Minor White famously said, "Don't just photograph what it is, photograph what else it is." I don't think he meant just turning up the volume. I wonder how he would react to today's common approach of photographing not just what it is, but photographing the hyper-real version of what it should be in our imagination? Viewing a photograph is like striking flint on steel. The spark may be tiny, but from that spark can grow a bonfire. I don't want to place words into Minor White's mouth, but I think he meant that the photograph was the spark and the viewer's reaction might be the bonfire.

HT1792 - WWMWT - What Would Minor White Think?

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. 
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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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I love photographing in the fog. It has a way of turning the most complex landscapes into minimalist compositions. Snow can do the same thing. Strangely enough, I can be just as fascinated with the opposite of fog or snow, that is, incredibly complex patterns that seem quite chaotic. For me, the most difficult compositions are the ones in between that are neither minimalist nor cacophonous.

HT1916 - The Opposite of Fog

I believe there are three miracles of human invention that continue to amaze me that they even exist at all. These are language and writing (books), the aural arts (music, recordings), and the visual arts (painting, photography). Through writing we can know what Sophocles thought millennia ago; through audio recordings we can hear what our grandparents sounded like; and via photography we can see the world that no longer exists.

HT1915 - Three Miracles

Finishing a photography project has multiple rewards not least of which is the manifestation of the artwork we produce. However, perhaps the most important thing we gain by finishing a project is what we learn in the process. Each project is a teacher as well as a culmination of our efforts.

HT1914 - Learning from Each Project We Complete

I know we can make a picture in 1/60th of a second, but should we? We've recently seen cameras introduced to the market that allow you to upload an image to your social media account instantaneously after clicking the shutter. Doesn't this completely miss one of the most important aspects of fine art photography?

HT1913 - Why Think Deeply When You Can Think Instantly

I've been doing and thinking about project-oriented photography for so long that it's become a reflex for me to search the interstices between pictures for threads that connect them together. Looking through some photography books recently, I realized I was doing that reflexively when in fact there was no thread between the pictures, at least not one intended by the photographer.

HT1792 - WWMWT - What Would Minor White Think?

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