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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

12:54

LW1443 - The Audience for Artifacts

LensWork - Photography and the Creative Process ·

2025/03/03

LW1443 - The Audience for Artifacts I love physical prints. I grew up in the age of physical prints. I'm enamored with handling the physical characteristics of prints. That said, the overwhelming evidence is that our audience for physical prints will be a tiny, minuscule fraction compared to the audience for our digital creations. It's inarguable, and this both delights and pains me. All previous episodes of our weekly podcast are available to members of LensWork Online. 30-day Trial Memberships

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2:43

HT2184 - Angle to the Sun

LensWork - Photography and the Creative Process ·

2025/03/02

HT2184 - Angle to the SunThe age old wisdom from the yellow box photo gods (Kodak) was to always put the sun over your shoulder. As has been true so many times, I find more success when I do the opposite of what Kodak advised.

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2:43

HT2183 - For a Mere 15,000 Bucks

LensWork - Photography and the Creative Process ·

2025/03/01

HT2176 - Take a Risk Subtitle: Why I won't be upgrading my equipment any time soon. And by "soon" I mean forever. Unless I win the lottery. The really big lottery.

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2:43

HT2182 - The Next Great Challenge

LensWork - Photography and the Creative Process ·

2025/02/28

HT2182 - The Next Great Challenge When I ask, I find that most photographers have a next great goal that challenges them. Often it's an upcoming trip to an exotic location. Or, perhaps buying and learning a new camera is often the next great goal. I would propose that for artists, the next great goal should be the completion of a large project, something sizeable with 40 to 60 wonderful images. A book or set of portfolios. In short, a major work.

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2:43

HT2181 - Five Workarounds I Use All the Time

LensWork - Photography and the Creative Process ·

2025/02/27

HT2181 - Five Workarounds I Use All the Time Wouldn't it be great if cameras would do exactly whatever we wanted them to do, every time, always easily, and not require any hoop jumping on our part? But, there are no such cameras, so we are left with workarounds that will have to satisfy us. Hopefully, with a manageable amount of hoop jumping. Here are five workarounds that I use regularly.

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2:43

HT2180 - Books on the Creative Life

LensWork - Photography and the Creative Process ·

2025/02/26

HT2180 - Books on the Creative Life For decades now, I've recommended four "must read " books on creativity and being an artist. The first is Art & Fear by David Bayles and Ted Orland. The second is The Art Spirit by Robert Henri. The third is More Than a Rock by Guy Tal, The fourth (forgive me) is Letting Go of the Camera by yours truly. I'm now officially adding a fifth that all of you should read, The Creative Act: A Way of Being by Rick Rubin

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2:43

HT2179 - No Comments

LensWork - Photography and the Creative Process ·

2025/02/25

HT2179 - No Comments I'm baffled when I show work to someone and after looking at a collection of images they have no comments whatsoever. How should I interpret their silence? Is it that they don't they like the work, or that they don't know what to say about it?

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2:43

HT2178 - Constantly Changing, Constantly the Same

LensWork - Photography and the Creative Process ·

2025/02/24

HT2178 - Constantly Changing, Constantly the Same Equipment, technique, methods of distribution have been changing at breakneck speed during my entire photographic life. As photographers, we need to be incredibly flexible and adaptable to the changing times. But there is one thing that has never changed and that is the aesthetics of imagery.

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12:54

LW1442 - The Turning Point

LensWork - Photography and the Creative Process ·

2025/02/24

LW1442 - The Turning Pointt It's common — perhaps universal — that artists who persevere long enough will eventually uncover some doubt about their work. Their heartstrings begin to tug them away from the work they feel is expected from them and instead start responding to the creative paths that are personally expressive. This often is accompanied by guilt, doubt, and even an existential crisis about who they are and why they are producing art. I've come to learn that most photographers experience

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2:43

HT2175 - The Unknown Image

LensWork - Photography and the Creative Process ·

2025/02/21

HT2175 - The Unknown ImageIt's a fairly common experience that when I upload images from my camera after an extensive shoot, I will frequently find images I have no memory whatsoever of having taken. I've learned, over the years, to pay a special attention to these images.

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2:43

HT2174 - Processing Time

LensWork - Photography and the Creative Process ·

2025/02/20

HT2174 - Processing TimeWhat percentage of processing time is spend exploring aesthetic alternatives versus just getting your vision manifest by processing steps? To me, one of the most fascinating aspects of digital processing is how it opens the door to experimentation. We try things that lead to a dead end, but it's easy to reverse course and try a different direction. Ultimately this expands our aesthetic decisions exponentially which is a great boon to developing creative vision.

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2:43

HT2173 - Pens, Pencils, and Signing Your Prints

LensWork - Photography and the Creative Process ·

2025/02/19

HT2173 - Pens, Pencils, and Signing Your PrintsHere's a topic I'll bet 99% of photographers have not thought much about. What instrument do you use to sign your prints? Pen? Pencil? Does it make a difference? Actually, I think it does.

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2:43

HT2172 - A Personalized Colophon

LensWork - Photography and the Creative Process ·

2025/02/18

HT2172 - A Personalized Colophon I recently received a lovely email from someone who had purchased one of my chapbooks. He wasn't expecting a personalized colophon which, truth be told, is one of the reasons why I do so. A personalized colophon ads to the relationship component when sharing my artwork.

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2:43

HT2171 - Their Life Experience

LensWork - Photography and the Creative Process ·

2025/02/17

HT2171 - Their Life Experience Everyone who looks at our images brings with them a suitcase full of their life experiences. I think it was Anias Nin who said, "We don't see things as they are, we see things as we are." We need to remember this when people are critical of or downright insulting about our images.

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12:54

LW1441 - Sized for the Emotional Impact

LensWork - Photography and the Creative Process ·

2025/02/17

LW1441 - Sized for the Emotional Impact A prevalent and often repeated question is how big should we make our prints? Some say that's determined by the subject. Others propose that print size is determined by the market. For what it's worth, my thoughts on this have to do with the emotional impact our image can make on the viewer. 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,

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2:43

HT2170 - Stop, Look, and Listen

LensWork - Photography and the Creative Process ·

2025/02/16

HT2170 - Stop, Look, and ListenThis is not just advice for 4-year-olds learning to cross the street. It's pretty good advice for us photographers, too. I've been thinking about this as function of how we manage the ratio of drive time to photographing time by stopping, looking, and listening.

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2:43

HT2169 - Keylines and Other Edge Treatments

LensWork - Photography and the Creative Process ·

2025/02/15

HT2169 - Keylines and Other Edge Treatments There was a short-lived fad in the days of film when photographers would file out the negative carrier for their 35 mm film so that the edge of the film would be a part of the enlarged image. Sometimes this worked great, other times it looked like a silly gimmick. Here in the digital age, edge treatments are so easily accomplished and offer unlimited creative potential - as long as it doesn't become a gimmick.

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2:43

HT2168 - Enlargement Limits

LensWork - Photography and the Creative Process ·

2025/02/14

HT2168 - Enlargement LimitsIn my film days, I did extensive research about enlargement factors for my film negatives. How much enlargement was possible before the image started to break down, soften, reveal grain, and in general turn yucky? Regardless of film size, the nature of gelatin silver was that the limits of enlargement were universally 4X. What about digital images?

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2:43

HT2167 - Stop Looking for Shortcuts

LensWork - Photography and the Creative Process ·

2025/02/13

HT2167 - Stop Looking for ShortcutsFor reasons I suspect are deeply held inclinations, it seems that photographers are always looking for shortcuts. The demand for plug-in, one click "treatments" grows with every generation of both software and photographers. We want to arrive without having taken a journey. What if the journey was the point? What if the art life is not a destination, but an ever-unfolding process that we engage because of the challenges and surprises we uncover along the way?

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2:43

HT2166 - Meeting Expectations

LensWork - Photography and the Creative Process ·

2025/02/12

HT2166 - Meeting ExpectationsWhat is it that differentiates a good photograph from a lesser one? I'm asking this question seriously. If we can't answer it, how can we expect to make good photographs? When I press this question further, the answer seems to be that a good photograph is one that meets the viewers expectations. In my way of thinking, meeting expectations is the worst thing we can do with our images.

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