photography & the creative process looking at imageslenswork.com/laipublicity/sample pages from...

Photography & the Creative Process A Series by LensWork Publishing

On Being a PhotographerDavid Hurn/Magnum

and Bill Jay

Letting Go of the CameraBrooks Jensen

Single ExposuresBrooks Jensen

Single Exposures 2Brooks Jensen

Single Exposures 3Brooks Jensen

The Creative Life in PhotographyBrooks Jensen

The Best of EndNotes (LensWork #83)

Bill Jay

Looking at ImagesA deeper look at selected photographs

published in LensWork and LensWork Extended

with commentary by

Brooks Jensen

LensWork Publishing 2014

76

Here is an excerpt from my interview with Eugene Johnson from LensWork Extended #67, as he de-scribed the experience of photographing this old woman in the doorway:

When I first met this old lady, I was in her house with her children, grandchildren, and great-grandchildren. We were all laughing and joking, drinking coffee and eat-ing little snacks. After a couple of hours, the old woman grabbed my arm and said, “Are you afraid of me?” I an-swered, “Why would I be afraid of you?” She said, “Well, many people are. People are afraid of me because I’m blind.”

I had been with this woman for a couple of hours and didn’t even realize that she did not have seeing eyes! Then she told me, “You know, my son, I am blind but I can see better than others.” “And how is that?” I asked. She said, “Because I can see with my heart.” She added, “You know, many people are confused by their eyes and the physical aspects of things. But I can feel the soul of people and things.”

Several months later I returned to that same house and found the old woman in the back of the house just sit-ting. I walked in her direction and she extended her hand and she said, “Oh, my son, you’ve returned.” I responded, “But how did you know it was me?” She said, “Have you forgotten that I can see with my heart?”

What a wonderful metaphor for the creative path in photography! When we see with our heart we see much more powerfully than when we use only our eyes. Sometimes, we can combine the two, and see both with our eyes and with our heart; that’s when we make truly powerful photographs.

Looking at photographs is like looking at life; we can merely glance and take in what our eyes present us — or we can linger, study, listen, feel, and sense with our heart. We can learn — about ourselves as well as about those things in the photograph itself. Minor White used to say that you haven’t really seen a photograph until you’ve looked at it for 30-minutes. We might quibble over his number, but the spirit of his comment is true. Time teaches us in ways that a glance simply cannot.

This book is about what we learn about and from photography and the creative process by looking at photographs with more than a glance. It is about the process of art-making in photography. It is about the content of what we create, not the mechanics of how we create. As such, this book has been written with photographers in mind — especially those who use their cameras as a means of personal expression. Making photographic art can be a mysterious path. My hope is that you find useful insight in these pages will make that path less mysterious.

All of the images you will find here originally appeared in the pages of our publication LensWork or LensWork Extended. The commentaries are my response to spending time with each image, listening to both the image and the photographer (I’ve interviewed almost all of the photographers represented here), and trying to learn about the creative process through their experiences and the photographs they’ve produced. They have each graciously consented to the use of their images in this book, having no idea what my comments would be about their photographs. I cannot thank them enough for their trust.

Introduction

These are not “critiques,” nor are they photographic formulae. There is no such thing as a formula in the creation of art that comes from our hearts. Instead, the comments that accompany each image are ob-servations about life, the challenges of expressing ourselves through photography, and reflections about the creative process, gathered during a life-time of trying to understand it through examples and experience.

In addition to my written comments that accompany each photograph, you will also find a QR code on the page with the text and image. This QR code links to an audio recording on our website. The audio is not simply a recorded version of the written text, but

rather an extension of the ideas that have arisen as I’ve reflected on each image. You can use your tablet or smart phone to access these additional audio com-ments via the QR codes. Additional instructions on using QR codes and accessing the additional audio comments can be found on the last page in this book.

Please keep in mind that the best art is often char-acterized by having a great capacity to connect dif-ferently with each viewer. My response to these im-ages may differ from yours. That is a good thing — it means we are each listening with our hearts.

Brooks Jensen May 2014

Table of Contents Sequenced by photographer, including key topics

Black-and-White Images

John C. Alfano . . . . . . . . . . . . . . . . . . . . . . . . . . 15atmosphere, air, sky

Susan S. Bank . . . . . . . . . . . . . . . . . . . . . . . . . . . 17the moment as subject; questions without answers

Andrew Beckham . . . . . . . . . . . . . . . . . . . . . . . . 19seeing, noticing; working every day

Michael Berman . . . . . . . . . . . . . . . . . . . . . . . . . 21making it look easy; tonal relationships

David Grant Best . . . . . . . . . . . . . . . . . . . . . . . . . 23knowing when to work, when to watch, when to nap!

Larry G. Blackwood . . . . . . . . . . . . . . . . . . . . . . . 25same subject, different visions; peak moments of action

Wynn Bullock . . . . . . . . . . . . . . . . . . . . . . . . . . 27fame versus work; the trap of the “greatest hits” approach

Cosmin Bumbutz . . . . . . . . . . . . . . . . . . . . . . . . 29non-visual sensations; atmosphere, air

Scott C. Campbell . . . . . . . . . . . . . . . . . . . . . . . . 31the balance between the universal versus the personal

Brigitte Carnochan . . . . . . . . . . . . . . . . . . . . . . . 33memory; the time required to really see an image

Ray Carofano . . . . . . . . . . . . . . . . . . . . . . . . . . . 34titles; photography as a poor medium for philosopy

Chris Carter . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37landscapes; the joy of simple beauty

Norman F. Carver, Jr. . . . . . . . . . . . . . . . . . . . . . . 39connections across culture; tones and planes; formalist cubism

Enzo Cei . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41scale of the subject

Gunter Chemnitz . . . . . . . . . . . . . . . . . . . . . . . . 43minimalism in compositions

Carl Chiarenza . . . . . . . . . . . . . . . . . . . . . . . . . . 45abstracts constructed to be photographed

John F. Conn . . . . . . . . . . . . . . . . . . . . . . . . . . . 46images as stories; photography and life

D. R. Cowles . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48photographer as docent for their own work

Tillman Crane . . . . . . . . . . . . . . . . . . . . . . . . . . . 51compositional lines; the corners of images

Mario DiGirolamo . . . . . . . . . . . . . . . . . . . . . . . . 52passage of time

Perry Dilbeck . . . . . . . . . . . . . . . . . . . . . . . . . . . 54the subtleties that make the image sing; expressive portraits

Jenny Ellerbe . . . . . . . . . . . . . . . . . . . . . . . . . . . 57the abandoned place and the human element; artifacts and details

Wayne Firth . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58the abandoned place and the signs of people who were there

Christian Fitze . . . . . . . . . . . . . . . . . . . . . . . . . . 60tones in an original print versus images on screen; harmony of tones like chords in music

Chip Forelli . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63the Zen approach; being open to interpretation

Chip Forelli . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64negative space in the composition; edge-burning

Roger Freeman . . . . . . . . . . . . . . . . . . . . . . . . . . 66photographing anywhere; patience

Roger Freeman . . . . . . . . . . . . . . . . . . . . . . . . . . 69ordinary life; the universal in the particular

William W. Fuller . . . . . . . . . . . . . . . . . . . . . . . . . 71fellow travelers; the value of photographic literacy

Hal Gage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73muck-o-graphs; simple access to a place and knowing where to stand

Maureen Gallagher . . . . . . . . . . . . . . . . . . . . . . . 74nudes; sensuality versus sexuality

Barry Guthertz . . . . . . . . . . . . . . . . . . . . . . . . . . 77imagination and “what it is;” photography’s power of deception

Mark Edward Harris . . . . . . . . . . . . . . . . . . . . . . . 79photographing culture; archetypes

Paul Hart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81trees and ARAT photographs; our moods when viewing a print

Pamela Ellis Hawkes . . . . . . . . . . . . . . . . . . . . . . . 83two-dimensional photographs; visual puns; relationships

Charles A. Hedgcock . . . . . . . . . . . . . . . . . . . . . . 85a chord of tones

Josef Hoflehner . . . . . . . . . . . . . . . . . . . . . . . . . 87graphic design in photography; just the right camera placement

Eirik Holmøyvik . . . . . . . . . . . . . . . . . . . . . . . . . 89symmetry; border treatments as part of the composition

David Hurn/MAGNUM . . . . . . . . . . . . . . . . . . . . . 91cheesy grins; the noisy photograph

Andrew Ilachinski . . . . . . . . . . . . . . . . . . . . . . . . 92perspective

Bill Jay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95handwriting as part of the artwork; project work

Richard A. Johnson . . . . . . . . . . . . . . . . . . . . . . . 96compositional syncopation

Vladimir Kabelik . . . . . . . . . . . . . . . . . . . . . . . . . 99point of view; nostalgia

Steven Katzman . . . . . . . . . . . . . . . . . . . . . . . . .101comparison as a fundamental aspect of a photograph; con-cept-driven projects

Chuck Kimmerle . . . . . . . . . . . . . . . . . . . . . . . . .102standing on the shoulders of giants; visual literacy

Don Kirby . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104skies; dramatic tones, listening to an image

Diane Mastin Kirkland . . . . . . . . . . . . . . . . . . . . .107framing the composition; visual balance

Péter Korniss . . . . . . . . . . . . . . . . . . . . . . . . . . 109seeing never stops

Jim Laurence . . . . . . . . . . . . . . . . . . . . . . . . . . . 111HDR photography; using techniques to enhance emotional response

Patricia Lay-Dorsey . . . . . . . . . . . . . . . . . . . . . . .113visual similes; habits; how we see, rather than what we see

Wayne Levin . . . . . . . . . . . . . . . . . . . . . . . . . . .115showing what others cannot see for themselves

Moisés Levy . . . . . . . . . . . . . . . . . . . . . . . . . . . 117relationships between the things photographed; minimalism

Stu Levy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .118landscapes and detail; the artifice of photography

Fritz Liedtke . . . . . . . . . . . . . . . . . . . . . . . . . . . .121photographing the non-visual; the non-subject parts of a photo-graph

Joe Lipka . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .123the process of discovery in creativity

O. Rufus Lovett . . . . . . . . . . . . . . . . . . . . . . . . . .125what we see, and what we infer

Bill Lyons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .127relationships and composition; black and white as a medium

Mark Maio . . . . . . . . . . . . . . . . . . . . . . . . . . . . .129storytelling and photography; beyond the photograph

Luis Mallo . . . . . . . . . . . . . . . . . . . . . . . . . . . . .131sometimes hands can tell stories even more than faces

Annu Palakunnathu Matthew . . . . . . . . . . . . . . . . .133details and the big picture

Jonathan Moller . . . . . . . . . . . . . . . . . . . . . . . . .134image and text combinations

Joan Myers . . . . . . . . . . . . . . . . . . . . . . . . . . . .137photographers as “moment catchers”; photography and time

Loren Nelson . . . . . . . . . . . . . . . . . . . . . . . . . . .139unlikely subjects; teaching the world to see in a new way

Wayne Norton . . . . . . . . . . . . . . . . . . . . . . . . . .141the kind of photograph that we do, and appreciating work that is entirely different than ours

Shaun O’Boyle . . . . . . . . . . . . . . . . . . . . . . . . . .142technique versus art-making study; graphic design; learning from the world of painting

Rosanne Olson . . . . . . . . . . . . . . . . . . . . . . . . . 144jumping the gutter in book layouts

Tatiana Palnitska . . . . . . . . . . . . . . . . . . . . . . . . .147abstracts and the emotional connection

Jimmy Peters . . . . . . . . . . . . . . . . . . . . . . . . . . .149photography and the unexpected

Burton Pritzker . . . . . . . . . . . . . . . . . . . . . . . . . .151breaking the rules

Chris Raecker . . . . . . . . . . . . . . . . . . . . . . . . . . .153representing the three-dimensional world in a two-dimensional medium

Abba Richman . . . . . . . . . . . . . . . . . . . . . . . . . .154intellectual projects

Alan Ross . . . . . . . . . . . . . . . . . . . . . . . . . . . . .157how a place feels; what the photograph is about

Dominic Rouse . . . . . . . . . . . . . . . . . . . . . . . . . .159surrealism and photography; humor in photography

Victoria Ryan . . . . . . . . . . . . . . . . . . . . . . . . . . .161botanical subjects; chaos and composition

Ryuijie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .163the photographer’s intent versus our interpretation

Kristin Satzman . . . . . . . . . . . . . . . . . . . . . . . . .165layering as a technique in composition

Steven Scardina . . . . . . . . . . . . . . . . . . . . . . . . .167seeing what is not in the photograph; details and questions

Howard Schatz . . . . . . . . . . . . . . . . . . . . . . . . .169capturing movement in a still photograph; photographer as director

Gregory Scott . . . . . . . . . . . . . . . . . . . . . . . . . . .171playfulness and humor; visual puns

Raphael Shevelev . . . . . . . . . . . . . . . . . . . . . . . .173photograph as historical document

Mark Singles . . . . . . . . . . . . . . . . . . . . . . . . . . .175making photographs versus experiencing life — and then photo-graphing

Richard Snodgrass . . . . . . . . . . . . . . . . . . . . . . . .177telling the story with the details

Steve Speer . . . . . . . . . . . . . . . . . . . . . . . . . . . .179no one cares how you made the photograph — or how hard it was to make

Markham Starr . . . . . . . . . . . . . . . . . . . . . . . . . .181the human element in the inanimate object

Peter Steinhauer . . . . . . . . . . . . . . . . . . . . . . . . .183the advantages of an elevated position

Catherine Steinmann . . . . . . . . . . . . . . . . . . . . . .185tonal inversion; our connection with previous generations of photographers

Jeromie Stephens . . . . . . . . . . . . . . . . . . . . . . . 186multiple-image storytelling versus the singular “greatest hits” image

Robert Swiderski . . . . . . . . . . . . . . . . . . . . . . . . .189the true challenge of photography is not technical

Cole Thompson . . . . . . . . . . . . . . . . . . . . . . . . .191photographing what we feel rather than what we see

Josef Tornick . . . . . . . . . . . . . . . . . . . . . . . . . . .193paying tribute to the masters of old; the story of our time

John Trefethen . . . . . . . . . . . . . . . . . . . . . . . . . 194balance as the critical compositional aspect; “shadow-rendering” versus “light-writing”

Jay Tyrrell . . . . . . . . . . . . . . . . . . . . . . . . . . . . .197photo fiction; titles

Terry Vine . . . . . . . . . . . . . . . . . . . . . . . . . . . . .199the “shot list” and project-oriented photography

Paul Wainwright . . . . . . . . . . . . . . . . . . . . . . . . 200not the photographer’s point of view

Hiroshi Watanabe . . . . . . . . . . . . . . . . . . . . . . . 203extreme shallow depth of field

George Webber . . . . . . . . . . . . . . . . . . . . . . . . 205time is precious and we can’t go back

Larry Wiese . . . . . . . . . . . . . . . . . . . . . . . . . . . 206the collective unconscious in photography; dark places

Huntington Witherill . . . . . . . . . . . . . . . . . . . . . 209our own personal gallery of experiences viewing photographs

Janet Woodcock . . . . . . . . . . . . . . . . . . . . . . . . .211anthropomorphism and photography; humor

Chris Zedano . . . . . . . . . . . . . . . . . . . . . . . . . . .213humor in photography

Bill Zorn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .215seeing more as we spend more time looking at a photograph; questions

Color Images

David J. Bookbinder . . . . . . . . . . . . . . . . . . . . . . .219Photoshop trickery versus the perfect tool for the job

Michael J. Carl . . . . . . . . . . . . . . . . . . . . . . . . . .221color and emotional response; using our images for other than the artwork itself

John Custodio . . . . . . . . . . . . . . . . . . . . . . . . . 222color photography versus black-and-white photography

George DeWolfe . . . . . . . . . . . . . . . . . . . . . . . . 225modifying colors to create what the artwork needs

Jon Fishback . . . . . . . . . . . . . . . . . . . . . . . . . . 227the process observation and training ourselves to be better observers

Kenneth Gregg . . . . . . . . . . . . . . . . . . . . . . . . . 229making art, not merely recording what our eyes see

Kim Kauffman . . . . . . . . . . . . . . . . . . . . . . . . . .231finding a unique way of seeing

Sean Kernan . . . . . . . . . . . . . . . . . . . . . . . . . . 233isolating the subject through a photographic vantage point

Curtis Hans Miller . . . . . . . . . . . . . . . . . . . . . . . 235so-called “normal” light

Julie Meridian. . . . . . . . . . . . . . . . . . . . . . . . . . 237the theory of “three aspects” to make a photograph work

Anil Rao . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238the simple delight in tones and colors; photographing the mun-dane to make art

Don Rommes . . . . . . . . . . . . . . . . . . . . . . . . . . 240photographic guilt in the age of Photoshop

Howard Schatz . . . . . . . . . . . . . . . . . . . . . . . . .242collaboration in the creative process

James Sedwick . . . . . . . . . . . . . . . . . . . . . . . . . 244packaging our work for visual consumption

Radek Skrivanek . . . . . . . . . . . . . . . . . . . . . . . . .247romanticism and drama; choosing the right camera format for the project

Brian D. Smith . . . . . . . . . . . . . . . . . . . . . . . . . .249the abandoned architecture

Aline Smithson . . . . . . . . . . . . . . . . . . . . . . . . . 251conceptual art and humor

Douglas Stockdale . . . . . . . . . . . . . . . . . . . . . . . 253using compositional lines to enhance the feeling of a photograph

Stephen Strom . . . . . . . . . . . . . . . . . . . . . . . . . 255distillation as a compositional strategy

Peter Tonningsen . . . . . . . . . . . . . . . . . . . . . . . 256the visually graphic representation; building a body of work

Jimmy Williams. . . . . . . . . . . . . . . . . . . . . . . . . 259the challenge of finding an audience for our work

2322

CommentaryI have two related stories to tell about this photo-graph.

I interviewed David Grant Best about this photo-graph and he told me this story about his experience of photographing at American Camp. He was there with a group of other photographers, all of whom hit the ground running — buzzing about, making pictures, flurry, flurry, flurry. By contrast, David found a nice comfortable spot in the grass, stretched out, and took a nap. He simply observed that the light was not yet right and knew that it would be in an hour or so. Sometime later, he woke up to find these delicate clouds and the beautiful angle of sunlight perfectly illuminating the white buildings and picket fences. He photographed intently for an hour or so, and when he was done he was done. He went back to napping. Nonetheless, in the short time he photographed he collected enough images for a wonderful little portfolio which we published in LensWork #14. It’s not activity that counts, but rather the right activity at the right time — even if that includes napping and rest!

Some years later, I was interviewing Magnum pho-tographer David Hurn. I asked him how Magnum photographers work when they’re in the field. I’ll paraphrase what he described as follows:

You won’t see much activity from a Magnum pho-tographer for long periods of time. They walk around with their camera slung over their shoul-

der, just looking, observing, but not photographing. Then, all of a sudden, in a flurry, you’ll see them leap into action. For a few minutes — maybe even half an hour — they’ll photograph intently, quickly, changing angles, changing lines, changing perspec-tive, working fast. Then they’ll just stop. The camera will go back over the shoulder, and they’ll contin-ue looking, observing, perhaps for a long period of time. It’s that ability to know when the photograph-ic moment appears that is the real talent.

I was, of course, instantly reminded of Cartier-Bres-son’s famous Decisive Moment train of thought.

I’m fascinated by the parallel between these two anecdotes. The obvious conclusion is that a talent-ed photographer knows when to work and when to watch; when productivity is called for and when it’s best to wait. When we think of the term “photog-rapher” we tend to think of someone who makes pictures, i.e., someone who presses the shutter and makes exposures. The lesson from these two pho-tographers, however, is that the term photographer means much more than that. It means one who looks and sees, and one who knows the difference between clicking the shutter and making a photo-graph. In other words, it’s important not to confuse activity with photography.

A Morning at American Camp by David Grant Best

Published in LensWork #14

More Thoughts via Audio Commentary

Scan with a QR code reader using your smartphone or tablet.

3332

CommentaryThis project is all about memory. But, then again, all of photography is about memory to one degree or another. What makes this project of particular in-terest is how Carnochan uses imagery to explore the concept of memory itself.

I discussed this at great length in my interview with her, and it was her philosophical reasoning behind this project that made it particularly interesting. If I can sum up a bit for her: it was her revelation that memory is a thing of many layers happening at once — that could be reproduced visually — which became the foundation for this project. Each image, layer upon layer, invites us to spend time, explore the parts of each image, and reassemble them in our minds as if they were our memories.

The subject matter is personal: her parents’ expe-rience during World War II. Using photographs, letters, oral history documents, maps, and a con-siderable amount of artistic license, Carnochan presents image after image that feel like memories. These are not photographs that are intended to imply a memory; they are montage constructions that are intended to be a memory.

When I look at her images I have a very interest-ing and unique experience — one totally different than when looking at a normal photograph. When looking at her montages, I want to linger and be absorbed and allow the layers of her photograph to merge in my imagination until I have the experience

of memory. A very unusual viewing experience, but one I find fascinating and seductive.

Minor White often spoke about spending 30 min-utes or so looking at a single photograph. In truth, few photographs compel me to linger over them that long. Carnochan’s do. I find that her photo-graphs not only invite me to spend such time, but encourage me to extend what she has done by add-ing layers of my personal memory and my person-al family history on top of the layers she presents visually in her images. It is her story, but it is our willingness to abandon ourselves to it that makes this such an engaging project and an intense view-ing experience.

Imagining Then: A Family Story 1941-1947 by Brigitte Carnochan

Published in LensWork and LensWork Extended #80



5554

CommentaryI find this portrait deceptively simple — deceptive because there’s so much going on in this photograph that doesn’t appear on the surface, until you look more carefully. It’s a great example of how enriching it can be to give time to a photograph — rather than just gulping it in a quick glance.

In this picture titled Jack and Agnes, we see two people simply standing and looking directly at the camera. There’s nothing particularly innovative or creative about the posing of these people. As a mat-ter-of-fact, my suspicion is the photographer did not pose them. He simply pointed the camera straight at them and made the photograph. They chose to stand next to each other and probably — if the photogra-pher did anything — he might have placed them in front of this building or house just to make a sim-ple backdrop. I don’t get the feeling — but I may be wrong — that he even advised them to hold hands. There’s something in their expression that tells me that’s of their own doing.

Let’s begin by looking at Jack. He’s happy. He seems to have a sense of pride — in her. Can you see that? It’s as though he’s holding onto his new bride here, caressing her hand, his left arm holding behind her. I can imagine him showing her off for the camera. This is my wife; my partner. This is the woman I’ve spent my years with. That comes through, doesn’t it, in his face? It’s a marvelous expression.

Her face has a different expression. She seems a bit

apprehensive, maybe not quite as trustful towards the photographer or towards us. This is not unex-pected. In my years of photographing elderly peo-ple like this, I’ve noticed with consistency that older men seem to have no difficulty with the camera. Older women sometimes are more self-conscious. Perhaps they are concerned how they will appear in the photograph, or are embarrassed about being photographed — I’m not sure which. There are gen-der issues at play that I don’t understand.

Notice the differences between their clothes. Jack’s overalls are a bit dirty; Agnes, on the other hand, looks like she spiffed up a bit for the photograph. She’s obviously fixed her hair; his hair is just tussled down onto his forehead. There’s a difference between their feelings about being photographed. Jack appears to have the attitude of “take me as I am. Just take the picture; I don’t care that I’m in my work clothes; I don’t care that my hair is not combed. I am who I am so just photograph me.” On the other hand, Agnes wants to put her best foot forward. She is wearing a pretty dress, and she is nicely groomed. She wants to be perceived in a certain way and she has prepared herself to be photographed.

Now look at the size differential in their hands. Look at the size of his fingers compared to the size

The Last Harvest: Truck Farmers in the Deep Southby Perry Dilbeck


of her fingers. Jack has the hands of a farmer, of a guy who has worked his entire life — and worked hard. And she, obviously, has worked hard too, we assume, but differently than Jack has. Agnes appears to have more of a homemaker’s hands — possi-bly even a schoolteacher or a similar profession. We don’t know by looking at the photograph, but it is interesting to look at the difference in the size of their hands and contemplate the different work they’ve done.

Each of them has a different relationship to the photographer, too. Jack is leaning slightly forward towards the photographer; she is slightly reserved, almost leaning back. The love between them is un-deniable. The way he holds her hand, the way she grips his fingers is really such a sweet testament. It’s a small, subtle gesture — but so important to the photograph. The intimacy in their relationship is what makes this such an interesting portrait. More Thoughts via Audio Commentary


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CommentaryIt is said that “No man is an island” — and by ex-tension I suppose we could propose that no artist creates in a vacuum. Visual literacy is such an in-credibly important part of our creative life. Without it, we are undoubtedly destined to simply repeat so many of the images that have been made before us. There is, however, a very positive flip side to this is-sue — having visual literacy and using it to extend the dialogue started by the previous generations. This photograph from Chuck Kimmerle is a perfect example.

Perhaps you may recall a very similar image to Kimmerle’s that graced the cover of LensWork #48. Doesn’t Kimmerle’s image and his imagination owe at least a little bit to the image by British photogra-pher Fay Godwin? And in turn, hers is probably not the first photograph in the history of the medium to portray barren branches hanging just above terra firma. There is a visual repartee spanning years and

generations — and I find this a partic-ularly rewarding element of photog-raphy.

Kimmerle’s image may remind us of the earlier one by Godwin, but in my way of thinking he has pushed the

dialogue to a new level. This marvelous shadow in the snow is such a wonderful — and even surpris-ing — element in his composition. If the bottom half of the photograph had simply been branches reflecting in a pool or lake, we may not see enough difference between his and Godwin’s image to assert that it extended the conversation; too much similar-ity might lead us to infer that Kimmerle was simply copying Godwin’s vision. By introducing this new element, however, his image brings us to that mar-velous point where memory and new vision inter-sect. We see influence and perhaps even a tribute to her work. We don’t know if Kimmerle felt any of this, but we can even if he didn’t. On the other hand, if we didn’t know about Godwin’s image, we might interpret Kimmerle’s differently. Knowing about both increases our appreciation of both.

This leads directly to one of the great problems of photography — indeed of art in general: the more one knows about photography — that is to say, the broader one’s visual literacy in photography — the more one appreciates photography and the subtle-ties of the currents that drift through the medium. This can create a barrier for the novice, or at least di-minish their appreciation of any given photograph. But I’m not sure this is any different than any oth-er pursuits in life. The more one knows the history

The Unapologetic Landscapeby Chuck Kimmerle


of baseball, the more interesting the current World Series becomes; the more one knows the geopoliti-cal history of Europe, the more understandable we find the state of today’s Europe.

It probably shouldn’t be a surprise that photography is no different than anything else in life. As coun-terintuitive as it may sound, the more we want to appreciate contemporary photography the more important it is to know about the history of pho-tography and the work of the previous generations.

I often play a little mental game when looking at a photograph: who are its fellow travelers? I conjure in my mind’s eye an imaginative gallery exhibition of images that relate, or at least feed and bounce off of each other. In my mind, I can pull images from memory. Physically, I can comb my library for sim-ilar images from books. The Internet is an endless resource for new images. Once assembled, the dance of these visually-related images makes for a marvelous viewing experience. Try it!More Thoughts via Audio Commentary


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CommentaryChris Raecker gave himself a very difficult chal-lenge: he wanted to photograph carnival rides so that the viewer of the photograph could have, to some degree, the same emotional experience that the rider had while riding the carnival rides. Now that is a difficult challenge.

A carnival ride is moving — up and down, left and right, spinning back and forth — it makes us dizzy. It makes us have an adrenaline rush; in fact, that’s the purpose and objective of carnival rides.

And what does a photograph do? Well, by contrast, it sits there on the paper. It’s two-dimensional; it’s flat; it doesn’t move; it doesn’t do anything but al-low us to look at it. Experiencing a carnival ride and experiencing a photograph are at opposite ends of the spectrum of personal experience. Nonetheless, that’s the challenge that Chris Raecker gave himself: make photographs that would give us the feeling of being in a carnival ride.

Fascinatingly enough, I think he succeeded. By choosing a camera angle that looks up to a dramatic sky, by careful timing where both feet and hands are launched off the ground, and by making the struc-ture of the ride itself disappear into the blackness of the corner of the print, we do get a sense of that moment of airborne freedom and fear that is the purpose of the ride. When I look at his photographs I know what it’s like to be on that ride. The images are dramatic, and so is a carnival ride.

I thought this project was especially interesting for the way Raecker avoided the cliché. We’ve all seen lots of photographs made at carnivals — all of which visually emphasize the colorful machinery, lights, and vibrant colors. We typically see crowds, vendor stalls, sweet food, and lots of children. It’s all so pre-dictable — and boring. It would have been so easy for Raecker’s project to regress to this ordinary way of seeing.

But it didn’t. The key was that he shifted his atten-tion ever so slightly. This is the only portfolio we’ve seen that shows us the experience of the carnival rather than the appearance of it. It is so easy for us photographers to become seduced by the way something looks; after all, photographs are a terrific medium for doing just that. But showing us what something looks like is merely a poor substitu-tion for us being there and seeing it for ourselves. Photograph as art — as compared to photography as a technology — is rarely successful when all it does is copy the appearance of the world. The best photographs speak to the heart even more than they do to the eyes. This example from Raecker is an ex-emplary lesson that illustrates the point.

Midnight Carnival by Chris Raecker




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CommentaryHuman beings are many things, but I’d bet that many of us spend most of our lives working. Whether we work in a paid job, around the house, volunteering, or in our own business — working is universal.

It’s not unexpected, then, that so many photograph-ic projects are about this pervasive, important, ubiquitous human activity. Perhaps what is more amazing is that there aren’t more photographic proj-ects about humans at work.

Markham Starr has been drawn to those who work on boats. All well and good and his photographs are interesting in the story they tell. Starr is the type of photographer I would feel more comfortable labeling as a “storyteller” rather than as a “photog-rapher”: he simply uses his camera to adroitly and visually tell his stories — or I should say, tell their stories.

In doing so, Markham frequently uses one of the great photographic tricks of the trade — he looks for those objects, angles, and compositions that make the inanimate object of work come alive. By doing so, he is showing us the person even though they are not in the photograph. Don’t you just feel like these boots could scoot out from under the bench, stand up, and walk away?

That the boots are still tucked inside the pant legs, that the boots are resting at an angle that would be seen if the feet were still in them, that the bench

obscures what otherwise might be a torso — all these factors combine to create the first-glance illusion that we are not looking at a thing, but rather at a person.

Making the inanimate animate — or should I say, looking for those photographic opportunities that show us the life in the object — is one of the engaging photographic opportunities that one should never pass up when it presents itself to our cameras. Whenever I find myself photographing in similar settings like this — places where the people are absent but their presence is everywhere, my antennae perk up looking for gloves, worn tools, clothes, hats, objects that are handled until they are polished with the patina of use, or anything else that can show me the evidence of the user’s existence. I hunt for them and always manage to find a few photographic opportunities in their presence — as did Markham Starr.

Endangered Species: The Point Judith Fishermen by Markham Starr




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CommentaryPhotography is often described as a descriptive media: it shows, reveals, defines, elucidates. That all might be true, but a photograph with only answers is like a pile of dry bones; it has no life and little to offer. Great photographs are more about the ques-tions they pose than the answers they provide. This image from the cover of LensWork #39 has always been one of my favorites and illustrates the point. It is deceptively simple, yet so rewarding to con-template more deeply than one would guess at first sight.

There is so much about this photograph that looks instantly understandable — a man sitting and sleep-ing in the street — that is, until you really look at it.

When you stop to really look, questions start to surface: Why is the chair so small? Why is he sit-ting on it? Why does the landing he is sitting on slant toward the stone passageway? Where does the doorway lead to in the distance? Why an arched doorway?

Turning our attention to the man: what is that hat made of? He appears to be wearing a western style coat in defiance of the context of the image. And his shoes look out of proportion to the rest of his frail body. Why is he alone in this passageway? Is he asleep, or just lost in thought? If he is asleep, can you imagine being comfortable in that position? Or is he simply posing for the photo?

These and more questions arise when one looks at this photograph — but only if we take the time to really consider it. This is one of the things about photography that continually amazes and frustrates me. We live in a time in which photographic images are often consumed at a glance — a quick glance at that. I’m not talking about advertising images, but also so-called “fine art photographs.”

Watch someone in the photography section of the bookstore flip through the pages, judging a hundred or so images as being purchase-worthy or not in just a few seconds. Next time you’re in a gallery setting, discretely use your watch and time how long people look at each image. How long do you think people spend with a photograph on the typical photogra-phy website? Flit, flit, flit. We are like butterflies on speed. And yet, there is so much to be considered when we spend a little time with an image and re-ally look at it — look and ask questions; look and imagine what it’s like to be there; look and think. It’s a rare gift we offer to a photographer and their work, but one often worth the time and effort.

China’s Yangtze: Ancient Heritage, River Rising by Bill Zorn

Published in LensWork #39



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CommentaryWhen I was in high school, our physics instructor taught us one of the most fundamental aspects of the scientific method: observation. Our assign-ment was to write down as many independent and unique observations as we could about a pencil. The 50 minutes of the class drug on interminably as we struggled to write down a dozen things we could readily observe. At the end of the class he then said, “All the things you’ve written down so far are disal-lowed. To receive a C on this assignment, you need to write down 100 things not included in your initial list. Another hundred items and you will earn a B; another hundred beyond that and you will receive an A.” Yowza. In retrospect, I’ve always thought this would be a marvelous assignment for a beginning photography class.

Jon Fishback has picked up the spirit of this chal-lenge with his portfolio, Feathers. How many differ-ent ways can an object be rendered in a photograph? This is a fascinating challenge for our creativity, and also a technological challenge introducing related skills like lighting, color balance, composition, etc. When a project like this is successful, it looks de-ceptively easy. On the surface, there are simply 31 photographs of feathers in his project. What makes it noteworthy, however, is that there are essential-ly no duplicates. Each composition uses a unique combination of shape, color, light, and even emo-tional content. All of them are presented against a black background which makes the project even more complex and difficult. He doesn’t even allow

himself background variations to introduce another variable into the scheme.

Of course, what we don’t know (but Jon does) is how many additional images were part of this project that were edited out of the final presenta-tion. Perhaps he found some of them were repeti-tive; perhaps some of them simply didn’t measure up, photographically, to their brothers and sisters. What is important is that he pushed himself beyond the obvious few images that we could perhaps all make in our sleep. I have no doubt that every one of you reading this could make an interesting photo-graph of a feather — after all, feathers are interesting objects in and of themselves. But could you make 31 interesting photographs? Or 100?

Well, how is a studio photograph of a feather any different than an in situ photograph of a mountain landscape? In more than a few critical circles, it’s been proposed that everything that can be photo-graphed already has been. Even if it’s not strictly true, the challenge remains: how do we see with unique eyes? An even greater challenge is present-ed when we ask the question, How do we uniquely see with our eyes things we have already seen before? Indeed, this question may be the very core of the artistic life.

Feathers by Jon Fishback

Published in LensWork Extended #91



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CommentaryWe’ve all heard it before: “Don’t bother going to Yosemite; it’s all been photographed. Waterfalls? Nope, been done. Flowers? For God’s sake, no! There’s nothing you can do to photograph a flower in a unique way! Search for the unique subject that has never been photographed before so that you can own the subject all to yourself. Build your career on that which has never been photographed before.”

So goes the conventional wisdom. Thankfully, Kim Kauffman either never heard this advice or refused to take it. If her photographs of flowers and the botanical world aren’t unique, then I am uninformed. I’ve nev-er seen anything like this work before, and I find her vision refreshing, inspiring, and quite simply — stun-ningly beautiful. That she was able to approach such an oft-photographed subject with such originality is a testament to her creative spirit.

Kauffman not only shows us flowers and plants, but she shows us a great deal about herself in the process. Part of what I find so inspiring about her project is this sense of being true to herself and not letting all of those predecessors inhibit her. Pho-tography has been around some 173 years now and there have been countless photographs made by countless numbers of photographers. Is it possible to do something that has not been done, to break new ground, to see in a new and unique way? The answer is yes — quite simply because each of us are unique individuals and in that very fact lies the potential for creative vision.

Sometimes, seeing in a new way is completely mental — an act of changing habits. Sometimes, seeing in a new way is driven by the mechanics of image- making — in which case the challenge is to recognize the new way of seeing as something worth exploring. This latter is the case with Kauffman’s project.

Photographing flowers isn’t new; photographing them without a camera isn’t unheard of either (think solarized contact sheets); photographing them with a flatbed scanner, however, was the inspiration that led Kauffman to this wonderful work. The moving bar of light in the scanner wraps around these three-dimensional blossoms as they lay on her scanner. The resulting quality of light could just be a neat trick.

All well and good, but a technological trick is only a technological trick unless an artistic and aesthetic eye can use it to make something worthy of being called art. Kauffman understands this, which is precisely why she worked on this project for years, learning what worked and what didn’t, how to make images that were more than a mere photographic slight of hand. This is precisely why I would say this project tells us a great deal about herself. She is not just a photographer with a trick, but a photographer with a sensitive eye and an aesthetic soul.

Florilegium by Kim Kauffman




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CommentaryThere are so many wonderful photographers work-ing these days that it’s hardly fair to single out a few for extraordinary praise, but I must confess that there are a few whose careers I closely follow. Howard Schatz is one of those few; I find his work particularly inspiring. I have no interest in doing photography like Schatz’ whatsoever — besides, the world doesn’t need me to do this kind of imagery because he does it so well. What I find inspiring about his work is his approach to the creative pro-cess — a source of inspiration no matter what one photographs.

First, every project Schatz engages is, in one way or another, a collaboration. In this body of work, Pool Light, the cooperation extended to models, assistants, hair and makeup artists, fashion designers, image finishers, and dare I say swimming pool chemists. One doesn’t just jump in a pool and make this kind of fabulous image without incredible preparation and help. We’ve also published Schatz’ collaborations with actors, and Cirque du Soleil performers — and in every project one can see the results of collaboration in his images that would simply not be possible if he worked alone, in a vac-uum. I’m not sure why it is on fine art circles that the myth of the independent and solitary photog-rapher, slaving away in the field and later in the darkroom, has taken such hold, but it’s a myth that needs a strong and curative dose of reality — as the commercial photographers prove every day. I’d go so far as to say that collaboration is almost a neces-

sity if one truly wants to explore the excellence that is our potential.

Second, if you’d like to see the breadth of a truly creative photographer, one could not pick a better example than Schatz. He has significant bodies of work in color and black-and-white, studio work and location work, commercial work and poignantly personal work, modest publications and substantial ones. Schatz does what the most creative people always do: he follows his inclinations, and never allows his career or clients (or audience expectations) to intimidate his project selections. As a result, his work is as varied as can be imagined. Far too many times I see photographers develop a particular look or style and then ride that pony into the sunset as though that is the one and only creative possibility available to them. I am much more inspired by Schatz’ approach, which promotes exploring a visual idea in depth, but not in perpetuity.

Third, hand-in-hand with his creative flexibility, is a kind of daring that is incredibly powerful. Schatz is not in the least afraid or intimidated to try some-thing radically new or different. It doesn’t always work. To be honest, there are several books of his work that don’t engage me so much. But it’s so true that “beauty is in the eye of the beholder,” that I have

Pool Light by Howard Schatz


no doubt the work of his that I find less interesting is very likely someone else’s favorite. Schatz is fearless and plunges ahead following the one true compass that needs to guide the creative process: his own Creative Muse. On occasion I’ve mentioned to him that I simply can’t connect to a body of work that he is especially excited about; without pause, he sim-ply moves on and says, “Well, let’s look at this!” And then he pulls out a different body of work. Schatz

doesn’t have even a whit of that sensitive ego that protects so many artists from rejection. He’s far too busy creating and exploring ideas with his camera to be sidetracked by others’ individual preferences. What an incredibly healthy outlook! It’s especially so for anyone involved in a creative process where exploration and rejection, creative experimentation and rule-less innovation are among the chief char-acteristics.



Index of Names, Titles, & Key Words

Aabandoned place 48, 57, 58, 249abstracts 27, 39, 45, 63, 66, 85, 147Adams, Ansel 65, 95, 101, 185, 225,

244Alfano, John C. 15Anasazi 58Anderson, Chris 251anthropomorphism 211Aral Sea 247ARAT 81, 107architecture 39, 58, 167, 177, 189Arrangement in Grey and Black No.1

251art history 143, 159Atgét, Eugene 173Audubon 256Australia 73

Bbackground 31, 43, 77, 87, 89, 125,

163, 165, 194, 227, 233, 256, 257, 259

Bank, Susan S. 17Barnett, Susan 251beauty 37, 71, 203, 219, 242Beckham, Andrew 19Berman, Michael 21Best, David Grant 23birds 25, 117, 256Blackwood, Larry G. 25Bookbinder, David J. 219Bourke-White, Margaret 185Bullock Photography Trust 27Bullock, Wynn 27, 185, 209Bumbutz, Cosmin 29

CCampbell, Scott C. 31Canyon Reflections 240

Carl, Michael J. 221Carmel, California 209Carnochan, Brigitte 33Carofano, Ray 34Carter, Chris 37Cartier-Bresson, Henri 23, 25Carver, Norman F. 39Cei, Enzo 41Chemnitz, Gunter 43Chiarenza, Carl 45, 85, 251Child in Forest, 1951 27China 149, 215Clearing Winter Storm 149clouds 15, 23, 51, 64, 87, 104, 127,

137, 147, 253Color Light Abstractions 27Columbia Gorge 222commercial photographers 199, 242conceptual art 101, 251Conn, John F. 46Cooper, Thomas Joshua 161Cowles, D. R. 48Crane, Tillman 51creative muse 243creative vision 104, 231, 233, 238, 256cropping 43, 45, 51, 57, 89culture 39, 79, 134, 177Custodio, John 222

DDecisive Moment 23DeWolfe, George 225The Diamond Sutra 34DiGirolamo, Mario 52Dilbeck, Perry 54diptych 113direction of illumination 93

Eediting 91, 115, 133, 149, 201

Ellerbe, Jenny 57Erwitt, Elliot 213Evans, Walker 131, 185everyday life 95, 155, 173

FFarmer’s Almanac 31filters 39, 46, 104Firth, Wayne 58Fishback, Jon 227Fitze, Christian 60Fleeing a Dust Storm 65Fletcher, Colin 205flowers 77, 83, 161, 163, 219, 221, 231foreground 73, 165, 206, 247Forelli, Chip 63, 64Frank, Robert 185Freeman, Roger 66, 69Freud, Sigmund 35FSA 65, 185Fuller, William W. 71fuyu 191

GGage, Hal 73Gallagher, Maureen 74gesture 17, 43, 55, 74, 91, 96, 97, 131,

133, 149, 169, 194Godwin, Fay 102golden hour 66, 247greatest hits 27Gregg, Kenneth 229Guatemala 134Gurbo, Robert 71Guthertz, Barry 77

Hhabits 113, 149Hagen, Rainer 143Hagen, Rose-Marie 143

Hamlet 77Harris, Mark Edward 79Hart, Paul 81Hasegawa, Saburo 191Hawkes, Pamela Ellis 83HDR 111Hedgcock, Charles A. 85Hindenburg 25, 101Hiser, Cheri 27Hoflehner, Josef 87Holga 35Holmøyvik, Eirik 89horizon 15, 21, 73, 87, 89, 92, 117,

157, 211humor 159, 171, 211, 213, 251Hurn, David 23, 91

IIlachinski, Andrew 92India 133infrared 222

JJanson, HW 143Japanese haiku 191Jay, Bill 95Johnson, Richard A. 96jumping the gutter 144

KKabelik, Vladimir 99, 206Katzman, Steven 101Kauffman, Kim 231Kernan, Sean 233Kertész, André 43, 71, 185Kimmerle, Chuck 102Kirby, Don 104Kirkland, Diane Mastin 107knowing where to stand 73, 87Kodak smile 91Korniss, Péter 109

LLabyrinth on My Table, 1967 109

landscape 15, 29, 37, 45, 63, 64, 73, 85, 93, 101, 104, 105, 118, 137, 149, 157, 183, 185, 186, 193, 197, 221, 222, 225, 227, 229, 235, 238, 240, 247, 255

Laurence, Jim 111Lay-Dorsey, Patricia 113LensWork #13 74LensWork #14 23LensWork #15 205LensWork #16 63LensWork #19 34LensWork #20 41, 169LensWork #22 101, 137LensWork #28 85, 133, 185LensWork #29 45, 73, 131LensWork #30 91LensWork #31 66, 199, 209LensWork #33 104LensWork #34 83, 163LensWork #35 51LensWork #36 159, 183LensWork #37 69, 206LensWork #38 173LensWork #39 215LensWork #40 79LensWork #43 151, 167LensWork #47 147LensWork #49 48LensWork #50 29LensWork #51 31LensWork #52 39, 161LensWork #54 154LensWork #55 27, 52LensWork #57 165LensWork #58 60LensWork #59 99, 118LensWork #60 247LensWork #61 189LensWork #62 121LensWork #64 64LensWork #65 134, 157LensWork #66 54, 71, 117, 141LensWork #67 89, 107

LensWork #68 125LensWork #69 57, 153LensWork #70 96, 193, 203LensWork #73 181LensWork #74 87, 253LensWork #75 95, 144LensWork #76 111LensWork #77 115, 142LensWork #78 211LensWork #80 33LensWork #81 191LensWork #82 17, 58, 237LensWork #84 15LensWork #86 46LensWork #87 102LensWork #88 21LensWork #89 77, 186LensWork #90 129, 213LensWork #92 109LensWork #93 25LensWork #94 175LensWork #95 92LensWork Extended #62 177LensWork Extended #64 242LensWork Extended #69 219LensWork Extended #70 19LensWork Extended #71 123LensWork Extended #72 197LensWork Extended #73 139LensWork Extended #74 249LensWork Extended #77 113LensWork Extended #78 43LensWork Extended #79 149LensWork Extended #80 127LensWork Extended #82 37, 221LensWork Extended #84 229, 231, 251LensWork Extended #85 81, 222, 256LensWork Extended #86 240LensWork Extended #88 233LensWork Extended #89 255LensWork Extended #90 194, 200LensWork Extended #91 227LensWork Extended #92 179, 225LensWork Extended #94 235

LensWork Extended #95 259LensWork Extended #97 238LensWork Extended #99 244LensWork Special Editions 27, 74, 209Levin, Wayne 115Lev, Moisés 117Levy, Stu 118Liedtke, Fritz 121Lipka, Joe 123Liston, Sonny 25Lovett, O. Rufus 125Lyons, Bill 127

MMade of Steel 85, 139Magnum 91Magritte, Rene 159, 171Maio, Mark 129Maisel, Jay 15, 64Mallo, Luis 131, 251mandala 219Matthew, Annu Palakunnathu 133Merced River 238Meridian, Julie 237metaphor 6, 34, 71, 77, 81, 121, 123,

189, 219, 253Miller, Curtis Hans 235minimalism 43, 117Moller, Jonathan 134Moon, Beth 25Morocco 48Munch, Edvard 63music 61, 85, 117, 206Myer, Joan 137

Nnegative 65, 185Nelson, Loren 139New York 37, 149, 185Niro, Robert De 91North Africa 48Norton, Wayne 141nudes 74

OOakland, California 173

O’Boyle, Shaun 142Olson, Rosanne 144Orland, Ted 34, 171, 213Outer Hebrides 193

PPalnitska, Tatiana 147panorama 183Paris 173passage of time 52, 53, 173, 193, 247PBWA 199Pepper #30 149, 186perspective 23, 63, 92, 93, 99, 118,

142, 157, 165, 173, 183, 195, 200Peters, Jimmy 149philosophy and photography 34Photography West Gallery 209Photoshop 96, 115, 159, 171, 219,

235, 240, 256Picasso 111Picker, Fred 73Point Lobos 149, 209Point Lobos Tide Pools, 1972 209Poland 167Polaroid 89portraits 31, 46, 52, 54, 69, 101, 121,

131, 203, 242The Print 65Pritzker, Burton 151

RRaecker, Chris 153Rao, Anil 238RAW files 143relationships 21, 31, 37, 46, 55, 60, 61,

83, 85, 91, 104, 117, 127, 131, 141, 163, 167, 185, 186, 203, 211, 233, 245, 251

Rembrandt 141rhythm 96, 97, 142, 244Richman, Abba 113, 154Romania 29Rommes, Don 240Rorschach 63Ross, Alan 157Rothstein, Arthur 65

Rouse, Dominic 159Rubik’s Cube 77Rule of Thirds 165Ruskin, John 211Ryan, Victoria 161Ryuijie 163

SSalinas, California 209Sander, August 52San Miguel de Allende 199Satzman, Kristin 165scale 41, 157, 255Scardina, Steven 167Schatz, Howard 169, 242, 251Scott, Gregory 171Sedwick, James 244Shevelev, Raphael 173Singles, Mark 175Skrivanek, Radek 247Smith, Brian D. 249Smith, Michael A. 113Smithson, Aline 251Snodgrass, Richard 177Sometimes a Great Notion 73Speer, Steve 179spotlight illumination 159Starr, Markham 181Steinhauer, Peter 183Steinmann, Catherine 185Stephens, Jeromie 186Stieglitz, Alfred 225Stockdale, Douglas 251, 253story 19, 21, 23, 33, 37, 46, 47, 59, 69,

101, 129, 134, 139, 177, 179, 181, 186, 189, 191, 193, 205, 209, 247, 249, 253, 259

storytelling 46, 48, 54, 129Strand, Paul 193Strom, Stephen 255Sudek, Josef 109Surrealists 159Swiderski, Robert 189

TTaos, New Mexico 39

Tarot cards 81the moment 17, 19, 25, 47, 99, 117,

133, 137, 163, 169, 171, 187, 205, 213

The Scream 63Things I’ve Learned About Photography

175Thompson, Cole 191Tir a’ Mhurain 193tonal relationships 21, 46, 60, 85Tonningsen, Peter 256Tornick, Josef 193tourist 191, 209traditional landscape 104trees 51, 64, 73, 81, 96, 107, 149, 157,

183, 200, 219, 240, 253Trefethen, John 194Tress, Arthur 251tripod 73, 92, 183, 205triptych 123, 244Tuscany 259two-dimensional 83, 105, 115, 147,

153, 157, 165, 171, 237Tyrrell, Jay 197

UUelsmann, Jerry 159, 213universality 31Ut, Huynh Cong “Nick” 101Uzzle, Burk 173

Vvertigo 93, 127Vine, Terry 199visual fidelity 151visual literacy 71, 99, 102, 103, 186,

193

WWainwright, Paul 200War of the Worlds 197Washburn, Bradford 85Watanabe, Hiroshi 203water 15, 21, 25, 43, 63, 66, 81, 87, 89,

96, 97, 115, 117, 119, 133, 183, 206, 235, 247

Webber, George 205

Weeping Mary 125Wegman, William 171, 213Wells, H. G. 197Wells, Orson 45Weston, Edward 17, 85, 186, 225What Great Paintings Say 143what we see 17, 77, 83, 113, 125, 139,

191, 235Whistler, James McNeill 251Whistler’s Mother 251white balance 41, 222, 235White, Minor 6, 33, 63, 154Wiese, Larry 206Williams, Jimmy 259Winogrand, Garry 185Witherill, Huntington 209Woodcock, Janet 211World War I 123World War II 33, 191Wratten 25A 104

YYosemite 101, 149Young, Bill 85Young Farmers 52yugen 191

ZZedano, Chris 213, 251Zen 34, 63Zone-and-Tone 189, 225Zorn, Bill 215Zupcu, Ion 194

In addition to the written comments that accompany each photograph, you will also find a QR code on the page with the text and image. This QR code links to an audio recording on our website. The audio is not simply a recorded version of the written text, but rather an extension of the ideas prompted by each image.

The QR code can be scanned with your tablet or smartphone and the audio will play as you look at the image in the book — a true multi-media, paper-based book experience!

QR Code Instructions for iPad, iPhone, or Android devices

1. If you don’t already have one, download a QR code reader app for your iPad or An-droid tablet or smartphone. We use the free “QR Code Reader” from www.scan.me, available for all iPhone, iPad, and Android devices.

2. Open the app on your tablet or smartphone and aim the camera at the QR code you want to open.

3. The app will either automatically take a picture of the QR code, or you may need to press the button in the app for the camera to capture the code. When tha app has finished scanning the code, you will be taken directly to the audio file on our website.

4. An audio player will appear. Press the play button to listen to the audio.

Test using this QR code.

Accessing the audio without a tablet or smartphone

If you do not have a tablet or smartphone you can still access the additional audio com-mentary by going to this webpage on your computer or laptop.

http://www.lenswork.com/laiaudio/laiaudio.html

Use the individual links on this web page to play the audio files associated with each photographer’s image.

About the QR Codes in This Book

photography & the creative process looking at imageslenswork.com/laipublicity/sample pages from...

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