Making a Mastershot

by David Ulloa

January 27th, 2025

Getting this email is pretty exciting. I never know exactly what an email from LFI will be. It is usually an update on their newest article or print edition. But occasionally it is something really exciting, like a gallery selection. LFI has various galleries that they curate, and I have found this to be one of the best sources for high quality photography. Being in publication since 1949, LFI is one of the oldest and most respected sources for photography and news about the art. So, none of what I've written should come as a surprise.

What might be surprising is that anyone can submit their photographs to LFI for publication. This is something I discovered and opened up a whole new world to me. In fact, it is how Matias, founder of the Inglorious Leica Lovers, found me and brought me into the fold, with the selection of my second LFI Leica Mastershot. And so it is that with the selection of a third Mastershot, I am reflecting on what makes a Mastershot (or doesn't), and why it matters (or doesn't).

Getting Lucky

My first Mastershot was entitled "We're Going to the Park?!" This remains my favorite portrait that I've ever made. I've written a lot about the making of this portrait, most recently on my own b lo g. But there is one big takeaway for me from this Mastershot that I want to get into, and it is luck.

This photo was made as my son, Wes, ran at me as fast as his little legs could carry him. I had just gotten an Elmarit 28mm and it was wide open at f2.8. The shutter speed had been set to whatever it was at the last time I used the camera, the day before.

I had just enough time to adjust one thing, and I chose my angle of view. I crouched down and estimated where Wes would have to be to get him in focus. The lens was prefocused at pretty close to minimum focus distance and I simply got lucky. This was on film, so I had no way of knowing if I'd gotten the shot until I got it back from the lab. Knowing your craft is important, but so it not being afraid to just take the shot, because this was pure luck. I had my camera hanging around my neck and that was all that I needed. Had it been in a bag or not at the ready in some way, I would never have had a chance to even attempt this shot. And this is the first thing that makes a Mastershot, in my opinion. I've submitted 130 photos to LFI and three have been selected as Mastershots. To me this validates what I am saying. Luck is a factor and a big one.

Clarity and Purpose

Something I have struggled with is why some of my more complex street photos have never been selected for a gallery, of which LFI has many that I feel some of my photos would fit. My second Mastershot, for the photo "Beach Birds," therefore was a total surprise to me. I had submitted another along with this as part of a series that documented the luxury of cruising in the Caribbean.

When I was introduced to the Inglorious Crew, I asked for feedback so I could learn why this one had been selected over some of the others I was more proud of. It was the complexity of the other photos that I was so proud of. I love "Beach Birds," otherwise I would not have submitted it, but I didn't understand it. Jason Shaw, a fellow Inglorious member enlightened me. He pointed out how the clarity of the narrative in "Beach Birds" was undeniable versus the others. Upon further reflection on that, I have come to agree with him. This image is purposeful and tells the story of a lazy Bimini beach. Evidently, I work better with simpler narratives than more complex ones. I have attempted to better tell complex narratives and refined my simpler, more minimalist narratives, in an effort to become a better storyteller. I think I've gotten better, and this sort of reflection is a big part of it.

Understanding the Technical

They say distance makes the heart grow fonder. I don't know who "they" are, but they're sure on to something.

One of my favorite things to do is walk away from a photograph and coming back to it later. My third Mastershot, "Whatever Happened to Lazy Sundays?" is the result of such a strategy. This one was made two months before "Beach Birds" and upon releasing the shutter, I didn't think much of it. I liked it, naturally, but was too close to it to see it clearly.

When I came back to this one a few months later, I started seeing many of the merits that I believe got this one its Mastershot award and it all comes down to having made many, many photographs and learning from each one. The technical aspects of photography are the least sexy of all, at least they are for me. But knowing what makes an objectively good photograph is important.

Because my wife, Stephanie, was shaded by the umbrella on Saint Augustine Beach, I exposed this one for the background. Knowing I was going to use flash, I calculated the distance and flash power necessary versus my aperture. I composed, focused, and took the shot. All of this was done in a moment, and made possible by studying and practicing the technical aspects of photography.

Final Takeaway

Of the three, "Whatever Happened to Lazy Sundays?" one that I am most proud of. Not because it is my favorite ("We're Going to the Park?!" is still my favorite and will likely always be), but because this one was so intentional. I remember making all these micro-decisions and recognizing them when I came in to edit this one last week. But because the editing was done after those first two Mastershots I had learned so much already.

I don't know if I will win any more Mastershots, but I feel more confident than ever before by simple virtue of having learned from these three. Being ready to take a shot and trust in myself creates luck. Being open to criticism allows me to craft better narratives. And the more photos I made, the better my technique becomes. Now, it is time to go out and make a fourth Mastershot.