LensWork - Photography and the Creative Process

A universal rule in photography is to get closer to the content. This may not mean getting physically closer. The idea of getting closer means different things for different subjects. For example, getting closer to a distant landscape probably implies using a longer lens. Conversely, getting closer in street photography probably implies using a wider lens.

There are subjects that lead to short projects, and subjects that lead to lengthy projects. Both kinds of projects have their virtues and their drawbacks. The real problem, however, is when as producers we give our audience mixed signals.

A couple of years ago I had the opportunity to photograph in the famous Ryoan-ji Temple gardens in Kyoto. It was the fulfillment of a life-long dream to photograph there. Curiously enough, that brought me face to face with a fundamental decision: Do I make a project about the Ryoan-ji gardens or use those images to make a project about Japanese gardens in general?

LW1428 - A Firehose of Images

Too much of a good thing can lead to a numb response. I was reminded of this while I was looking through a sizable book in the presence of the photographer. After the first 50 images, my attention began to wane. After 100 images, I was numb.

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Every Picture Is a Compromise, a series at www.brooksjensenarts.com.

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We photographers have always known that there's a tenuous relationship between photography and truth. Trick photography goes back to the earliest days of the medium. But now, in the age of Photoshop, it's so easy for people to assume that the spectacular thing we've captured with our cameras is a Photoshop fake.

There is landscape photography, urbanscape photography, and more. Why not "homescapes" that use everyday life at home to create an environmental portrait that doesn't need to include people. Not "House Beautiful," but rather House Lived In.

So many times, the process of photographing involves moving to location or a position where you can see a lovely scene and composition. Since I've had problems with my back these last few years, my mobility has been compromised. I can't hike or backpack the way I used to. My most frequent way of photographing these days is from the driver's seat in the truck or at a short distance. The funny thing is, I've never been so productive in my life. It's amazing how many compositions become available when we still our bodies and our minds.

Last year, I was showing some chapbooks to another photographer who commented that they preferred more substantial ways of presenting their work. What an interesting way to think about our work. Substantial? What makes photography more or less substantial?

I know photographers who are hesitant to do something that's been done before, but it occurs to me that there is a premise behind that reaction that is not necessarily true. The premise is that the virtue lies in the subject itself, not in the experience had.

I guess I've been hiding under a barrel, but I just this week learned about Fuji Instax printers. I can see them easily becoming a fun gimmick at a party or a social gathering, but I'm wondering if anybody has figured out how to use this medium for more serious artwork. Any ideas?