Here's a thought…

HT2063 - The Additive Process

The process of photographic composition is, by the nature of its mechanics, a subtractive process. What superfluous and distracting element can we remove from the framing? It can be useful, however, to reverse this and think of our composition as an additive process, like painters do.

HT2064 - Monitor Calibration

There have been a few times — but only a few — when a photographer we've published has been a bit disappointed in how their images looked in LensWork. In every case, it turns out that there was a monitor calibration issue on their end that was easily resolved. For critical work, the first step is always to calibrate your monitor, with hardware calibration if possible.

HT2068 - On Abstractions

Abstracts are one of the most puzzling types of photography that fascinates me. Emotionally connecting with an abstract is rare, but so powerful, so unpredictable, so fickle.

HT2069 - The Composed Background

In every picture there exists a foreground and a background. To be more precise about this, there are the things you want your viewer to see, and there is the context against which the subject is seen. Our primary task in composing and processing is to direct the viewer to what we want them to see. The background/context has an incredibly important role in this. The best photographers compose the background as much as they possibly can.

HT2070 - Advice On a Great Place to Go

My experience with other photographers has been that they are generous and kind. They're always willing to give me helpful advice of where to go photographing. That advice, however, is typically the result of their having made successful images there. But the kinds of images I make, or want to make, might be entirely different than theirs. The same can be said about when to go.

HT2071 - Skill Means Little Without a Heart That Drives It

Skill can easily be taught, but skill alone does not make art. Sensitivity, compassion, empathy are developed within us, over time, with purpose. These are the necessary ingredients to create artwork that is meaningful.

HT2075 - Questions About Instax

I guess I've been hiding under a barrel, but I just this week learned about Fuji Instax printers. I can see them easily becoming a fun gimmick at a party or a social gathering, but I'm wondering if anybody has figured out how to use this medium for more serious artwork. Any ideas?

HT2076 - It's Been Photographed Before

I know photographers who are hesitant to do something that's been done before, but it occurs to me that there is a premise behind that reaction that is not necessarily true. The premise is that the virtue lies in the subject itself, not in the experience had.

HT2077 - Substantial Artwork

Last year, I was showing some chapbooks to another photographer who commented that they preferred more substantial ways of presenting their work. What an interesting way to think about our work. Substantial? What makes photography more or less substantial?

HT2078 - From Where You Sit

So many times, the process of photographing involves moving to location or a position where you can see a lovely scene and composition. Since I've had problems with my back these last few years, my mobility has been compromised. I can't hike or backpack the way I used to. My most frequent way of photographing these days is from the driver's seat in the truck or at a short distance. The funny thing is, I've never been so productive in my life. It's amazing how many compositions become available when we still our bodies and our minds.

HT2079 - Where You Live

There is landscape photography, urbanscape photography, and more. Why not "homescapes" that use everyday life at home to create an environmental portrait that doesn't need to include people. Not "House Beautiful," but rather House Lived In.

HT2082 - Narrowing the Subject

There are subjects that lead to short projects, and subjects that lead to lengthy projects. Both kinds of projects have their virtues and their drawbacks. The real problem, however, is when as producers we give our audience mixed signals.