Here's a thought

The most recent three videos are available below.
The entire collection (including all previous episodes)
is available to members of LensWork Online.

March 2021

Apr 2021

May 2021

Sunday

Monday

Tuesday

Wednesday

Thursday

Friday

Saturday

 

 

 

 

 1

HT0758 - Fatigue Images

I've noticed over the course of my photographic life that I tend to make different pictures depending on my level of fatigue. At the end of the day, after driving or hiking for long hours, my images are more intuitive and less intellectual. And better! I wish there was a Lightroom metadata sort by time of day.

 2

HT0759 - The New Schedule

Starting next week, we are adding three new channels to our LensWork Online content — Exploring the Back Issues, Q&A, and Field Notes.

 3

HT0760 - Rethinking the Tripod

The primary use for a tripod all these years has been to stabilize camera movement. But now with OIS and IBS, tripods have fallen out of favor. Too bad, because eliminating camera movement is not the only reason to use a tripod.

 4

HT0761 - Print Size and Archivability

An odd lesson from my recent downsizing was the challenge of archiving large prints. I realized that the larger the print, the more challenging it was to keep it, to store it, to protect it, to find a home for it. The larger the print, the more of a challenge and problem it was to deal with in my downsizing project.

 5

HT0762 - Print with Margins

I used to print my images in the wet darkroom as close to the edge of the paper as I could. This allowed me to make larger images. But I've discovered that a lot of those images have damaged or bent corners just from handling. Now I leave a generous margin between the edge of the paper and the image content — just to be safe and help avoid damage to the image itself.

 6

HT0763 - Life Happens

An important bit of self-knowledge is to understand the difference between being lazy and being unproductive in our art life for some pretty good reasons. Sometimes, life just happens.

 7

HT0764 - Damned Fuzz

A couple of quick things to understand about optics and gunk.

 8

HT0765 - Butterfingered Disasters

It's a good thing I'm not a surgeon. A really good thing.

 9

HT0766 - The Old Stores

I miss those old camera stores where you could find every piece of odd and ancient gear of your dreams. I'm not sure I'd want to go back to those days, but I do remember them fondly.

 10

HT0767 - The Importance of Failures

First, if you have no failures you are it far to safe. And if you are not spending time with your failures to learn from them, you are wasting one of your greatest assets.

 11

HT0768 - Genuine Help

I've said before that print critiques based on the I like / I don't like paradigm are pretty useless. So what are we to do instead? How about simply offering genuine help about how to achieve the results the photographer wants to achieve?

 12

HT0769 - When to Pull Out the Camera

When I find a new location in which I want to photograph, I'm usually so excited that my knee-jerk reaction is to pull the camera out immediately and get to work. But I've learned that's almost always a mistake. Instead, it's better to take a moment to just look and absorb and think about it more deeply before I pull out the camera.

 13

HT0770 - Peer Pressure

Early in my photographic life, I experienced the influential nature of peer pressure. I flirted for a while with black mat boards, my theory being that white light would look whiter in contrast to black. It didn't take long for me to abandon that idea because of peer pressure, not because it was wrong. It was one of my first lessons about conformity in the art world.

 14

HT0771 - What They See

As is always true in art, the viewing experience is the intersection of the content of the artwork with the viewer's interpretation. Sometimes their experience can so color their interpretation that there's little we can do to overcome that gap between our intent and their understanding.

 15

HT0772 - Bouncing Off the Surface

The vast majority of photographs I see (and make) are, truth be told, pretty shallow. Viewing them I feel like I just bounce off the surface. But every once in a while there's an image that connects with me in a way that engages my conscious attention more deeply. I ask questions, I think, I feel, I spend time with it. My imagination is engaged These are the images that are the reason why we are involved in photography.

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