In his book, The Print, Ansel Adams insisted that darkroom techniques like dodging and burning were supposed to be invisible in the finished print. That premise holds true for today's digital processing, too. But what about pushing things beyond reality? I wonder what Adams would think about the current trends of oversaturated color, the sky replacement tool, or content-aware fill?

HT1136 - Invisible Technique

Random Observations on Art, Photography, and the Creative Process. These talks focus on the creative process in fine art photography. LensWork editor Brooks Jensen side-steps techno-talk and artspeak to offer a stimulating mix of ideas, experience, and observations from his 50 years as a fine art photographer, writer, and publisher. Topics include a wide range of subjects from finding subject matter to presenting your work, and building an audience. 
Included in this RSS Feed are the LensWork Podcasts — posted weekly, typically 10-20 minutes exploring a topic a bit more deeply — and our almost daily Here's a thought… audios (extracted from the videos.) Here's a thought… are snippets, fragments, morsels, and tidbits from Brooks' fertile (and sometimes swiss-cheesy) brain. Usually just a minute or two. Always about photography and the art life.
Brooks Jensen is the publisher of LensWork, one of the world's most respected and award-winning photography publications, known for its museum-book quality printing and luxurious design. LensWork has subscribers in over 73 countries. He is the author of 13 books on photography and the creative life -- the latest books are The Best of the LensWork Interviews (2016), Photography, Art, and Media (2016), and the four annual volumes of Seeing in SIXES (2016-2019).

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To really appreciate a new piece of music, I need to hear it at least 20 times so that I can own it in my mind. The same can be said for photography. I have to spend time with an image before I feel like I've seen it. I have to think about it. I have to search for metaphors in my responses. Sometimes I need to know a little bit about the photographer so I can put their photograph in the context of their career. The idea that photography is something to be glanced at just sits wrong with me on so many levels.

HT1878 - Twenty Times

Photographs are visual, but that does not mean they are devoid of words, devoid of thought. Every photograph sparks a thought. A photograph might spark thoughts of the beautiful, the trite, the irrelevant, the desirable - - there is probably an example of a photograph for every word in language. Artwork is a gateway to  thought. How does knowing this change what we do and produce?

HT1877 - The Thought That Goes With Every Photograph

Here's an exercise you might find fun. What happens when you spend time with an image before you begin processing it? Seriously, try this exercise next time you are working on images in Lightroom or Photoshop. Before doing anything to the captured file, spend 20 minutes or so just looking at it. Write down any words that come to mind, any thoughts, any ideas. Challenge yourself to write 10 things before you begin processing the image.

HT1876 -  Before You Process an Image

The common perception of a photograph is that it is a fact. Even a fanciful, imagine-based photograph is a statement of how the photographer sees the world. But what doors to creativity are opened if we change that perspective and think of a photograph (or a project) as a proposal to consider? What if your photograph says, "Here's a question" rather than "Here's a truth"?

HT1875 - Question or Statement

When you decide you want to make a photograph of this particular thing, why is that thing chosen over all others? What is it in that thing that makes it more photogenic than all others? I've thought about this a great deal lately and I'm not sure I have the answer. I do, however, think I have one answer: Idealism. So much of photography as it is practiced is the pursuit of the ideal.

HT1136 - Invisible Technique

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