Avsnitt
-
HT2130 - The One Perfect Size
I've witnessed numerous discussions in which a photographer has proposed the idea that there is one perfect size for every image. Making that image smaller or larger somehow diminishes it. I don't bring this topic up to attack or defend it, but rather to ask the simple question how do they know? In order to determine that there's one perfect size for a given image we would need to make it in every possible size to determine which one is the best! I don't ever recall anyone actually doing this. Perhaps the best size is the one you make.
-
There is a distinct difference between photography that shows us the world and photography that shows us the artist's conception of the ideal world. The digital age has magnified Utopian Photography. I just watched a YouTube video in which a Photoshop guru improved a picture of a beautiful woman by brightening her teeth, deepening the color of her eyes, and removing all blemishes from her skin. He made a lovely photograph of a beautiful woman, but a thoroughly idealized one.
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.
-
HT2129 - All the Gray Hair Is Worrisome
In the 1970s and '80s, there was a huge uptick of people engaging fine art photography. I suspect this was the result of luminaries like Ansel Adams bringing photography to the masses, but also a result of the increased quality of image reproduction in books. I never attended an Ansel Adam's workshop, but I've seen lots of pictures of those enthusiastic youngsters at Adams workshops.
-
HT2128 - Irrelevant Information
Every artist who knows their craft can explain it with some amount of detail. Does knowing how they do it make our appreciation of their accomplishment any deeper? Or is it better to be amazed and let go of our questions about how it was done?
-
HT2127 - Tiny Prints
I remember visiting the Art Institute of Chicago in the 1980s and seeing on display a collection of tiny prints in very large frames. As I recall, they were 35mm contact prints presented and framed in 16x20 matboard. The exhibition was unusual, but watching people view these prints was especially interesting. I noticed that everyone got very close to see the images, probably as close as they were comfortable focusing.
-
HT2126 - About Backgrounds, Sort Of
We need a new word other than "background" to describe what I want to discuss in today's commentary. We normally think of the background of a photograph as that part that's not the subject but is still inside the borders of the image. But every photograph has another background that is either the mat board of a framed print, or the margins around the image in a book.
-
HT2125 - The Stunning Image Has Been Replaced
If we look back at the history of photography and concentrate on what we now call "fine art photograph," we see that a great deal of the success of a photograph was its technological accomplishment. We'd look at a print and say, "Wowee, how did they do that?" In my youth, that question launched a pursuit of knowledge and craft that consumed many hours of my young photographic life. These days, I rarely see anyone receiving accolades for their print quality.
-
HT2124 - Montage
In 2016, we launched the idea of six-image projects we called Seeing in SIXES. We presented them in book format with one image per page in a six-page sequence. A variation of that idea has intrigued me of late. Why not place six images into a montage layout on a single sheet of paper?
