Avsnitt
-
HT2217 - Paper Has Personality
Photography is — still — a paper-based medium. Paper is a huge part of our lives. Different photographic papers might have different characteristics, sometimes dramatic difference. Other times, these differences are subtle. I learned the importance of this when I was working with Huntington Witherill on publishing his book Botanical Dances. It's crucial to explore a papers personality before committing to it for a big project.
Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a donation Thanks!
-
HT2216 - Amazing IBIS Results
Handheld photography is a new thing in my 50 years with a camera. The advent of image stabilization has entirely changed my approach to photography. In combination with burst mode, simply amazing results are possible. Here is my empirical rule of thumb. One over the focal length + 5.
Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a donation Thanks!
-
Saknas det avsnitt?
-
HT2215 - No One Cares About Our Plans
It's a fairly common thing in photography to hear a photographer talk about what they are going to do. They haven't done it yet, but they announce to the world they are about to do it — as though we are supposed to care about their plans. Don't tell people what you are planning to do; tell them what you've actually done, accomplished, finished. That's the only thing that counts in the art world.
-
HT2214 - Every Work of Art Has a Title
I mean that. Every sculpture, every painting, every poem, every novel, every song — they all have titles. So why do we photographers think "Untitled" is a reasonable title? Is our imagination that limited, or are we just lazy?
-
LW1447 - Limited Editions
Years ago, after showing my work to a gallery owner, I was thrilled when she said she loved my work and would like to represent me. It was a lifelong dream come true. She then insisted, however, that I limit my editions as a prerequisite to her representation. I passed. Mechanically, there is no limit on how many "copies" you can make. This is especially true in the age of digital printing. No one knows how many you actually make unless you publicize that. A designation like 1/50 does not mean you have made 50 prints. Who benefits from limited editions?
All previous episodes of our weekly podcast are available to members of LensWork Online. 30-day Trial Memberships are only $10. Instant access, terabytes of content, inspiration and ideas that expand daily with new content.
Sign up for instant access!
You might also be interested in. . .Every Picture Is a Compromise, a series at www.brooksjensenarts.com.
and...
"How to" tutorials and camera reviews are everywhere on YouTube, but if you're interested in photography and the creative life, you need to know about the incredible resources you can access as a member of LensWork Online.
-
HT2213 - The Size of the Print, the Size of the Paper
In my first photography class we were taught to leave a quarter inch white space all the way around our images. If we printed on 8x10 paper, the actual area of the image would be seven and a half by nine and a half inches. As my thinking about this has evolved over the years, I now leave space around the image that creates a mat board-like margin on all sides. In practice, this means I print 8x10s on 11x14 paper, 11x14 images on 16x20 paper, etc.
-
HT2212 - Postal Code Titles
One of my favorite photographers is Jay Dusard. A number of years ago we were preparing to publish a portfolio of his in LensWork and I had sent him proof pages to approve. He immediately got back to me and asked me to change the abbreviations I used in his titles, for example AZ as compared to Arizona. He explained "AZ is not a location, it's a postal code." If we're truly interested titling our prints with accuracy, perhaps we should include the ZIP code in our titles?
Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a donation Thanks!
-
HT2211 - Ready at a Moment's Notice
It's a fairly common occurrence that an exhibition space develops a crisis when a scheduled artist has to pull out for one reason or another. It leaves the exhibitor / gallery with a hole that needs to be filled quickly. Would you be able to respond if you were to receive an invitation that required an exhibition be provided immediately? Maybe it's a good idea to have an exhibition or two ready for any opportunity that presents itself.
Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a donation Thanks!
