rare makes collectors happy, and making collectors happy makes me happy.... then it's a win-win deal and I'm all for it!
In my mind’s eye a fine-art print is "rare" when it is set at a number that is far below 100. That's only my personal take on the matter, however. There are plenty of fine-art photographers out there that set their limited numbers much higher and that works well for them. I set my number at 7. My earlier works were set at 37, but I decided some time ago that 37 was still not rare enough, so I changed it for my newer works. I am certainly not suggesting you do the same—do what works best for you and be comfortable in your decision. 
The bottom line is that I choose to limit my fine-art prints not because some art gallery wants me to or because it's standard practice for all works of art to be limited, or any other social protocol for that matter. I limit my art because I want to offer something that is truly unique. If you have a limited-edition print from me, you can rest assured that what you have is truly a rare piece of fine-art that not many others will have. Each of my limited-edition prints have taken hours upon hours of care and craftsmanship to produce so that you may enjoy it for a lifetime and then pass it down for others to enjoy for their lifetimes as well. 

"1 of 7" printed along side my custom embossed "K" from my logo
Certificate of Authenticity (with limited edition number) and a letter to the collector


As mentioned above, I have finally returned to the field and am now getting out of my funk, so look for new works to be released very soon! The cover image and the 3HREE images below were captured a little while ago while I was in Greenville, SC, but I’ve already begun to get excited about some newer works and hope you are just as exited to see them released. 
I promise that in the next issue I will discuss some gear related topics… primarily we'll have a look at Zeiss Milvus lenses and Think Tank camera bags. I eluded to this in the last issue, but felt this time was best spent on other topics and I didn’t want to bore you with a long newsletter, that is already a bit long anyway. So please stay tuned for some exciting gear talk next time. 




Thank you to Wine Country Camera for their continued support of my photography. I would not be able make my long exposure captures so easily without the world class filters and filter holder system from WCC. 
Thank you to Michael Pannier and the Southeast Center for Photography for your support of my works!

Why '3HREE'…

From the Great Pyramids of Giza to the ellipsis in my logo, the 'power of 3' exists in all things natural, spiritual, and creative. Like a perfectly weighted fulcrum providing balance to our lives, the power of 3HREE is real!
Signup for 3HREE

Copyright © 2018 Kevin Holliday Photography. All rights reserved.

Mailing address:
211 River Landing Drive, Unit 260
Charleston, SC 29492

Want to change how you receive these emails?
You can update your preferences or unsubscribe from this list.