Dealing with visual overload

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During a recent Masterclass with some of my students, we were faced with an situation quite typical of a working pro: several hours of nothing much going on, half an hour of madness, and a bit of a post-mortem afterwards. The main feeling I got from the group was best described as a sort of mild panic: after being lulled into a state of half-hearted inactivity by uninspiring light and a fairly pedestrian subject, we were suddenly handed great light, rapidly changing conditions and the same pedestrian subjects come alive. This is by no means a unique situation, and sometimes the situation is a one-off and professionally critical. So what’s the best way to maximise photographic returns?

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