LensWork Publishing
LensWork - Photography and the Creative Process
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LensWork Publishing
LensWork - Photography and the Creative ProcessEpisodes
LensWork Publishing
LensWork - Photography and the Creative Process
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HT1878 - Twenty TimesTo really appreciate a new piece of music, I need to hear it at least 20 times so that I can own it in my mind. The same can be said for photography. I have to spend time with an image before I feel like I've seen it. I h
HT1877 - The Thought That Goes With Every PhotographPhotographs are visual, but that does not mean they are devoid of words, devoid of thought. Every photograph sparks a thought. A photograph might spark thoughts of the beautiful, the trite,
HT1876 - Before You Process an ImageHere's an exercise you might find fun. What happens when you spend time with an image before you begin processing it? Seriously, try this exercise next time you are working on images in Lightroom or Photosh
HT1875 - Question or StatementThe common perception of a photograph is that it is a fact. Even a fanciful, imagine-based photograph is a statement of how the photographer sees the world. But what doors to creativity are opened if we change th
LW1398 - Life, As LivedWhen you decide you want to make a photograph of this particular thing, why is that thing chosen over all others? What is it in that thing that makes it more photogenic than all others? I've thought about this a great d
HT1874 - Composing Using Focus TrackingHere is a slick focusing technique I never thought of, but it works. It replaces the half-press and hold, then compose technique. It's much more intuitive in my brain than back button focusing. It uses "
HT1873 - Maximum Black Is Not MagicIn my youth, I thought the magic was to achieve a maximum black. It took me several years to learn that the magic is not in maximum black but rather in beautiful gray tones and chords of tones that please th
HT1872 - Print Size and the WallOnce Stieglitz decided that photography was best consumed as art on the wall, like painting, he set in motion the pursuit of large prints. If it weren't for our predisposition to exhibit photographs on the wall
HT1871 - The Competition for EyeballsAll media include an element of narcissism. With every photograph we make, we are essentially competing for attention. Each photograph screams, "Look at me!" This intense competition for eyeballs leads to
HT1870 - Stages of Creative ThoughtI've talked before about the solutions to problems that pop up from seemingly nowhere. I've recently been reading The Origin of Consciousness in the Breakdown of the Bicameral Mind by Julian Jaynes. I found
HT1869 - Artwork Left BehindI remember years ago hearing of a photographer who would leave small prints wherever he happened to find himself. He would leave his artwork on a bus bench, a restaurant table, a seat in the library, literally anyw
HT1868 - The Absolutely NecessaryThe ideal kit includes everything I might need. The opposite of how much gear can I take is how little gear can I get by with. Perhaps it's a function of my aging knees and back, but I find myself brainstormin
LW1397 - Looking for PhotographsWhen you want to make a photograph, what do you do? Probably you set out into the world somewhere and start looking for things you might photograph. You are on the hunt for potential. What if you were to point
HT1867 - Feedback and the Pressure to ConformYesterday I was talking about feedback and the way the digital workflow makes getting feedback about our work so much easier. Not unexpectedly, there is a downside to such easy feedback; the pressu
HT1866 - Learning Without FeedbackHow well do you suppose you would learn tennis if you could never see where the ball went after you hit it? Learning is always a function of action, feedback, assessment. This is equally true for photography
HT1865 - How to Save $1,600Once again I found myself contemplating the super long 100-400mm Panasonic Leica lens for my m/43 camera. As a part of the research, I decided to investigate a cropped image from the Panasonic Leica 50-200mm I alrea
HT1864 - Viewing LightsThe light we use to view a print or book is so critical in determining how that photograph appears. Unfortunately, we have no control over the light people use to view our work. A story from Paul Strand's biographer dem
HT1862 - Reflected vs TransmittedI've come to believe that the most fundamental and important decision we make when producing our image-based artwork is whether we want our work seen via reflected or transmitted light. Every subsequent proces
LW1396 - Commitment and Viewer FatigueI love photography books, but I must admit that I struggle with big, thick books. I once wanted to read Tolstoy's War and Peace, but struggled for years to make the necessary commitment to its 1200 pages.
HT1861 - What Sets Photography ApartEach of the art media have characteristics that are its greatest strength, that set it apart from other media. A novel gives the writer unlimited control over time; music has the ability to tap directly int
HT1860 - The Problem of MovementGestalt psychology tries to explain why we are drawn to certain themes of attention. For example, movement attracts our eye much more than a static scene. Put in photography, all we have are static scenes, even
HT1859 - What Will I Do with This Day?Each morning as I slowly awaken from my night's sleep, I think about the coming day and what I need to do. Every once in a while, I find my calendar is clean, I can spend the whole day doing photography w
HT1858 - The Three Rules of CommunicationAn old maxim tells us the theory of communication broken down into three steps of advice. Tell them what you are going to tell them; tell them; tell them what you just told them. That pattern seems to
HT1856 - Every Wish Has Been GrantedThere is that old bumper sticker wisdom that advises us to be careful what we wish for: we might just get it! For most of my photographic life I wanted faster, smoother, sharper, better. Now that I have all
HT1855 - Adapting to What We Can DoDo you have a photographic fantasy of something you would love to do? I suspect we all have such thoughts. Then reality sets in and we realize that those fondest desires may simply not be practical. Do we gi
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