Downloadable sample pages PDF

Photography & the Creative Process
A Series by LensWork Publishing
On Being a Photographer
David Hurn/Magnum
and Bill Jay
Looking at Images
A deeper look at selected photographs
published in LensWork and LensWork Extended
Letting Go of the Camera
Brooks Jensen
Single Exposures
Brooks Jensen
Single Exposures 2
with commentary by
Brooks Jensen
Single Exposures 3
Brooks Jensen
Brooks Jensen
The Creative Life in Photography
Brooks Jensen
The Best of EndNotes
(LensWork #83)
Bill Jay
LensWork Publishing
2014
Introduction

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.
Here is an excerpt from my interview with Eugene
Johnson from LensWork Extended #67, as he described 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 eating little snacks. After a couple of hours, the old woman
grabbed my arm and said, “Are you afraid of me?” I answered, “Why would I be afraid of you?” She said, “Well,
many people are. People are afraid of me because I’m
blind.”
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.
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 sitting. 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?”
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.
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.
6
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 observations about life, the challenges of expressing
ourselves through photography, and reflections
about the creative process, gathered during a lifetime of trying to understand it through examples
and experience.
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 comments 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 characterized by having a great capacity to connect differently with each viewer. My response to these images may differ from yours. That is a good thing — it
means we are each listening with our hearts.
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
Brooks Jensen
May 2014
7
Table of Contents
Sequenced by photographer, including key topics
Maureen Gallagher. . . . . . . . . . . . . . . . . . . . . . . . 74
nudes; sensuality versus sexuality
Barry Guthertz. . . . . . . . . . . . . . . . . . . . . . . . . . .77
imagination and “what it is;” photography’s power of deception
Mark Edward Harris. . . . . . . . . . . . . . . . . . . . . . . .79
Black-and-White Images
photographing culture; archetypes
Paul Hart. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .81
John C. Alfano . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
atmosphere, air, sky
Susan S. Bank. . . . . . . . . . . . . . . . . . . . . . . . . . . .17
the moment as subject; questions without answers
Andrew Beckham . . . . . . . . . . . . . . . . . . . . . . . . .19
seeing, noticing; working every day
Michael Berman . . . . . . . . . . . . . . . . . . . . . . . . . .21
making it look easy; tonal relationships
David Grant Best. . . . . . . . . . . . . . . . . . . . . . . . . .23
knowing when to work, when to watch, when to nap!
Larry G. Blackwood . . . . . . . . . . . . . . . . . . . . . . . .25
same subject, different visions; peak moments of action
Wynn Bullock . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
fame versus work; the trap of the “greatest hits” approach
Cosmin Bumbutz . . . . . . . . . . . . . . . . . . . . . . . . . 29
non-visual sensations; atmosphere, air
Scott C. Campbell . . . . . . . . . . . . . . . . . . . . . . . . .31
the balance between the universal versus the personal
Brigitte Carnochan . . . . . . . . . . . . . . . . . . . . . . . . 33
memory; the time required to really see an image
Ray Carofano. . . . . . . . . . . . . . . . . . . . . . . . . . . .34
titles; photography as a poor medium for philosopy
Chris Carter . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37
landscapes; the joy of simple beauty
Norman F. Carver, Jr. . . . . . . . . . . . . . . . . . . . . . . . 39
connections across culture; tones and planes; formalist cubism
John F. Conn . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
images as stories; photography and life
D. R. Cowles. . . . . . . . . . . . . . . . . . . . . . . . . . . . .48
photographer as docent for their own work
Tillman Crane. . . . . . . . . . . . . . . . . . . . . . . . . . . .51
compositional lines; the corners of images
trees and ARAT photographs; our moods when viewing a print
Pamela Ellis Hawkes. . . . . . . . . . . . . . . . . . . . . . . .83
two-dimensional photographs; visual puns; relationships
Charles A. Hedgcock . . . . . . . . . . . . . . . . . . . . . . . 85
a chord of tones
Wayne Levin. . . . . . . . . . . . . . . . . . . . . . . . . . . 115
showing what others cannot see for themselves
Moisés Levy . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
relationships between the things photographed; minimalism
Stu Levy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118
landscapes and detail; the artifice of photography
Fritz Liedtke. . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
Eirik Holmøyvik . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Joe Lipka. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
David Hurn/MAGNUM . . . . . . . . . . . . . . . . . . . . . .91
O. Rufus Lovett. . . . . . . . . . . . . . . . . . . . . . . . . . 125
Andrew Ilachinski . . . . . . . . . . . . . . . . . . . . . . . . .92
Bill Lyons. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127
Wayne Firth. . . . . . . . . . . . . . . . . . . . . . . . . . . . .58
Bill Jay. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
Mark Maio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
Christian Fitze . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Richard A. Johnson. . . . . . . . . . . . . . . . . . . . . . . . 96
Luis Mallo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
Vladimir Kabelik . . . . . . . . . . . . . . . . . . . . . . . . . .99
Annu Palakunnathu Matthew. . . . . . . . . . . . . . . . . 133
Steven Katzman . . . . . . . . . . . . . . . . . . . . . . . . . 101
Jonathan Moller . . . . . . . . . . . . . . . . . . . . . . . . . 134
passage of time
Perry Dilbeck. . . . . . . . . . . . . . . . . . . . . . . . . . . .54
the subtleties that make the image sing; expressive portraits
Jenny Ellerbe. . . . . . . . . . . . . . . . . . . . . . . . . . . .57
the abandoned place and the human element; artifacts and
details
the abandoned place and the signs of people who were there
tones in an original print versus images on screen; harmony of
tones like chords in music
Chip Forelli . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
the Zen approach; being open to interpretation
Chip Forelli . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
negative space in the composition; edge-burning
Roger Freeman. . . . . . . . . . . . . . . . . . . . . . . . . . .66
photographing anywhere; patience
Roger Freeman. . . . . . . . . . . . . . . . . . . . . . . . . . .69
ordinary life; the universal in the particular
symmetry; border treatments as part of the composition
cheesy grins; the noisy photograph
perspective
handwriting as part of the artwork; project work
compositional syncopation
point of view; nostalgia
comparison as a fundamental aspect of a photograph; concept-driven projects
Chuck Kimmerle. . . . . . . . . . . . . . . . . . . . . . . . . 102
standing on the shoulders of giants; visual literacy
Don Kirby . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
skies; dramatic tones, listening to an image
Gunter Chemnitz . . . . . . . . . . . . . . . . . . . . . . . . . 43
Hal Gage. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73
Péter Korniss. . . . . . . . . . . . . . . . . . . . . . . . . . . 109
abstracts constructed to be photographed
visual similes; habits; how we see, rather than what we see
graphic design in photography; just the right camera placement
Mario DiGirolamo . . . . . . . . . . . . . . . . . . . . . . . . .52
Diane Mastin Kirkland . . . . . . . . . . . . . . . . . . . . . 107
Carl Chiarenza . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Patricia Lay-Dorsey. . . . . . . . . . . . . . . . . . . . . . . 113
photographing the non-visual; the non-subject parts of a photograph
William W. Fuller. . . . . . . . . . . . . . . . . . . . . . . . . .71
minimalism in compositions
HDR photography; using techniques to enhance emotional
response
Josef Hoflehner . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Enzo Cei . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41
scale of the subject
Jim Laurence . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
fellow travelers; the value of photographic literacy
muck-o-graphs; simple access to a place and knowing where to
stand
framing the composition; visual balance
seeing never stops
the process of discovery in creativity
what we see, and what we infer
relationships and composition; black and white as a medium
storytelling and photography; beyond the photograph
sometimes hands can tell stories even more than faces
details and the big picture
image and text combinations
Joan Myers. . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
photographers as “moment catchers”; photography and time
Loren Nelson. . . . . . . . . . . . . . . . . . . . . . . . . . . 139
unlikely subjects; teaching the world to see in a new way
Wayne Norton . . . . . . . . . . . . . . . . . . . . . . . . . . 141
the kind of photograph that we do, and appreciating work that is
entirely different than ours
Shaun O’Boyle. . . . . . . . . . . . . . . . . . . . . . . . . . 142
technique versus art-making study; graphic design; learning from
the world of painting
Rosanne Olson. . . . . . . . . . . . . . . . . . . . . . . . . . 144
Markham Starr. . . . . . . . . . . . . . . . . . . . . . . . . . 181
Color Images
Tatiana Palnitska. . . . . . . . . . . . . . . . . . . . . . . . . 147
Peter Steinhauer. . . . . . . . . . . . . . . . . . . . . . . . . 183
David J. Bookbinder. . . . . . . . . . . . . . . . . . . . . . . 219
Aline Smithson. . . . . . . . . . . . . . . . . . . . . . . . . . 251
Jimmy Peters. . . . . . . . . . . . . . . . . . . . . . . . . . . 149
Catherine Steinmann. . . . . . . . . . . . . . . . . . . . . . 185
Michael J. Carl . . . . . . . . . . . . . . . . . . . . . . . . . . 221
Douglas Stockdale. . . . . . . . . . . . . . . . . . . . . . . . 253
jumping the gutter in book layouts
abstracts and the emotional connection
photography and the unexpected
Burton Pritzker. . . . . . . . . . . . . . . . . . . . . . . . . . 151
breaking the rules
Chris Raecker. . . . . . . . . . . . . . . . . . . . . . . . . . . 153
representing the three-dimensional world in a two-dimensional
medium
Abba Richman . . . . . . . . . . . . . . . . . . . . . . . . . . 154
intellectual projects
Alan Ross . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157
how a place feels; what the photograph is about
Dominic Rouse. . . . . . . . . . . . . . . . . . . . . . . . . . 159
surrealism and photography; humor in photography
Victoria Ryan . . . . . . . . . . . . . . . . . . . . . . . . . . . 161
botanical subjects; chaos and composition
Ryuijie. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
the photographer’s intent versus our interpretation
Kristin Satzman . . . . . . . . . . . . . . . . . . . . . . . . . 165
layering as a technique in composition
Steven Scardina . . . . . . . . . . . . . . . . . . . . . . . . . 167
seeing what is not in the photograph; details and questions
the human element in the inanimate object
the advantages of an elevated position
tonal inversion; our connection with previous generations of
photographers
Jeromie Stephens . . . . . . . . . . . . . . . . . . . . . . . . 186
multiple-image storytelling versus the singular “greatest hits”
image
Robert Swiderski. . . . . . . . . . . . . . . . . . . . . . . . . 189
the true challenge of photography is not technical
Cole Thompson . . . . . . . . . . . . . . . . . . . . . . . . . 191
photographing what we feel rather than what we see
Photoshop trickery versus the perfect tool for the job
color and emotional response; using our images for other than
the artwork itself
John Custodio. . . . . . . . . . . . . . . . . . . . . . . . . . 222
color photography versus black-and-white photography
George DeWolfe. . . . . . . . . . . . . . . . . . . . . . . . . 225
modifying colors to create what the artwork needs
Jon Fishback. . . . . . . . . . . . . . . . . . . . . . . . . . . 227
the process observation and training ourselves to be better
observers
Josef Tornick . . . . . . . . . . . . . . . . . . . . . . . . . . . 193
Kenneth Gregg. . . . . . . . . . . . . . . . . . . . . . . . . . 229
John Trefethen. . . . . . . . . . . . . . . . . . . . . . . . . . 194
Kim Kauffman . . . . . . . . . . . . . . . . . . . . . . . . . . 231
paying tribute to the masters of old; the story of our time
balance as the critical compositional aspect; “shadow-rendering”
versus “light-writing”
Jay Tyrrell. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197
photo fiction; titles
Terry Vine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199
the “shot list” and project-oriented photography
Paul Wainwright. . . . . . . . . . . . . . . . . . . . . . . . . 200
not the photographer’s point of view
making art, not merely recording what our eyes see
finding a unique way of seeing
Sean Kernan . . . . . . . . . . . . . . . . . . . . . . . . . . . 233
isolating the subject through a photographic vantage point
Curtis Hans Miller. . . . . . . . . . . . . . . . . . . . . . . . 235
so-called “normal” light
Julie Meridian. . . . . . . . . . . . . . . . . . . . . . . . . . 237
the theory of “three aspects” to make a photograph work
Anil Rao. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238
Hiroshi Watanabe . . . . . . . . . . . . . . . . . . . . . . . . 203
the simple delight in tones and colors; photographing the mundane to make art
George Webber . . . . . . . . . . . . . . . . . . . . . . . . . 205
Don Rommes. . . . . . . . . . . . . . . . . . . . . . . . . . . 240
Larry Wiese. . . . . . . . . . . . . . . . . . . . . . . . . . . . 206
Howard Schatz . . . . . . . . . . . . . . . . . . . . . . . . . 242
Huntington Witherill. . . . . . . . . . . . . . . . . . . . . . 209
James Sedwick. . . . . . . . . . . . . . . . . . . . . . . . . . 244
making photographs versus experiencing life — and then photographing
Janet Woodcock. . . . . . . . . . . . . . . . . . . . . . . . . 211
Radek Skrivanek . . . . . . . . . . . . . . . . . . . . . . . . . 247
Richard Snodgrass. . . . . . . . . . . . . . . . . . . . . . . . 177
Chris Zedano . . . . . . . . . . . . . . . . . . . . . . . . . . . 213
Howard Schatz . . . . . . . . . . . . . . . . . . . . . . . . . 169
capturing movement in a still photograph; photographer as
director
Gregory Scott. . . . . . . . . . . . . . . . . . . . . . . . . . . 171
playfulness and humor; visual puns
Raphael Shevelev. . . . . . . . . . . . . . . . . . . . . . . . 173
photograph as historical document
Mark Singles . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
telling the story with the details
Steve Speer. . . . . . . . . . . . . . . . . . . . . . . . . . . . 179
no one cares how you made the photograph — or how hard it
was to make
extreme shallow depth of field
time is precious and we can’t go back
the collective unconscious in photography; dark places
our own personal gallery of experiences viewing photographs
anthropomorphism and photography; humor
humor in photography
Bill Zorn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215
seeing more as we spend more time looking at a photograph;
questions
photographic guilt in the age of Photoshop
collaboration in the creative process
packaging our work for visual consumption
romanticism and drama; choosing the right camera format for the
project
Brian D. Smith . . . . . . . . . . . . . . . . . . . . . . . . . . 249
the abandoned architecture
conceptual art and humor
using compositional lines to enhance the feeling of a photograph
Stephen Strom. . . . . . . . . . . . . . . . . . . . . . . . . . 255
distillation as a compositional strategy
Peter Tonningsen. . . . . . . . . . . . . . . . . . . . . . . . 256
the visually graphic representation; building a body of work
Jimmy Williams. . . . . . . . . . . . . . . . . . . . . . . . . 259
the challenge of finding an audience for our work
A Morning at American Camp
by David Grant Best

Published in LensWork #14
Commentary
I have two related stories to tell about this photograph.
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 perspective, working fast. Then they’ll just stop. The camera
will go back over the shoulder, and they’ll continue looking, observing, perhaps for a long period of
time. It’s that ability to know when the photographic moment appears that is the real talent.
I interviewed David Grant Best about this photograph 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!
I was, of course, instantly reminded of Cartier-Bresson’s famous Decisive Moment train of thought.
I’m fascinated by the parallel between these two
anecdotes. The obvious conclusion is that a talented 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 “photographer” we tend to think of someone who makes
pictures, i.e., someone who presses the shutter and
makes exposures. The lesson from these two photographers, 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 photograph. In other words, it’s important not to confuse
activity with photography.
Some years later, I was interviewing Magnum photographer 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 photographer for long periods of time. They walk
around with their camera slung over their shoul22
More Thoughts via Audio Commentary
Scan with a QR code reader using your smartphone or tablet.
23
Imagining Then: A Family Story 1941-1947
by Brigitte Carnochan

Published in LensWork and LensWork Extended #80
Commentary
This 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 interest is how Carnochan uses imagery to explore the
concept of memory itself.
of memory. A very unusual viewing experience, but
one I find fascinating and seductive.
Minor White often spoke about spending 30 minutes 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 photographs not only invite me to spend such time, but
encourage me to extend what she has done by adding layers of my personal memory and my personal 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 viewing experience.
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’ experience during World War II. Using photographs,
letters, oral history documents, maps, and a considerable 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 interesting 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
32
More Thoughts via Audio Commentary
Scan with a QR code reader using your smartphone or tablet.
33
The Last Harvest: Truck Farmers in the Deep South
by Perry Dilbeck

Published in LensWork and LensWork Extended #66
Commentary
I 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.
apprehensive, maybe not quite as trustful towards
the photographer or towards us. This is not unexpected. In my years of photographing elderly people 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 gender issues at play that I don’t understand.
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 matter-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 photographer did anything — he might have placed them in
front of this building or house just to make a simple 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.
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.
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.
Now look at the size differential in their hands.
Look at the size of his fingers compared to the size
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54
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 — possibly 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 undeniable. 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.
55
The Unapologetic Landscape
by Chuck Kimmerle

Published in LensWork and LensWork Extended #87
Commentary
It is said that “No man is an island” — and by extension I suppose we could propose that no artist
creates in a vacuum. Visual literacy is such an incredibly 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 issue — having visual literacy and using it to extend
the dialogue started by the previous generations.
This photograph from Chuck Kimmerle is a perfect
example.
dialogue to a new level. This marvelous shadow in
the snow is such a wonderful — and even surprising — 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 similarity 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 marvelous point where memory and new vision intersect. 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.
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 photographer 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 particularly
rewarding
element of photography.
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 subtleties of the currents that drift through the medium.
This can create a barrier for the novice, or at least diminish their appreciation of any given photograph.
But I’m not sure this is any different than any other pursuits in life. The more one knows the history
Kimmerle’s image
may remind us of
the earlier one by
Godwin, but in my
way of thinking
he has pushed the
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of baseball, the more interesting the current World
Series becomes; the more one knows the geopolitical history of Europe, the more understandable we
find the state of today’s Europe.
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 similar 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!
It probably shouldn’t be a surprise that photography
is no different than anything else in life. As counterintuitive as it may sound, the more we want to
appreciate contemporary photography the more
important it is to know about the history of photography and the work of the previous generations.
103
Midnight Carnival
by Chris Raecker

Published in LensWork and LensWork Extended #69
Commentary
Chris Raecker gave himself a very difficult challenge: 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.
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 predictable — and boring. It would have been so easy
for Raecker’s project to regress to this ordinary way
of seeing.
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.
But it didn’t. The key was that he shifted his attention 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 substitution 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 exemplary lesson that illustrates the point.
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 allow 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 structure 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.
152
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Endangered Species: The Point Judith Fishermen
by Markham Starr

Published in LensWork and LensWork Extended #73
Commentary
Human 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.
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.
It’s not unexpected, then, that so many photographic projects are about this pervasive, important,
ubiquitous human activity. Perhaps what is more
amazing is that there aren’t more photographic projects about humans at work.
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.
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 “photographer”: 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
180
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China’s Yangtze: Ancient Heritage, River Rising
by Bill Zorn

Published in LensWork #39
Commentary
Photography 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 questions 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 contemplate more deeply than one would guess at first
sight.
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 photography 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 really 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.
There is so much about this photograph that looks
instantly understandable — a man sitting and sleeping 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 sitting 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?
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215
Feathers
by Jon Fishback

Published in LensWork Extended #91
Commentary
226
When I was in high school, our physics instructor
taught us one of the most fundamental aspects of
the scientific method: observation. Our assignment 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 disallowed. 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.
himself background variations to introduce another
variable into the scheme.
Jon Fishback has picked up the spirit of this challenge with his portfolio, Feathers. How many different 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 deceptively easy. On the surface, there are simply 31
photographs of feathers in his project. What makes
it noteworthy, however, is that there are essentially no duplicates. Each composition uses a unique
combination of shape, color, light, and even emotional content. All of them are presented against
a black background which makes the project even
more complex and difficult. He doesn’t even allow
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 photographed 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 presented 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.
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 presentation. Perhaps he found some of them were repetitive; 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 photograph of a feather — after all, feathers are interesting
objects in and of themselves. But could you make 31
interesting photographs? Or 100?
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Florilegium
by Kim Kauffman

Published in LensWork Extended #84
Commentary
We’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.”
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 imagemaking — 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.
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 never seen anything like this work before, and I find her
vision refreshing, inspiring, and quite simply — stunningly beautiful. That she was able to approach such
an oft-photographed subject with such originality is
a testament to her creative spirit.
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.
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. Photography 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.
230
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Pool Light
by Howard Schatz

Published in LensWork Extended #64
Commentary
sity if one truly wants to explore the excellence that
is our potential.
There are so many wonderful photographers working 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 process — a source of inspiration no matter what one
photographs.
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.
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 vacuum. I’m not sure why it is on fine art circles that
the myth of the independent and solitary photographer, 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-
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 something 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
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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 simply 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 characteristics.
243
Index of Names,
Titles, & Key Words
A
abandoned place 48, 57, 58, 249
abstracts 27, 39, 45, 63, 66, 85, 147
Adams, Ansel 65, 95, 101, 185, 225,
244
Alfano, John C. 15
Anasazi 58
Anderson, Chris 251
anthropomorphism 211
Aral Sea 247
ARAT 81, 107
architecture 39, 58, 167, 177, 189
Arrangement in Grey and Black No.1
251
art history 143, 159
Atgét, Eugene 173
Audubon 256
Australia 73
B
background 31, 43, 77, 87, 89, 125,
163, 165, 194, 227, 233, 256, 257,
259
Bank, Susan S. 17
Barnett, Susan 251
beauty 37, 71, 203, 219, 242
Beckham, Andrew 19
Berman, Michael 21
Best, David Grant 23
birds 25, 117, 256
Blackwood, Larry G. 25
Bookbinder, David J. 219
Bourke-White, Margaret 185
Bullock Photography Trust 27
Bullock, Wynn 27, 185, 209
Bumbutz, Cosmin 29
C
Campbell, Scott C. 31
Canyon Reflections 240
Carl, Michael J. 221
Carmel, California 209
Carnochan, Brigitte 33
Carofano, Ray 34
Carter, Chris 37
Cartier-Bresson, Henri 23, 25
Carver, Norman F. 39
Cei, Enzo 41
Chemnitz, Gunter 43
Chiarenza, Carl 45, 85, 251
Child in Forest, 1951 27
China 149, 215
Clearing Winter Storm 149
clouds 15, 23, 51, 64, 87, 104, 127,
137, 147, 253
Color Light Abstractions 27
Columbia Gorge 222
commercial photographers 199, 242
conceptual art 101, 251
Conn, John F. 46
Cooper, Thomas Joshua 161
Cowles, D. R. 48
Crane, Tillman 51
creative muse 243
creative vision 104, 231, 233, 238, 256
cropping 43, 45, 51, 57, 89
culture 39, 79, 134, 177
Custodio, John 222
Ellerbe, Jenny 57
Erwitt, Elliot 213
Evans, Walker 131, 185
everyday life 95, 155, 173
F
Farmer’s Almanac 31
filters 39, 46, 104
Firth, Wayne 58
Fishback, Jon 227
Fitze, Christian 60
Fleeing a Dust Storm 65
Fletcher, Colin 205
flowers 77, 83, 161, 163, 219, 221, 231
foreground 73, 165, 206, 247
Forelli, Chip 63, 64
Frank, Robert 185
Freeman, Roger 66, 69
Freud, Sigmund 35
FSA 65, 185
Fuller, William W. 71
fuyu 191
G
D
Gage, Hal 73
Gallagher, Maureen 74
gesture 17, 43, 55, 74, 91, 96, 97, 131,
133, 149, 169, 194
Godwin, Fay 102
golden hour 66, 247
greatest hits 27
Gregg, Kenneth 229
Guatemala 134
Gurbo, Robert 71
Guthertz, Barry 77
E
habits 113, 149
Hagen, Rainer 143
Hagen, Rose-Marie 143
Decisive Moment 23
DeWolfe, George 225
The Diamond Sutra 34
DiGirolamo, Mario 52
Dilbeck, Perry 54
diptych 113
direction of illumination 93
editing 91, 115, 133, 149, 201
H
Hamlet 77
Harris, Mark Edward 79
Hart, Paul 81
Hasegawa, Saburo 191
Hawkes, Pamela Ellis 83
HDR 111
Hedgcock, Charles A. 85
Hindenburg 25, 101
Hiser, Cheri 27
Hoflehner, Josef 87
Holga 35
Holmøyvik, Eirik 89
horizon 15, 21, 73, 87, 89, 92, 117,
157, 211
humor 159, 171, 211, 213, 251
Hurn, David 23, 91
I
Ilachinski, Andrew 92
India 133
infrared 222
J
Janson, HW 143
Japanese haiku 191
Jay, Bill 95
Johnson, Richard A. 96
jumping the gutter 144
K
Kabelik, Vladimir 99, 206
Katzman, Steven 101
Kauffman, Kim 231
Kernan, Sean 233
Kertész, André 43, 71, 185
Kimmerle, Chuck 102
Kirby, Don 104
Kirkland, Diane Mastin 107
knowing where to stand 73, 87
Kodak smile 91
Korniss, Péter 109
L
Labyrinth 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 111
Lay-Dorsey, Patricia 113
LensWork #13 74
LensWork #14 23
LensWork #15 205
LensWork #16 63
LensWork #19 34
LensWork #20 41, 169
LensWork #22 101, 137
LensWork #28 85, 133, 185
LensWork #29 45, 73, 131
LensWork #30 91
LensWork #31 66, 199, 209
LensWork #33 104
LensWork #34 83, 163
LensWork #35 51
LensWork #36 159, 183
LensWork #37 69, 206
LensWork #38 173
LensWork #39 215
LensWork #40 79
LensWork #43 151, 167
LensWork #47 147
LensWork #49 48
LensWork #50 29
LensWork #51 31
LensWork #52 39, 161
LensWork #54 154
LensWork #55 27, 52
LensWork #57 165
LensWork #58 60
LensWork #59 99, 118
LensWork #60 247
LensWork #61 189
LensWork #62 121
LensWork #64 64
LensWork #65 134, 157
LensWork #66 54, 71, 117, 141
LensWork #67 89, 107
LensWork #68 125
LensWork #69 57, 153
LensWork #70 96, 193, 203
LensWork #73 181
LensWork #74 87, 253
LensWork #75 95, 144
LensWork #76 111
LensWork #77 115, 142
LensWork #78 211
LensWork #80 33
LensWork #81 191
LensWork #82 17, 58, 237
LensWork #84 15
LensWork #86 46
LensWork #87 102
LensWork #88 21
LensWork #89 77, 186
LensWork #90 129, 213
LensWork #92 109
LensWork #93 25
LensWork #94 175
LensWork #95 92
LensWork Extended #62 177
LensWork Extended #64 242
LensWork Extended #69 219
LensWork Extended #70 19
LensWork Extended #71 123
LensWork Extended #72 197
LensWork Extended #73 139
LensWork Extended #74 249
LensWork Extended #77 113
LensWork Extended #78 43
LensWork Extended #79 149
LensWork Extended #80 127
LensWork Extended #82 37, 221
LensWork Extended #84 229, 231, 251
LensWork Extended #85 81, 222, 256
LensWork Extended #86 240
LensWork Extended #88 233
LensWork Extended #89 255
LensWork Extended #90 194, 200
LensWork Extended #91 227
LensWork Extended #92 179, 225
LensWork Extended #94 235
LensWork Extended #95 259
LensWork Extended #97 238
LensWork Extended #99 244
LensWork Special Editions 27, 74, 209
Levin, Wayne 115
Lev, Moisés 117
Levy, Stu 118
Liedtke, Fritz 121
Lipka, Joe 123
Liston, Sonny 25
Lovett, O. Rufus 125
Lyons, Bill 127
M
Made of Steel 85, 139
Magnum 91
Magritte, Rene 159, 171
Maio, Mark 129
Maisel, Jay 15, 64
Mallo, Luis 131, 251
mandala 219
Matthew, Annu Palakunnathu 133
Merced River 238
Meridian, Julie 237
metaphor 6, 34, 71, 77, 81, 121, 123,
189, 219, 253
Miller, Curtis Hans 235
minimalism 43, 117
Moller, Jonathan 134
Moon, Beth 25
Morocco 48
Munch, Edvard 63
music 61, 85, 117, 206
Myer, Joan 137
N
negative 65, 185
Nelson, Loren 139
New York 37, 149, 185
Niro, Robert De 91
North Africa 48
Norton, Wayne 141
nudes 74
O
Oakland, California 173
O’Boyle, Shaun 142
Olson, Rosanne 144
Orland, Ted 34, 171, 213
Outer Hebrides 193
P
Palnitska, Tatiana 147
panorama 183
Paris 173
passage of time 52, 53, 173, 193, 247
PBWA 199
Pepper #30 149, 186
perspective 23, 63, 92, 93, 99, 118,
142, 157, 165, 173, 183, 195, 200
Peters, Jimmy 149
philosophy and photography 34
Photography West Gallery 209
Photoshop 96, 115, 159, 171, 219,
235, 240, 256
Picasso 111
Picker, Fred 73
Point Lobos 149, 209
Point Lobos Tide Pools, 1972 209
Poland 167
Polaroid 89
portraits 31, 46, 52, 54, 69, 101, 121,
131, 203, 242
The Print 65
Pritzker, Burton 151
R
Raecker, Chris 153
Rao, Anil 238
RAW files 143
relationships 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 141
rhythm 96, 97, 142, 244
Richman, Abba 113, 154
Romania 29
Rommes, Don 240
Rorschach 63
Ross, Alan 157
Rothstein, Arthur 65
Rouse, Dominic 159
Rubik’s Cube 77
Rule of Thirds 165
Ruskin, John 211
Ryan, Victoria 161
Ryuijie 163
S
Salinas, California 209
Sander, August 52
San Miguel de Allende 199
Satzman, Kristin 165
scale 41, 157, 255
Scardina, Steven 167
Schatz, Howard 169, 242, 251
Scott, Gregory 171
Sedwick, James 244
Shevelev, Raphael 173
Singles, Mark 175
Skrivanek, Radek 247
Smith, Brian D. 249
Smith, Michael A. 113
Smithson, Aline 251
Snodgrass, Richard 177
Sometimes a Great Notion 73
Speer, Steve 179
spotlight illumination 159
Starr, Markham 181
Steinhauer, Peter 183
Steinmann, Catherine 185
Stephens, Jeromie 186
Stieglitz, Alfred 225
Stockdale, Douglas 251, 253
story 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, 129
Strand, Paul 193
Strom, Stephen 255
Sudek, Josef 109
Surrealists 159
Swiderski, Robert 189
T
Taos, New Mexico 39
Tarot cards 81
the moment 17, 19, 25, 47, 99, 117,
133, 137, 163, 169, 171, 187, 205,
213
The Scream 63
Things I’ve Learned About Photography
175
Thompson, Cole 191
Tir a’ Mhurain 193
tonal relationships 21, 46, 60, 85
Tonningsen, Peter 256
Tornick, Josef 193
tourist 191, 209
traditional landscape 104
trees 51, 64, 73, 81, 96, 107, 149, 157,
183, 200, 219, 240, 253
Trefethen, John 194
Tress, Arthur 251
tripod 73, 92, 183, 205
triptych 123, 244
Tuscany 259
two-dimensional 83, 105, 115, 147,
153, 157, 165, 171, 237
Tyrrell, Jay 197
U
Uelsmann, Jerry 159, 213
universality 31
Ut, Huynh Cong “Nick” 101
Uzzle, Burk 173
V
vertigo 93, 127
Vine, Terry 199
visual fidelity 151
visual literacy 71, 99, 102, 103, 186,
193
W
Wainwright, Paul 200
War of the Worlds 197
Washburn, Bradford 85
Watanabe, Hiroshi 203
water 15, 21, 25, 43, 63, 66, 81, 87, 89,
96, 97, 115, 117, 119, 133, 183, 206,
235, 247
Webber, George 205
Weeping Mary 125
Wegman, William 171, 213
Wells, H. G. 197
Wells, Orson 45
Weston, Edward 17, 85, 186, 225
What Great Paintings Say 143
what we see 17, 77, 83, 113, 125, 139,
191, 235
Whistler, James McNeill 251
Whistler’s Mother 251
white balance 41, 222, 235
White, Minor 6, 33, 63, 154
Wiese, Larry 206
Williams, Jimmy 259
Winogrand, Garry 185
Witherill, Huntington 209
Woodcock, Janet 211
World War I 123
World War II 33, 191
Wratten 25A 104
Y
Yosemite 101, 149
Young, Bill 85
Young Farmers 52
yugen 191
Z
Zedano, Chris 213, 251
Zen 34, 63
Zone-and-Tone 189, 225
Zorn, Bill 215
Zupcu, Ion 194
About the QR Codes
in This Book
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 Android 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 commentary 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.