Let's talk about feelings. As I think back to all the workshops and classes that I've taken in my 50 years of photography, I can't remember a single one that centered on what I felt or wanted to express. Instead, all I can remember are endless discussions and demonstrations about the craft of photography. There is only one exception that comes to mind and that moment was a question from Bruce Barnbaum I'll never forget. What do you want to experience, and why do you want to capture it and share it with others?

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LW1489 - Your Own Voice

In so many ways, we have entered a new era in photography. It's getting harder and harder to be visually unique. Google is photographing everything. Now more than ever we need to find a way to use our own voice in our artwork.

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You might also be interested in. . .

Every Picture Is a Compromise, a series at www.brooksjensenarts.com.

and...

"How to" tutorials and camera reviews are everywhere on YouTube, but if you're interested in photography and the creative life, you need to know about the incredible resources you can access as a member of LensWork Online.

Wouldn't it be lovely if we had a switch we could throw that would turn on our creative genius at a moment's notice? Flick goes the switch and your best ever photograph is produced because you commanded it into existence. Unfortunately, life doesn't work that way. Our magnum opus happens in the midst of lots of other work that, well, isn't your magnum opus. Our magnum opus is the result of plowing ahead and simply doing our best with every effort.

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The most valuable commodity we have in our art life is not our gear, not our training, not our creative impulses, not our energy and drive. All those things might be important, but they are useless unless we have time. Without time all the potential we've banked by learning our craft and going out photographing will add up to naught. I know it can seem counterintuitive to schedule our creative activities, but in fact having a schedule to work on our art maybe the most important step we can take to make sure our creative endeavors aren't swallowed up by the trivialities of life.

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One of the most dramatic impacts of digital photography is the volume of captures that now reside on all of our hard drives. It's not uncommon at all for me to hear that a photographer has tens of thousands, even hundreds of thousands of images in their catalog that are, essentially, inaccessible to anyone except the photographer. So much creativity buried in our hard drives just waiting for their turn on stage!

This RSS feed includes only the most recent seven Here's a Thought episodes. All of them — over 2500 and counting! — are available to members of LensWork Online. Try a 30-day membership for only $10 and discover the literally terabytes of content about photography and the creative process.

You've set aside an hour to work on your photography and find yourself sitting at the computer looking at images. At such moments, it is so tempting to spend your precious creative time on a search for images that have potential and then processing them to the best of your abilities. That's not the only option. Alternatively, you might try using that precious time on a different search, a search for the threads that can bind a group of images into a project.

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Last year I became frustrated that I wasn't getting done as many photographic projects as I had hoped to finish. My old goal-directed business training kicked in and I decided to set goals for myself. It didn't help. And then I remembered one of the earliest lessons from management training: Don't manage results, manage the work. Set another way, goals are a result, not a tactic.

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The other day I was looking at some of the photo essays done by W. Eugene Smith and published in Life magazine. They're fantastic examples of the integration of image and text, and as such are worth taking the time to study in some detail. In the process of looking at this work. It occurred to me that my underlying assumption in all his photo essays is that they are truthful, that is to say, documentary not fiction. But would it make a difference to my response if they were fiction? Art is full of fiction, and I see no overwhelming reason why photography should avoid the storytelling capabilities of fiction.

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