Avsnitt
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HT2231 - Choose Your Challenge
I've often found it useful to divide photography into a set of competing challenges. How do you want to play with photography? Do you want to challenge yourself with the technical complications of making giant prints? That's valid. Or do you want to challenge yourself with the expressive complications of making more meaningful artwork? That's valid, too. And then of course, there are all the variations that combine both of these challenges.
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HT2230 - PPI Required for Printing
How many pixels per inch are required for printing? Be careful; this is a trick question. In fact, as I've asked the question it is unanswerable without additional information or blind assumptions. What's the missing/assumed data? What is the viewing distance likely to be?
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Saknas det avsnitt?
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HT2229 - Software Updates, Image Updates
Here's a question that's both philosophical and practical. When there is a software update that could dramatically improve an image you've already finished, do you go back and update the image because the software allows you to improve it in ways that were previously impossible? Or, do you leave it as is because you are busy doing new work rather than living in the past?
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HT2228 - Too much Fretting Over Gear
I can't even begin to count how many photographic trips I've made in my 50 years of photography. One thing I do know is that before every trip I spend hours thinking about what gear to bring, particularly what lens — or lenses — to bring. Interestingly enough, I'm yet to return from a trip without successful photographs. That has me suspicious that I would find any random combination of gear and lenses satisfactory. Different pictures? Yes. But stymied? Probably not.
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LW1449 - The Goal of the Process
As someone looks at one of your images, Is that the end of a process of the beginning of one? Is viewing your image the end of their engagement with it? Or do we hope viewing our image is the beginning of a small mental journey that engages their imagination, poses a few questions, or moves them to a further experience?
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You might also be interested in. . .Every Picture Is a Compromise, a series at www.brooksjensenarts.com.
and...
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HT2227 - The Balance of Input and Output
I can't help but feel that the path of an artist is one that balances input and output. If all we do is watch television, read, be entertained, it's difficult to be an artist. If all we do is work, produce, construct, it's equally difficult to be an artist. The key to the art life is finding the middle way, a balance input and output, where we take in, feel, think, and then produce with our response to the world.
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HT2226 - The Least Camera Needed
Ted Orland opened my eyes about gear. He advocated that we should choose a camera that's fit for the job but the least capable camera we can. His idea was based on the observation that the more capable the camera, the more complex, and the more complex it is the more it intrudes into the connection between us and the subject.
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HT2225 - A Selective Literacy
There are so many photographers, so many books, so many exhibitions, that it's virtually impossible to achieve anything even close to visual literacy in photography. Instead, we each have our own understanding of photography based on a fractional appreciation of what's being and been produced. We all love photography, but what we mean by that is entirely dependent on our own selective literacy.
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