LensWork - Photography and the Creative Process

HT2660 - The Drama of Good vs Evil Can you think of an artistic expression that doesn't involve, in some way, the drama of good versus evil, innocence versus the diabolical, the weak vs the strong, dark versus light? (You don't suppose I slipped that last one in for a reason?) If the central themes of art are rooted in drama, why would art photography not also be rooted in drama? If so, that leads us to the question How do we build drama into a photographic image? Perhaps even more informative is the question How do we build drama into a photographic project? This RSS feed includes only the most recent seven Here's a Thought episodes. All of them — over 2600 and counting! — are available to members of LensWork Online. Try a 30-day membership for only $10 and discover the literally terabytes of content about photography and the creative process. Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a donation Thanks!

HT2659 - Perfection or Enthusiasm Deep in the heart of an artist is the pursuit of perfection. It goes with the territory. Creating artwork is the one thing we do in our life without regard to time, expense, or even effort. We pursue perfection because we have faith that achieving perfection is a possibility with each creation we make. Is it? I'm not sure pursuit of perfection is the healthiest option. What if we change the measurement of success? What happens if we pursue enthusiasm, curiosity, and passion rather than perfection? This RSS feed includes only the most recent seven Here's a Thought episodes. All of them — over 2500 and counting! — are available to members of LensWork Online. Try a 30-day membership for only $10 and discover the literally terabytes of content about photography and the creative process.

HT2658 - Seducing The Eye of the Beholder Said another way, a way that can bypass the numb response to a cliché, art appreciation is an act of free will. Extending that thought even further, people look at your artwork because they've made a decision to do so in anticipation of some rewarding or beneficial experience. Where does that anticipation come from? What is our responsibility as art makers to build that anticipation so they are motivated to spend the time to see what we've produced? Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a donation Thanks!

HT2657 - Guiding Their Consumption I know, that's sort of an odd title for this thought, but there's an important issue that demands our attention. Imagine you want to assemble sizable project of 100 or so images for a book or PDF. Selecting images is one challenge, but not the biggest one. How do you organize those images in the finished presentation? Sequential by date? Alphabetically? Location? Subject? Genre of photography? By which camera you used? Time of day? Time of year? Weather conditions?" Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a donation Thanks!

HT2656 - Big Things Are Made from Little Things One of the great lessons from my dad who was also my coach, is an approach to making progress. He used to say that "inch by inch is a cinch, yard by yard is hard." Doesn't this equally well apply to art making? If you want to create a big thing like a book, an exhibition, a digital publication, a lifetime of creative output, the path to do so is one capture at a time, one processed image at a time, step by step, accumulating little successes one at a time. Aim for the Big; work the Small. Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a donation Thanks!

HT2655 - Do It Again and Again and Again The difference between a hobbyist and a professional is that a hobbyist practices until they get it right. A professional practices until they can't get it wrong. For some reason that advice seems to make sense for athletics, but in creative endeavors we often assume that all we need is the initial effort. This shows up particularly, I think, in travel photography. It's easy to assume that once we've visited a location and photographed it we don't need to go back and do it again. Nothing could be further from the truth. Ansel Adams wasn't lucky photographing Yosemite; he was persistent. Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a donation Thanks!

HT2653 - There Are No Bad Lenses, There Are No Perfect Lenses The other day I was working on some images in Lightroom and realized that one of them was a fantastically sharp image that I had made with a notoriously bad lens. Looking more closely at the EXIF data I realized this image had been shot in the middle of the zoom range and stopped down a bit. My "bad lens" performed beautifully. Wide open at maximum zoom this lens was just crap. Do I blame the lens for making bad pictures, or do I blame myself for not knowing the lens as well as I should have? This RSS feed includes only the most recent seven Here's a Thought episodes. All of them — over 2600 and counting! — are available to members of LensWork Online. Try a 30-day membership for only $10 and discover the literally terabytes of content about photography and the creative process. Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a donation Thanks!

HT2652 - A Grand Slam Home Run If you are a baseball fan like I am, you know what a thrill it is when your team hits a grand slam. A true baseball fan, however, knows that the occasional grand slam is not the reason to be a baseball fan. It just happens from time to time. The true fan loves every pitch, every swing, every hit, every subtlety of the game. I say the exact same thing about photography. The stone-cold winners are a thrill, but not the reason to be a photographer. This RSS feed includes only the most recent seven Here's a Thought episodes. All of them — over 2500 and counting! — are available to members of LensWork Online. Try a 30-day membership for only $10 and discover the literally terabytes of content about photography and the creative process.

HT2651 - Processing Delta In mathematics and statistics, delta is the measure of change. Strangely enough, I find this a useful concept in processing my photographic artwork. What is the delta (change) required between the scene captured and the artwork I envision? My role as a creator changes dramatically depending on the delta between the image capture by the camera and the finished photograph. Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a donation Thanks!

HT2650 - The Question Answered by the Caption First, let's admit that not every photograph needs a caption. If a photograph does need a caption, it can be useful to consider the question the caption is intended to answer. For so much of landscape photography, for example, the question is Where is this? With that as the question, providing location in the caption makes sense. But, is that the most important question? Is "Where?" more important than "Why?" Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a donation Thanks!

HT2649 - Overwhelming Beauty Sometimes I really struggle as a landscape photographer. When the scene is overwhelmingly beautiful, one would think that making a successful photograph would be easier. It's not. The more beautiful the scene before my camera the more difficult it is for me to make manifest my personal response. I'm reduced to using the camera as a recorder rather than as a medium of personal expression. Said another way, the more beautiful the scene the more my picture looks like everyone else's. Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a donation Thanks!

HT2648 - One Hundred Compositions Let's say you find yourself in a fascinatingly photogenic location and decide to work it intensely. We've all had this experience at one time or another. What often happens to me is that the first dozen or so images are cliché, the easiest ones, the ones that probably copy other photographers, even if I'm unaware of their images. The next few dozen images might be my own, and are usually accompanied by a thrill. That emotion carries me downstream with enthusiasm. It's then that the real challenge starts has the easy ones are exhausted and I find myself swimming upstream where the most personal artwork inevitably can be found. Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a donation Thanks!

HT2647 - New Work Here in the 21st century, the volume of creative work that is being produced leads people inexorably to over-value the new. I don't recall anyone ever asking me to see work I did 25 years ago. The question is always, "What have you done that's new?" Or perhaps, "What are you currently working on?" I can't help but think that they're asking to see my work that is yet unproven and has not survived the test of time. Why is "the new" of greater interest than our proven, previous work? Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a donation Thanks!

HT2646 - Your Very Best Imagine for a moment that some important personage asked to see your very best work. What would you show them? Would you show them your most popular images? Your best sellers? Would you show them your personal favorites? The latest project you've completed? Would you show them safe work or your more innovative and daring work? This RSS feed includes only the most recent seven Here's a Thought episodes. All of them — over 2600 and counting! — are available to members of LensWork Online. Try a 30-day membership for only $10 and discover the literally terabytes of content about photography and the creative process. Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a donation Thanks!

HT2645 - Trust Your Gut Yesterday I was discussing the 270 image captures of the rock walls of Capitol Reef that I photographed in 2012. I described how I only recently discovered a possible processing for those images. There's an interesting aspect of this story that is not obvious. In reviewing the 270 images, I found 37 that worked with this new processing idea. How do we know? What prompted me to reject the other 233? I think of Edward Weston and "the flame of recognition." This RSS feed includes only the most recent seven Here's a Thought episodes. All of them — over 2500 and counting! — are available to members of LensWork Online. Try a 30-day membership for only $10 and discover the literally terabytes of content about photography and the creative process.

HT2644 - An Entirely New Vision The creative idea might appear in an instant, or it might also require years of gestation. I was recently looking at a large collection of images and I had photographed in 2012 in southern Utah. From nowhere I can determine, an idea about how to process these RAW captures suddenly appeared. I could not count the number of times I've looked at these RAW files with no interest at all. How, then, does a wonderfully creative idea suddenly appear? I cannot over emphasize the value of working our image archives so long-dormant ideas have an opportunity to emerge. Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a donation Thanks!

HT2643 - The Problem with Canned Slide Shows Over the last 20 years, I've seen quite a number of photographic slide shows. The first was a multi-projector affair, with a musical sound track accompaniment in the 1980s. Recently, software has made assembling a slide show a snap. Too often, I find these presentations too metronomic, predictable, uninteresting after the first few images. Too bad, because they don't have to be. Today, a slide show is not a slide show; it's a video. It's not a sequential presentation of still images, it's a living, breathing visual experience. Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a donation Thanks!

HT2642 - Compositional Sleight of Hand Layers are one of the most powerful tools in digital processing. An often overlooked use of layers is their abilities in composition. Want to move that car a few feet to the left? Not a problem. Cut it to a new layer, move it where you want it, then use AI to create the new background. This is a bigger deal than might be obvious because of a fundamental change that has taken place in image making Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a donation Thanks!

HT2641 - Longevity Have we arrived at a point in the history of photography where longevity is no longer a virtue? In my youth, archival processing was an important pursuit in our mastery of craft. Now (think of Instagram), the lifespan of an image can be measured in hours, maybe days, certainly not in decades. Photography has fulfilled its prophecy by truly becoming an instantaneous art, not just in the making but also in viewing. Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a donation Thanks!

LW1508 - Your Relationship with Photography That great literary wit Dorothy Parker is reported to have said, "I hate to write but love to have written." I suspect we can all relate to that in our own chosen medium. There will always be some parts of the creative life that we enjoy more than others. Indeed, there are likely to be some parts we detest with as much passion as we enjoy with those parts we favor. All previous episodes of our weekly podcast are available to members of LensWork Online. 30-day Trial Memberships are only $10. Instant access, terabytes of content, inspiration and ideas that expand daily with new content. Sign up for instant access! You might also be interested in. . . Every Picture Is a Compromise, a series at www.brooksjensenarts.com. and... "How to" tutorials and camera reviews are everywhere on YouTube, but if you're interested in photography and the creative life, you need to know about the incredible resources you can access as a member of LensWork Online.

HT2640 - I Miss Photography So much of what I love about photography has been replaced by something that is, well, not the same photography I first fell in love with. A great photograph used to be rare; a great photographer used to be a kind of technological priest; before the advent of swipe left, we used to take time to view a photograph and delve into its depths; searching for a photograph used to be a holy pursuit, now it looks more like a trophy hunt. The other day I suddenly realized I missed that older kind of photography of my youth, but then immediately recognized that it is possible, at least in our own lives, to preserve the old ways. Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a donation Thanks!

LW1509 - A Book Is More Than a Paper Thing Words mean things. In fact, words can mean several things, several things that are quite different from one another. Take the term "book." It might mean a physical thing with paper and ink. Then again, if I ask you if you've read a good book lately, isn't it obvious I'm not referring to the paper and ink but rather to the content of the story? All previous episodes of our weekly podcast are available to members of LensWork Online. 30-day Trial Memberships are only $10. Instant access, terabytes of content, inspiration and ideas that expand daily with new content. Sign up for instant access! You might also be interested in. . . Every Picture Is a Compromise, a series at www.brooksjensenarts.com. and... "How to" tutorials and camera reviews are everywhere on YouTube, but if you're interested in photography and the creative life, you need to know about the incredible resources you can access as a member of LensWork Online.

HT2639 - Paralyzing Success Here is a problem I've never had before. In the last 18 months, I've had extraordinary success. I've captured 6,700 images of which I've identified a few dozen that have technical issues I can't resolve. Of the remaining, I've flagged a couple hundred as unsuccessful compositions. That still leaves me with over 6,000 images I could turn into single winners or images in projects. Seriously, 6000 images. I'm overwhelmed, stuck, have no idea where to begin, frustrated, and a little lost. For example, I have over 1,000 lovely shots of yellow and orange aspens. What do I do with 1,000 yellow and orange aspens? This RSS feed includes only the most recent seven Here's a Thought episodes. All of them — over 2600 and counting! — are available to members of LensWork Online. Try a 30-day membership for only $10 and discover the literally terabytes of content about photography and the creative process. Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a donation Thanks!

HT2638 - Photograph As Launch Pad It's easy to fall into the trap of thinking that a photograph is a destination of a viewing process. It's as though seeing a photograph puts a period at the end of an experiential sentence. The reason I call this a trap is because it seems much better to me to consider a photograph as a launch pad for an experience, one that encourages a train of thought, a series of questions, a dialog, a search for meaning and understanding. A photograph that only provides answers is easy to forget. This RSS feed includes only the most recent seven Here's a Thought episodes. All of them — over 2500 and counting! — are available to members of LensWork Online. Try a 30-day membership for only $10 and discover the literally terabytes of content about photography and the creative process.

HT2637 - The Transcendent Moment The term "The Decisive Moment" has been an important concept in photographic circles since Cartier-Bresson first coined it with the publication of his book of that name in 1952. I've always struggled with this term because I think of the decisive moment as a time-related concept. Rather than capturing the right instant, I'm more drawn to photographers like André Kertész who give us the transcendent moment. Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a donation Thanks!

HT2636 - Release vs Publish, and Why I was recently watching a YouTuber discuss the "release" of a new photograph he'd just finished. It evidently was time to go public with this new image. I was struck by his term "release" as though the image had been imprisoned until its liberation. Besides the obvious detention metaphor, I questioned whether or not this is a term used specifically with single images rather than projects with multiple images. Considering all the images we now have in our digital assets, why do we "release" one and not the others? Is this a volumetric decision or a marketing one? Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a donation Thanks!

HT2635 - Money and Print Size I married young, had kids young, about the same time I decided to seriously pursue fine art landscape photography. All serious landscape photographers at the time were shooting large format view cameras which meant 4x5 or 8x10. I could afford neither, so settled for what I could afford which was a 2¼ by 3¼ monorail view camera. Little did I realize the implications of that limitation that set the direction for my entire life in photography. Worse, that hasn't changed in the intervening 50 years. Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a donation Thanks!

HT2634 - A Physical Legacy As a product of my generation, I've always believed that leaving a physical legacy of our artwork was important. Now that I'm on the threshold of age, I'm not so sure. Those physical artifacts that we create, collect, and/or value may turn out to be a burden to our heirs that they would just as soon not have to dispose. I don't think this has to do only with artwork, but is instead a cultural shift we are living through. Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a donation Thanks!

LW1507 - The Consciousness Barrier, The Conundrum of Art Most photographs I see don't penetrate very deeply into my consciousness. I know they're there, I fleetingly engage them, but they don't have much power to impress themselves into deeper thought. It's as though there is a barrier that prevents me from engaging with more than a casual glance. I suspect that's not the kind of engagement we want as art makers. How do we get our viewers to break through that shallow consciousness barrier? Shouting isn't the answer. All previous episodes of our weekly podcast are available to members of LensWork Online. 30-day Trial Memberships are only $10. Instant access, terabytes of content, inspiration and ideas that expand daily with new content. Sign up for instant access! You might also be interested in. . . Every Picture Is a Compromise, a series at www.brooksjensenarts.com. and... "How to" tutorials and camera reviews are everywhere on YouTube, but if you're interested in photography and the creative life, you need to know about the incredible resources you can access as a member of LensWork Online.

HT2633 - Small Cameras When I was a youngster, my grandfather gave me his Minox B so-called "spy camera." I loved this tiny wonder in spite of the difficulty getting or processing its miniature film. Oh, and the grainy prints were awful; the lens barely functional; the focus always a guess. But it fit in my pocket and I could take it everywhere. I loved that camera, but I hated the pictures that came from it. I wonder why I don't love my smartphone with equal enthusiasm. Is it because it's too easy, too capable, and too excellent? Perhaps if my grandfather had given me an iPhone I'd be more enthusiastic about using it. Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a donation Thanks!

HT2632 - Handheld Art Media The world is full of media that artists can use to express themselves. Music, storytelling, dance, sculpture, poetry, pottery, painting. Has it ever occurred to you how rare it is that a work of art can be held in your hands? I've always thought that this is one of the great strengths of photography. No other medium that I can think of has the potential to be so tactile. Maybe clothing, maybe food if we consider them an art medium, but these are special cases. Photography is the rare visual medium that is (or can be) so physically sensual. I'm not referring to books, but to original prints produced to be viewed handheld. This RSS feed includes only the most recent seven Here's a Thought episodes. All of them — over 2600 and counting! — are available to members of LensWork Online. Try a 30-day membership for only $10 and discover the literally terabytes of content about photography and the creative process. Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a donation Thanks!

HT2631 - I Done Good I sincerely hope I am not self-deluded about this, but I often find that after some months or perhaps years I look back at older images and find them far better than I remembered. I'll kick myself for not recognizing the potential for an image that now seems so obvious. It's as though the passage of time imbues the image with surprising improvements. Or, maybe my subconscious has been working on the image all this time. What I originally passed by becomes an image I now celebrate. Why is this? This RSS feed includes only the most recent seven Here's a Thought episodes. All of them — over 2500 and counting! — are available to members of LensWork Online. Try a 30-day membership for only $10 and discover the literally terabytes of content about photography and the creative process.

HT2630 - Why We Are Making the Complete LensWork Digital Back Issues Collection Available for Download We announced a few weeks ago that we have begun a long-term project to publish the entire content of the LensWork Print Editions as PDF digital back issues. We've already posted the first 23 back issues. We'll add two more back issues each Friday until we have them all completed. These downloadable digital back issues are available exclusively to current members of LensWork Online. Here's why we are publishing the entire back issues collection. Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a donation Thanks!

HT2629 - The Myth of Accurate Color Balance Is there truly such as thing as correct color balance? What about differences in the way individuals see? What about light sources that effect how we see a print? Seems to me that accurate color balance is a myth. Instead, I prefer to think in terms of believable color balance, emotional color balance, or interpreted color balance — none of which are accurate but all of which might help create a more persuasive image. Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a donation Thanks!

HT2628 - Photography Is a Graphic Art Are you familiar with that book, Steal Like an Artist by Austin Kleon? If so, you are familiar with the idea of borrowing (a more gentile word than stealing) ideas from other disciplines. For example, postal stamps. For example, Japanese picture books known as e-hon. For example, Audubon bird books, botanical catalogs, wanted posters, old time postcards, bookmarks, Tarot cards, or pub coasters. All of these graphic arts could be merged with photographic images to create artwork that goes beyond camera as recording machine. Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a donation Thanks!

HT2627 - How the Art Is Built Painters usually start with a sketch, a visual working-out of an idea, a practice run, an experiment. They build from the sketch to the finished painting, step by step. The same can be said of poetry, theater, cinema, novel writing, most every medium I can think of. Photographs start with a fully realized image which the photographer then improves by modifying or eliminating things the camera sees in entirety. I'm fascinated by this difference in approach. I also think this is the main reason I'm resistant to AI photography. Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a donation Thanks!

LW1506 - The Content Every medium has a form — movements in a symphony, chapters in a novel, image and caption in photography. These forms have to do with structure, but what about content? In storytelling, there is a basic formula that is universally followed with few variations. The three steps in novel writing are: Characters, Conflict, Resolution. Every story is based on these three basics. Turning our attention to photography, what is the equivalence of a basic formula in our medium? All previous episodes of our weekly podcast are available to members of LensWork Online. 30-day Trial Memberships are only $10. Instant access, terabytes of content, inspiration and ideas that expand daily with new content. Sign up for instant access! You might also be interested in. . . Every Picture Is a Compromise, a series at www.brooksjensenarts.com. and... "How to" tutorials and camera reviews are everywhere on YouTube, but if you're interested in photography and the creative life, you need to know about the incredible resources you can access as a member of LensWork Online.

HT2626 - Hyperized Photography For each of us, there are certain kinds of photography that we love and enjoy and even produce, but other kinds of photography that is a bit of a challenge. I feel guilty about certain kinds of photography that I know I should enjoy but I struggle to appreciate. Exploring my own prejudices a bit, I've concluded that the kind of photography that tends to turn me off is what I would call hyperized photography. Psychedelic colors, excessively pushed infrared, vibrance cranked up to 11, room-sized prints, all leave me rushing for the exit. I know that says nothing about photography, but it must say something about me. Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a donation Thanks!

HT2625 - Instant Emotional Bond I once read that the goal of a framed photograph was to create an instant emotional bond with the viewer. I think there is some truth to this but then I remember all the images that I disliked or felt neutral about at first viewing which only later, upon reflection, became favorites and even influential pictures. I've always struggled with this idea of instant emotional bond because it seems to reduce to a connection based on already held assumptions and opinions. That leaves photography with nothing new to bring to us. This RSS feed includes only the most recent seven Here's a Thought episodes. All of them — over 2500 and counting! — are available to members of LensWork Online. Try a 30-day membership for only $10 and discover the literally terabytes of content about photography and the creative process. Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a donation Thanks!

HT2624 - A Special Experience Some of you have been around long enough to remember when seeing a photograph could be a truly special experience. A highlight of my photographic life was seeing an exhibition of Paul Strand originals at The Art Institute of Chicago in 1991. I was on cloud nine for a week. Perhaps it was such a special occasion because it was so rare. Here, deep in the age of image bombardment, I miss those moments when I could be overwhelmed by the work of a master photographer during a transcendent experience. This RSS feed includes only the most recent seven Here's a Thought episodes. All of them — over 2500 and counting! — are available to members of LensWork Online. Try a 30-day membership for only $10 and discover the literally terabytes of content about photography and the creative process.

HT2623 - PBPA - Photography By Pooping Around Last week I attended a classical concert in which the orchestra played the Enigma Variations by Edward Elgar. There's a fascinating story about how he constructed this piece that seems perfectly applicable to us photographers. I never knew my practice of PBPA (Photography By Pooping Around)was a strategy that could be used by serious composers. I guess if it's good enough for them, it's good enough for us, too. Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a donation Thanks!

HT2622 - The Secondary Market As you can well imagine, I receive dozens of emails every day from galleries, collectors, agents, and promoters who have prints for sale. My first thought when I see these emails and the prices for the prints they are offering is to wonder how much of that gets back to the creator, the photographer, the individual whose creativity and effort created the work. The poor artist get nothing from the sale in the secondary market. Worse, whatever efforts they spend to market their own work robs them of the precious time and energy needed to make work. Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a donation Thanks!

HT2621 - Photographers and Their Chosen Weather Isn't it interesting how certain photographers are associated with certain kinds of weather? Michael Kenna is associated with fog. Ansel Adams is often associated with snow. Josef Sudek is a photographer of rain. Mitch Dobrowner and tornados, Alfred Stieglitz and clouds. What is your favorite kind of weather to photograph? Note how that is a different question than what is your favorite kind of weather to photograph in! Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a donation Thanks!

HT2620 - The Problem with Handheld Photography After using a view camera for decades, my later conversion to handheld photography has been quite liberating. I enjoy being free from the tripod. That said, I have discovered that my compositions have gotten sloppy over the last decade and I do occasionally miss the exactitude that comes with more precise composition and care before clicking the shutter. Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a donation Thanks!

LW1505 - From One to Many I'm often asked how I develop a multiple-image project. There are probably dozens of ways this could be done, but the most common way a project is born in my creative process is from a single image that spawns the rest. It starts by wandering through my Lightroom catalog in a receptive state of mind not dissimilar from the way I wander through the world looking for subjects that peak my curiosity. In the field I'll find a scene; in Lightroom I'll find an image that talks my imagination. All previous episodes of our weekly podcast are available to members of LensWork Online. 30-day Trial Memberships are only $10. Instant access, terabytes of content, inspiration and ideas that expand daily with new content. Sign up for instant access! You might also be interested in. . . Every Picture Is a Compromise, a series at www.brooksjensenarts.com. and... "How to" tutorials and camera reviews are everywhere on YouTube, but if you're interested in photography and the creative life, you need to know about the incredible resources you can access as a member of LensWork Online.

HT2619 - A Recitation of Locations Last fall I attended a lecture where a photographer, by projecting on a screen, shared a parade of hundred images or so with the audience. It was so curious to listen to their verbal accompaniment. The first few images had context, story, even plot line as they described what they had photographed and how. But that only lasted a few minutes. Less than a dozen images into their presentation and their verbal accompaniment deteriorated to a recitation of locations. I wonder why it is that photographers so often think that where they photographed is more important than what or why? Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a donation Thanks!

HT2618 - Print as Affirmation As we wander through life, we see something that prompts us to make a photograph. Why? That mystery requires confirmation. Did we see what we thought we saw? Did we understand what we thought became clear? Do we make a print in order to confirm our experience? Do we share that print with others so that they can confirm our experience? Photography fundamentally is the process of saying, "Look at this." We do so because we think it's important. How necessary is it that others affirm our observation, even if that affirmation comes from ourselves? This RSS feed includes only the most recent seven Here's a Thought episodes. All of them — over 2500 and counting! — are available to members of LensWork Online. Try a 30-day membership for only $10 and discover the literally terabytes of content about photography and the creative process. Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a donation Thanks!

HT2617 - Battling with the Real World The problem with photography from a creative medium point of view is that it too successfully allows us to make pictures that show what the world looks like. I'm not sure this is helpful for those of us who want to use photography as a personally expressive medium. The more our photographs are truthful to an objective point of view, the less they reflect our own interpretive response to the world. Do we create photographs that copy the world or do we push further toward a more personal expression? This RSS feed includes only the most recent seven Here's a Thought episodes. All of them — over 2500 and counting! — are available to members of LensWork Online. Try a 30-day membership for only $10 and discover the literally terabytes of content about photography and the creative process.

HT2616 - My Serious Camera A troubling mindset that I have difficulty discarding is that I think of my gear as either serious or, well, not. With my serious camera, I work more intensely, with a deeper concentration. I also have a more portable, but fully capable camera that goes with me everywhere. For some reason, I can't seem to use that camera with the same intensity as my serious gear. I must let go of this prejudice. Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a donation Thanks!

HT2615 - Beyond Place or Moment You may recall my Editor's Comments in LensWork #173, Projects as Wall Art. I have another observation about this that I missed until recently. An image on the wall says something about a place or a moment. A project of a dozen images or so says something That is neither about a place nor a moment. My current project on the wall consists of 13 images of snow scenes that says something about snow and winter that I'm not sure I could accomplish with just one image all by itself. Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a donation Thanks!