Here's a thought

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Below are the three most recent Here's a Thought . . . commentaries

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HT1854 - The Terrible, Awful, Horrible Non-Problem of Diffraction

With some regularity, we are advised by the wise leaders in photography to avoid using the smallest apertures because of the introduction of that focus softening known as diffraction. My advice is to ignore their advice. Not that diffraction doesn't exist; it does. It's just not as serious an issue as the pundits insist that it is.


HT1855 - Adapting to What We Can Do

Do 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 give up based on the fact that we can't achieve our fantasies? Or, do we adapt ourselves to what we can do? What other option is there? Don't let "If only..." become an excuse.


HT1856 - Every Wish Has Been Granted

There 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 of that in today's amazing photographic tools, I suppose there are no excuses left for why our artwork fails other than to acknowledge our personal and internal limitations. Damn it was sure handy blaming inadequate tools!


HT1857 - Toned vs False Color

When a black and white image is toned, the mood shifts but the believability does not. There is a reason that a color image that deviates from reality is referred to as false color. But we never hear a toned black and white image referred to as a false black and white


HT1858 - The Three Rules of Communication

An 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 work pretty well in project-oriented photography, too.


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 without any guilt about obligations I might be ignoring. What a wonderful day! But then follows the troublesome question: What will I do?

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HT1860 - The Problem of Movement

Gestalt 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 if they capture blurry movement. This defines one of photography's greatest challenges.


HT1861 - What Sets Photography Apart

Each 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 into our nonverbal emotions; painting provides a medium in which the artist can include or exclude elements based solely on their imagination. What sets photography apart? Seems to me that one of its primary strengths is its ability to show detail even finer than human vision and to carry that detail to future generations.


HT1862 - Reflected vs Transmitted

I'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 processing decision is based on this first choice.


HT1863 - Beyond Bragging Rights

It is a part of human nature to want to share our successes. When we make a photograph we are particularly proud of, we want to show it to others. Other than the fleeting joy of sharing our successes, why are you involved in photography? What is the deeper reason you go to such lengths, expense, work, and sacrifice for your photography?


HT1864 - Viewing Lights

The 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 demonstrates how frustrating this issue can be for us photographers.


HT1865 - How to Save $1,600

Once 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 already own. Then the next step was to see what the results would look like if I used either pixel shift technology versus Super Resolution Enhancement in Lightroom. Fascinating results.


HT1866 - Learning Without Feedback

How 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 and this explains one aspect of the digital revolution that I think is highly overlooked, but has radically changed the nature of photography.


HT1867 - Feedback and the Pressure to Conform

Yesterday 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 pressure to conform.



















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