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PODCAST

LensWork - Photography and the Creative Process

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. Included in this RSS Feed are the LensWork

arts visual arts

All Episodes

2:43

HT2462 - My New Phone Has Adaptive Display

LensWork - Photography and the Creative Process ·

2025/12/05

HT2462 - My New Phone Has Adaptive DisplayMy old phone finally gave up the ghost when its battery wouldn't hold a charge anymore. So off to the phone store and a new phone, and that sizable project of getting the new phone and its settings adapted to my needs. Unfortunately, with this new phone, I was unaware of an "improvement" that Android calls Adaptive Display. Now that I've turned off adaptive display, my images look so much better. Show your appreciation for our free weekly Podcast and our

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2:43

HT2461 - Variations on a Theme

LensWork - Photography and the Creative Process ·

2025/12/04

HT2461 - Variations on a ThemeI'm a fan of Sergei Rachmaninoff's piano compositions. I was not aware, however, until last night, of a composition he wrote titled Variations on a Theme of Corelli. The backstory of this work is simple. Corelli wrote a short piece of music in which there is a central tune. That tune captured Rachmaninoff's imagination. Rachmaninoff then took this short musical theme and composed 20 variations that are different in every regard, but still identifiable because of the

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2:43

HT2460 - With the Passage of Time

LensWork - Photography and the Creative Process ·

2025/12/03

HT2460 - With the Passage of TimeI'm certainly not the only photographer who looks back at their earlier work and feels a sense of embarrassment. What was I thinking? Of all the negatives or digital captures I had to choose from, why did I think this one was worth printing, matting, and (God forbid) framing? Isn't it equally odd that a few images from those early years seem to have held up pretty well? Can I trust my own aesthetic judgments? Will the images I'm producing today seem ridiculous 5 or

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2:43

HT2459 - AI and the Ideal

LensWork - Photography and the Creative Process ·

2025/12/02

HT2459 - AI and the IdealWhen we say that one photograph is better than another, how do we arrive at that conclusion? When we are processing our images, what is the criteria we use to take the next step in processing? As I've thought about this, one answer keeps reoccurring: all of the decisions we make have the intention of revealing an ideal. What do we mean by "the ideal"? Why is our goal not the truth? When did photography change from a sensitive pursuit of truth into a technological and

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2:43

HT2458 - Every Capture Is a Teacher

LensWork - Photography and the Creative Process ·

2025/12/01

HT2458 - Every Capture Is a Teacher The core of artmaking is the twin fusion of learning and producing. It's easy to see that if there is no producing there is no artwork. It's not so obvious that if there is no learning there is no artwork. Learning comes from many sources, One of the most important is our past decisions. Here is a simple exercise that can amplify the importance of learning with every capture. Show your appreciation for our free weekly Podcast and our free daily Here's a Thought…

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12:54

LW1482 - The Importance of Momentum

LensWork - Photography and the Creative Process ·

2025/12/01

LW1482 - The Importance of Momentum Borrowing a phrase from Carl Chiarenza and his book, Pictures Come from Pictures, I'd like to propose that "projects come from projects." We may not be aware of the threads that run through our creative life as we are living it, but in retrospect we can often see how one artistic effort begets another. This is precisely why preserving creative momentum is so important. But, how to do it? All previous episodes of our weekly podcast are available to members of

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2:43

HT2457 - One of One

LensWork - Photography and the Creative Process ·

2025/11/30

HT2457 - One of OneIn 1989, I commissioned a metal shop expert to create an adapter for my Arca Swiss monorail view camera that would allow me to use Polaroid 3¼ by 4¼ film packs. This led to a summer-long project that today exists as a box of matted Polaroid originals that are all unique prints. I recently found this box of prints and reviewed that 37-year-old work, completed half a life ago when I was 34. A lot of those prints are wonderful, but what do I do with them? Show your appreciation

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2:43

HT2456 - The Most Memorable Photographs of our Age

LensWork - Photography and the Creative Process ·

2025/11/29

HT2456 - The Most Memorable Photographs of our Age Time has a way of filtering out the unimportant. Think back 500 years ago. We don't remember local politics, but we do remember the great art from that era. What will people, 500 years from now, look back at our era and find most remarkable? I'll guarantee you it won't be your work or my work, nor even the photographs of the masters like Ansel Adams or Edward Weston. No, they will look back at the images the astronauts captured while on the moon,

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2:43

HT2455 - To Prime or Not to Prime

LensWork - Photography and the Creative Process ·

2025/11/28

HT2455 - To Prime or Not to PrimeThere is no question that prime lenses have a reputation for being superior in comparison to zoom lenses. The most expensive lenses are often the very best primes. They are often faster, sharper, and many photographers swear by them. There is a trade-off to a prime lens, however, that's not always obvious but one that persuades me convincingly against primes. Think "optical cropping." Show your appreciation for our free weekly Podcast and our free daily Here's a

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2:43

HT2454 - Decisions vs Execution

LensWork - Photography and the Creative Process ·

2025/11/27

HT2454 - Decisions vs ExecutionArt making is the fusion of decisions and execution. It's not at all uncommon for photographers to explain that they became a photographer because they can't draw decent stick figures. That is to say, execution prevents them from being a successful pen-and-ink artist, or painter, or musician. Unlike in photography, with these media, there is a barrier that cannot be crossed with luck. With photography, however, we can both be lucky and master the execution of the

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2:43

HT2453 - From My Distant Past

LensWork - Photography and the Creative Process ·

2025/11/26

HT2453 - From My Distant Past Twice now in the last few months, I've received a kind-hearted compliment about one of my pictures — in both cases, however, from images I made more than 25 years ago. I'm always grateful when someone compliments my work, but it does leave me wondering about my more recent efforts. I suppose it makes sense for us to receive compliments about our ancient work with grace and humility. There is a part of me, however, that wants to bring out a few hundred examples recent

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2:43

HT2452 - Photographing Is Not the Same Thing As...

LensWork - Photography and the Creative Process ·

2025/11/25

HT2452 - Photographing Is Not the Same Thing As Making ArtI have 200,000 digital captures in my Lightroom catalog. Does that mean I have 200,000 pieces of artwork? Of course not. So I ask you, precisely, at what point in the process does the digital capture transmogrify into artwork? When you finish processing the image? When you make a print? When you use the image in a PDF? When you say, Quod Erat Faciendum (It is finished)? Show your appreciation for our free weekly Podcast and our free daily

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12:54

LW1481 - Every Picture Is a Compromise

LensWork - Photography and the Creative Process ·

2025/11/24

LW1481 - Every Picture Is a Compromise I think I'm remembering this correctly that it was Pablo Picasso who said the trick and painting is knowing when to stop. Obviously, the same sentiment applies equally well to photography. The question I'm still trying to answer is not about knowing when to stop with a given image, but knowing when to stop with a given project. All previous episodes of our weekly podcast are available to members of LensWork Online. 30-day Trial Memberships are only $10

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2:43

HT2451 - Knowing When to Stop

LensWork - Photography and the Creative Process ·

2025/11/24

HT2451 - Knowing When to Stop I think I'm remembering this correctly that it was Pablo Picasso who said the trick and painting is knowing when to stop. Obviously, the same sentiment applies equally well to photography. The question I'm still trying to answer is not about knowing when to stop with a given image, but knowing when to stop with a given project. Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a donation Thanks!

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2:43

HT2450 - Pepper Number Twenty-Nine

LensWork - Photography and the Creative Process ·

2025/11/23

HT2450 - Pepper Number Twenty-Nine Edward Weston's famous photograph, Pepper #30, has always intrigued me. It's a beautiful image, but to be honest I'm less fascinated with the image itself than I am with the idea that there were 29 antecedents that he, for one reason or another, rejected. And is there a pepper number 31? Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a donation Thanks!

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2:43

HT2449 - Bonus Images

LensWork - Photography and the Creative Process ·

2025/11/22

HT2449 - Bonus ImagesI'll bet that most of you, from time to time, watch the bonus features after you've finished watching the movie. Or perhaps you watch the director's cut with commentary from behind the scenes. Is there any reason why we still photographers couldn't use this idea with our projects? After the last image in a PDF, for example, why not have bonus images for people who want more? Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a

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2:43

HT2448 - Each Project Has Its Own Aesthetic

LensWork - Photography and the Creative Process ·

2025/11/21

HT2448 - Each Project Has Its Own AestheticHow many different genres of music are there? Beyond that, each song has its own mood. Beyond that, the same song can be performed in different ways. Aren't we just as creative as the musicians? Why, then, do so many photos look the same, that is have the same aesthetic? Perhaps we need to let go of what an image should look like and think more about what it could look like. Show your appreciation for our free weekly Podcast and our free daily Here's a

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2:43

HT2447 - Zines vs Chapbooks

LensWork - Photography and the Creative Process ·

2025/11/20

HT2447 - Zines vs ChapbooksA couple of days ago, I received three "zines" in the mail that came from a LensWork reader. They were lovely and I enjoyed her photography a great deal. They were very close in physical dimensions to my 6R chapbooks. This got me thinking about what's the difference between commercially printed zine and a handmade chapbook. Is it as simple as one is disposable and the other is collectible? I'm not sure about this. Show your appreciation for our free weekly Podcast and

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2:43

HT2446 - Caravaggio Ignored His Eyes

LensWork - Photography and the Creative Process ·

2025/11/19

HT2446 - Caravaggio Ignored His EyesCaravaggio, the Italian painter from the 16th century, is well known for his use of a technique called "foreshortening." Today we would call it " focus stacking." It's curious to me that this view of the world is impossible for the human eye. Essentially, Caravaggio had to ignore his eyes and what he saw in order to paint using this technique that seems so real. Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a

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2:43

HT2445 - To Increase Sharpness, Move the Sun

LensWork - Photography and the Creative Process ·

2025/11/18

HT2445 - To Increase Sharpness, Move the SunYes, lens sharpness, stabilization techniques, and resolution all add to build a sharp image. As a pragmatic photographer, however, I can't help but observe and admit that the most important way to increase apparent sharpness is to use the angle of incidence between the light source and the subject that maximizes visible contrast and detail. Light that strikes the subject at an extremely low angle does more to increase detail than buying a sharper lens

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