LensWork Online: A Membership website with content, content, content and even more content in 2017!
Newest Content Complete Content Tablet Editions Extended Computer Editions Support www.lenswork.com

Here's a thought . . . (March 2020 Calendar View)

Short videos with snippets, fragments, morsels, and tidbits from Brooks' fertile (and sometimes swiss-cheesy) brain.

Usually just a minute or so.

Pretty much daily.

Always about photography and the art life.

 
February 2020

March 2020

April 2020

Sunday

Monday

Tuesday

Wednesday

Thursday

Friday

Saturday

 1

HT0362 - Miles Per Shot

How many miles per shot do we need to drive and why I've become a fan of "Destination Location" photography.

 2

HT0363 -  To Crop or Not to Crop

By the very act of framing the shot, you are cropping a section of the world into your photograph. Why would further cropping in the darkroom or the computer be considered inappropriate?

 3

HT0364 - New Tools and Old Prejudices

I used to avoid making landscapes on hazy days, but now we have the Dehaze tool that can help. Nonetheless, my old habits often kick in and I have to remember that I have this new tool and just make the exposure.

 4

HT0365 - Trusting Our Creative Self

We each have unique eyes, unique experiences, unique memories, and unique points of view. These things are the keys to avoiding the cliché  photo when we are in the cliché landscape.

 5

HT0366 - Photographing at Sunrise

The quality of the light is more important than the time of day.

 6

HT0367 - Zabriskie Point

The Edward Weston image is intimidating, but the adjacent area  offers just as much potential. Where are the photographs of Twenty Mule Team Canyon?

 7

HT0368 - More About Zabriskie Point

It's tempting to revisit the exact location of a famous photograph, but invariably I experience a bit of a letdown as I realize the photograph was made more spectacular than the place is by a talented photographer.

 8

HT0369 - The Perfect Camera is Also the Worst Camera

A butter knife makes a lousy screwdriver even in an emergency, but it always makes an excellent butter-knife - - always. My camera is the perfect camera for what I do, but it  might be the worst possible choice you could make for the photography you want to do. We live in the age of specialization.

 9

HT0370 - Bad Photographs

There are plenty of photographs you won't show anybody, that will never see the light of day,  that don't measure up to your highest standards, but that doesn't make them bad. They are good, maybe even great, in showing you the way. If you don't make them you may not learn that all-important thing that gets you to the finish line.

 10

HT0371 - What Went Wrong

Every time you click the shutter, you think at the time that you've made a good photograph. Far too often, we find later that it doesn't succeed like we thought. Why? Do you study your failures to learn why they are failures? Perhaps you should, like studying game films.

 11

HT0372 - Guidebooks

Some people love guidebooks because they help with info that tells them where to go. I avoid guidebooks because I prefer the freedom to discover things on my own. I want the intensity of a new discovery not dulled by foreknowledge.

 12

HT0373 - I Don't Remember

Sometimes when I get back from a photographic trip, I'll discover images in review that I absolutely do not remember photographing. These are always important images because they come from deep within my subconscious and are gateways to understanding elements of our art making that are not known to us.

 13

HT0374 - Information Graphics

The dance between texture/details and line/shape/geometry. And, a great technique for use in the field thanks to Huntington Witherill.

 14

HT0375 - When More is Not Really More

More pixels are not a virtue if you make smaller prints; more bit-depth is not a virtue unless you do a lot of aggressive post-processing. More can be better, or it can just clog up the system with unnecessary data.

 15

HT0376 - More About More

How necessary is it for our photographs to have more detail when they will be mostly viewed at a distance? Does it make sense to spend our creative energy to that very rare viewer can examine our 4-foot prints from a distance of 6-inches?

 16

HT0377 - Image Stitching and Detail

There are three basic strategies for getting more detail in our images: higher megapixel cameras, multi-shot in-camera with a moving sensor, and stitching. I'll use stitching every time I can because it gives the most detail when I need it.

 17

HT0378 - How to Make Your Photos Better

I have no idea. The key word in that sentence is your, and anything that anyone might tell you about how to improve those photographs will simply be advice on how to more closely follow the rules, the expected, the accepted, the normal. If that's what you want to produce, then lots of people will have lots of advice for you. If you want to produce something that's truly your own, the only thing that counts is whether the photograph works to communicate what you want to say.

 18

HT0379 - Audience Segmentation

Let's say you want to read Oliver Twist... Each rendition has its own audience so there are countless variations in the experience of consuming Oliver Twist. Of course, can't we say the same thing about our photography in this media diverse age of photography?

 19

HT0380 - Buggywhips and Photographic Prints

Did the buggy whip makers see what was happening to them while it was happening? I wonder what we would see via hindsight a hundred years from now in the times we are living through! I wonder what we are oblivious to today precisely because we are living through it.

 20

HT0381 - The $19,000 New Leica S3

At heart, I'm a free-market capitalist, so if you want to pay $19,000 for a medium format Leica camera, I say go ahead! On the other hand, I'd be really curious to see your photographic reasoning for justifying this. It seems to me it's more about owning the camera than it is a decision driven by photographic need.

 21

HT0382 - Working a Project

For me, "working a project" rarely means making more exposures. It usually means refining the idea. Trim the superfluous, clarify the essence, distill to the necessary.

 22

HT0383 - For What Purpose

There is a flaw in the premise of the star rating paradigm in Lightroom. How do you rate an image if you don't know its purpose?

 23

HT0384 - The Dedicated and the Gifted

Lots of photographers I talk to say they want to make money by selling their photographs. Athletes who make money with their sport are not just working at it full time, every day, but they're also naturally gifted. Wouldn't that pertain to us photographers, too? Why not just have fun?

 24

HT0385 - How You Define Fun

There are all kinds of ways to engage fine art photography. How do you define fun? And isn't every possible definition just as valid as the next? It's a matter of knowing where fun is found for each of us.

 25

HT0386 - The Mona Lisa by Microscope

I suppose there might be scientific reasons for examining the Mona Lisa with a microscope, but not if you want to appreciate it as artwork. I silently cringe when someone views my prints from nose-print distance because I know they are not looking at my artwork.

 26

HT0387 - Edward Weston's Camera

It is said that Weston knew his camera and lens so well that once he had set his tripod in position, he never needed to move it because he knew the lens coverage perfectly. I wonder if this was actually true?

 27

HT0388 - Connection

We live in the age of media, which means we live in the age of one to many. By that, I mean that one person speaks, or writes, or photographs, and many people listen, read, or look. But this is not the heart of art. The heart of art is one to one.

 28

HT0389 - A New Bit of Terminology

Photoshop is the brainchild of Thomas Knoll. Because we have Daguerreotypes and Woodburytypes so called for their namesakes Louis Jacques Mandé Daguerre and Walter B. Woodbury, why not the Knollotype for all the analog purists who insist that a digital work flow does not produce  a true "photograph"?

 29

HT0390 - No Room for Your Bruised Ego

Every experience of your life has the seeds of artistic growth. Even being rejected offers lessons of value, if that is your bruised ego doesn't get in the way.

 30

HT0391 - Strategic Regularity

This is a comment specifically for those of us who do photography as a personal passion or hobby. It's so easy for us to produce work sporadically. It's so much better if we can develop a strategy that works in our life that makes our productivity more regular.

 31

HT0392 - Hyperbole in Artwork

Bierstadt's painting and our hyper-everything culture.