As a photographer interested in the creative process, I try to keep my eyes and mind open to diverse sources of inspiration. Most of these sources are visual in the form of books and browsing the Web. Lately, I’ve been listening to a lot of podcasts, and am finding that they’re an exciting source of both information and ideas.
The publisher of LensWork magazine, Brooks Jensen, offers one favorite podcast, LensWork: Photography and the Creative Process (www.lenswork.com). His commentaries cover wide-ranging and eclectic topics mostly related to fine-art photography. They’re succinct (5 to 10 minutes) and often humorous.
An impressive podcast I just discovered is Jeff Curto’s Camera Position (www.cameraposition.com). Like the LensWork podcast, this commentary deals mostly with the creative process of photography. Although the author’s orientation isn’t focused on landscape photography, his presentation includes the images about which he’s talking, which adds a good deal to the educational value. Curto, a college photography professor, also publishes a podcast called Photo History.
Former OP associate editor Ibarionex Perello produces another podcast that I really like, The Candid Frame (www.thecandidframe.com). This is a series of interviews with photographic artists, including masters like Joel Meyerowitz and Pete Turner. Learning how photographers think about creating their images gives a greater depth of understanding about their images and often provides ideas for our own work. The website includes an interview I did with Ibarionex a few months ago
PHOTO NOTES: The photograph shown here is of the bark of a eucalyptus tree in Hawaii. It resonates for me because it’s both abstract and hyper-real. At first, it’s a mystery, and once the recognition of what it is kicks in, you can appreciate Nature’s "painting"—the texture and unbelievable color of this tree. I looked around the grove of trees seeking the strongest color and pattern. Using my 4x5 and a 360mm lens, I focused in on this area above the height of my head and used my modified 4x5 film holder that‚’s cropped to a 2:1 ratio. The rising lens standard of the view camera allowed me to maintain the perspective without convergence of lines.