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.

June 2021

July 2021

August 2021





















HT0849 - Equalizing a Photograph

In the world of audio, equalizers area prevalent tool. An equalizer allows me to shape the recorded sound to my ears and even my preferences. In photography such thoughts would be blasphemous. Why? In fact, the rendering tools in my video card or portable device do the same sort of thing as an audio equalizer.


HT0850 - Two Reasons for a Book

Structurally, there are two reasons for a book: gather a group of images together, or to present them in a particular order, perhaps with text that must appear in a specified sequence. If your reason for doing a book is limited to gathering images together, why insist on binding them?


HT0851 - Our Adrenalin Fueled Society

As I observe it, so much of life today is the pursuit of the next hit of adrenaline, or dopamine, or something that stimulates us. It's no wonder photography is not as popular as movies, sports, politics, or sex. I hope there is still a place in our culture for sitting still, breathing deeply, and maybe enjoying a moment with nature, a haiku, a cloud floating slowly across a blue sky, and a photograph that connects us with the quiet side of life.


HT0852 - The Gift of a Broken Camera

A camera is a two-edged sword that encourages us to see while simultaneously encouraging us to postpone looking deeply now. Colin Fletcher's broken camera.


HT0853 - The 180° Rule

I've discussed the 180° rule elsewhere, but I think I now know why it seems to work so often. Could it be as simple as the obvious that turning around 180° to look for another image will find you in the same location with the same light?


HT0854 - Finding Your Medium

There are so many ways now to share our images – wall art, books, videos, exhibitions, folios, chapbooks, Instagram. Each medium has its strengths and weaknesses; each project needs to be assessed as to which media are the ones that will best carry forward your artistic intent.


HT0855 - Finding a Title for Your Project

Here is a simple and effective way to find a title for your project. I've been teaching this method for twenty years and it never fails.


HT0856 - Chess and Photography

I don't play chess, but I understand the fundamental strategy: anticipate your opponent's next moves as a consequence of your moves. The same idea can he used in photography. Anticipate the viewer's reactions to your creation and do your best to move the outcome in the directions you intend. This is especially useful in sequencing your images.


HT0857 - The Importance of Finishing

Nothing teaches us more about being an artist than finishing projects. Learning by doing is always the best way of learning.


HT0858 - The Calm After the Storm

Every time I finish a project, I find myself in that odd space where I'm lost for a little bit, unsure what I should do next. I've learned to trust it: Nature abhors a vacuum.


HT0859 - Distilling Makes It Stronger, Until It Doesn't

The temptation with every project is to add more images. Strangely enough, most projects get better when we remove images.


HT0860 - Crunchy Black and White

In general, most photographers find that converting an image to black-and-white requires an increase in contrast. True, but too much is, well, too much. It takes a delicate touch to push far enough without going too far and ending up with crunchy blacks and whites.


HT0861 - The Answer is Not Photoshop

Photographers want to know how you did it, but everyone else only cares what you did. When it comes to presenting your work to the public, it's a good idea to keep the interests of your audience in mind.


HT0862 - Photography As a Slow Thing

Movies and TV shows tend to show photography as this frenetic activity with photographers seemingly hopped up on massive amounts of caffeine. I'm sure for certain kinds of photography that's appropriate. The more I work in the landscape, with abstracts, and even with portraits, I find a slower approach to be much more successful.


HT0863 - Landscape or Lightscape

Without light, there is no photography. But why do so many photographers prefer certain kinds of light? Is a photograph successful because of the land it shows, the light it uses, or the mood it creates?


HT0864 - EMI — Eyes, Mood, Idea

Some images just delight our eyes; some images give us a mood or a certain feeling; and some images fill us with ideas and make us think. Of course the best images do all three at once. Maybe this can be developed into a strategy?


HT0865 - If You Don't Feel It

I was reading an article on creative photography in which the writer proposed that if you don't feel it you shouldn't photograph it. I couldn't disagree with him more. That strategy completely removes the possibility that you might feel it later, long after the photographic opportunity has passed.


HT0866 - The Problem with Telephoto Lenses

Sure, a telephoto lens pulls in objects from a distance, but it also compounds the issues of atmosphere. It has to see through more air. And that means dust, mist, fog, heat haze, and wind are greater factors than they are with shorter lenses.


HT0867 - A Wide Telephoto

A wide angle lens has a wide angle of view in both directions - left/right and up/down. So how do you get a wide angle along only one axis? It's a panorama. And one of the fun things about that is you can use a narrow-angle telephoto lens to make a wide-angle picture along just the horizontal axis.


HT0868 - The H-frame

In digital photography, a panorama is made by stitching together a series of exposures that typically use several portrait orientation images or several horizontal orientation images. But what if you mix these? There's some very interesting possibilities for H-frame images.


HT0869 - Better Than My Eyes

Here is a measure of how far we've come with the advancement of technology these days. I used to dream of a lens that would render as much detail as I could see with my eyes. The lenses I'm using today can see far more than I can with my eyes. This has radically changed my photography.


HT0870 - The Monochromatic Color Image

In a position about three-quarters of the way between, I'm seeing a lot of projects these days that are visually monochromatic but have a dot or a splash of color somewhere, or perhaps a slight tint of color that clearly make them a color image. For the right subjects, this is a marvelous approach.


HT0871 - Content First, Artifact Second

We fine art photographers spend most of our creative time on perfecting the artifact, but the general public sees the content of our image first and All other observations are secondary.



How you analogize photography will radically change your approach. Do you think of photography as a cousin of painting, or as a cousin of the storytelling we find in novels? Are you making an image that will shout with an exclamation point? Or are you using images more like paragraphs?


HT0873 - The Story of the Artifact

Every artifact has a story, for example the well know story of the painting Édouard Manet and Mme. Manet (1868-69) by Edgar Degas, now at the Kitakyushu Municipal Museum of Art - - and how this can be an inspiration for you and the story of your photographic artifacts.