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Editor's Comments

Brooks' Editor's Comments are one of the most popular elements of LensWork. At LensWork Online, you can read every one of them, going all the way back to LensWork #1. Because LensWork is all about photography and the creative process, the content never goes out of date! We hope you find these articles equally valuable even though we started LensWork some 22 years ago.

LensWork #130
May-Jun 2017

Looking Back, Looking Forward

LensWork #129
Mar-Apr 2017

A Plague of Technical Maestros

LensWork #128
Jan-Feb 2017

When a Tree is Not a Tree

LensWork #127
Nov-Dec 2016

Travel Moments

LensWork #126
Sep-Oct 2016

Lessons from Seeing in SIXES

LensWork #125
Jul-Aug 2016

The Balance

LensWork #124
May-Jun 2016

Scene or Experience

LensWork #123
Mar-Apr 2016

Books: Random Thoughts and Some Unwanted Conclusions

LensWork #122
Jan-Feb 2016

A Call for Entries!
Announcing a New LensWork Community Book Project

We’re launching a new book publication project unlike any other we’ve ever seen. This book will feature the work of our readers — like you! perhaps you! — printed with the quality you’ve come to expect from us. This promises to be an important and substantial survey of the LensWork community, subscribers as well as non-subscribers.

LensWork #121
Nov-Dec 2015

Lessons from Gutenberg

LensWork #120
Sep-Oct 2015

The Luminous Endowment Grants for Photographers

LensWork #119
Jul-Aug 2015

It’s Time: We Welcome Color to the Pages of LensWork

LensWork #118
May-Jun 2015

“Traditional” Photography and Finding Your Own Path

LensWork #117
Mar-Apr 2015

Your Artwork, And Then Your Other Artwork

LensWork #116
Jan-Feb 2015

Formulas for Success

Or, Ten Ways to Make Your Photographs More Noticeable (But Not Necessarily Better)

LensWork #115
Nov-Dec 2014

Those Who Inspire Me (And Why)

Two excerpts from Brooks’ next book of short essays on photographers who have shaped and influenced photography in sometimes surprising ways.

LensWork #114
Sep-Oct 2014

Exhibition Suite Prints

LensWork #113
Jul-Aug 2014

Someday

Photography is full of temptations to procrastinate, but the art life is much
better served without the delay of "someday."

LensWork #112
May-Jun 2014

The Artist Statement, Part 2

Picking up from the comments on artist statements in LensWork #103, in this article you'll find practical tips on how to write.

LensWork #111
Mar-Apr 2014

Looking at Images

It’s not the mechanics of creation, but the subtleties of comprehension that are the great challenge — including how to discuss images.

LensWork #110
Jan-Feb 2014

The Original

In the days of the darkroom print, the original was easily identified. But in the world of Cmd-P and digital printing, what is the "original"?

LensWork #109
Nov-Dec 2013

The Connection

What connects a viewer to a photograph? Subject, yes, but what if the viewer has no relationship with the things photographed?

LensWork #108
Sep-Oct 2013

Photography, Meet the World of Design

Continuing the discussion of images outside the mat board, we find ourselves embracing the world of graphic design.

LensWork #107
Jul-Aug 2013

Problems with a "Pile of Prints"

Being a "fine art photographer" has traditionally meant amassing a pile of matted prints. There are implications worth noting.

LensWork #106

LensWork #106
May-Jun 2013

Creative Seeing

In our media saturated world, the challenge of seeing creatively — with our own eyes — is the great challenge, the core of the creative process.

LensWork #105

LensWork #105
Mar-Apr 2013

About Content

Content is, as is often said, King. But what is this mysterious thing called "content" that we are supposed to include in our art?

LensWork #104

LensWork #104
Jan-Feb 2013

The Second (or Third) Time Around

Some thoughts on the inevitability of mistakes, and the importance of a learning curve in any art-making endeavor.

LensWork #103

LensWork #103
Nov-Dec 2012

The Artist Statement

Whether you are preparing an exhibition statement, a book preface, a portfolio introduction, or magazine submission, the precious opportunity to introduce the work with an artist statement should not be squandered. A few ideas on how to craft an effective introduction.

LensWork #102

LensWork #102
Sep-Oct 2012

Chapbooks: An Artist-made Book Alternative for Photographers

For the presentation of photography off the wall, Jensen's pioneering of folios has led the way. Here he presents yet another alternative: the artist-made, image & text, sewn chapbook.

LensWork #101

LensWork #101
Jul-Aug 2012

Editing, Selection, and the Contact Sheet

More than ever, the number of images we are all making demand the skill of working our "contact sheets" in an editorial process.

LensWork #100

LensWork #100
May-Jun 2012

Celebrating 100 Issues in Print!

A look back at 100 issues along with a few stories about bloopers you (thankfully) never saw.

LensWork #99

LensWork #99
Mar-Apr 2012

LensWork Monographs in Print

We are committed to the print medium — so much so that we are announcing the LensWork Monograph Series.

LensWork #98

LensWork #98
Jan-Feb 2012

Predicting the Future of Photography

What will the future bring? Who knows — but it is fun to guess. Our editor indulges himself by doing so.

LensWork #97

LensWork #97
Nov-Dec 2011

Imaginative Photography

To avoid fumbling around at the beginning of a project, Jensen proposes that we first determine which photographic style suits the subject best: the documentary, the personal narrative, or the imaginative.

LensWork #96

LensWork #96
Sep-Oct 2011

Introducing LensWork Online

The ongoing evolution of LensWork – from magazine to multimedia DVD, and now LensWork Online – an enormous resource of audio, video, and downloads available to members.

LensWork #95
Jul-Aug 2011

Lessons from LensWork

What have you learned in your role as publisher that has helped you in making your own artwork? Here are some observations.

LensWork #94
May-Jun 2011

The LensWork Road Show

Feeling cooped-up in front of his computer, Brooks Jensen has devised a plan to "hit the road" - offering talks, workshops, seminars, and private reviews (while doing a bit of photography along the way!)

LensWork #93
Mar-Apr 2011

Your Inner Pragmatist

Jensen offers some pragmatic ideas that may break the twin bonds of Delay and Procrastination in your art-making and art-marketing.

LensWork #92
Jan-Feb 2011

Building Trust

Employing the age-old wisdom that a picture is worth a thousand words, our editor recommends making an Introduction Book before your next photo outing.

LensWork #91
Nov-Dec 2010

The Royal Rabbits

While "Content is still King," the proliferation of delivery devices offers both challenges and opportunities— to publishers and art-makers alike!

LensWork #90
Sep-Oct 2010

Finding the Project

After making those warm-up photos of the place, consider looking for smaller and perhaps more compelling subjects within the scene. You may just discover that, "The angel is in the details."

LensWork #89
Jul-Aug 2010

Levels of Involvement

To see our work, others are required to invest some measure of time and money. Jensen suggests a broad range of options so that we may be as inclusive as possible.

LensWork #88
May-Jun 2010

The Pursuit of Which Excellence

How you define excellence will shape your artwork — and how you work.

LensWork #87
Mar-Apr 2010

Paper as Medium

As digital imaging and distribution continue to make inroads in our technological culture, what is the future of photography on paper?

LensWork #86
Jan-Feb 2010

Working in Series

Getting an audience to engage our work is similar to the challenges of other artmakers, for example novelists. Perhaps there are some lessons we could learn from their experience — like working in series.

LensWork #85
Nov-Dec 2009

The Case of the Misplaced Identity

"My self-perception as an artist was not defined by my artwork, but rather defined by my methods, my equipment, my practices. I had unconsciously slipped into a case of misplaced identity."

LensWork #84
Sep-Oct 2009

If You Build it...

Brooks Jensen describes how he converted a pile of unrelated photos into an opportunity to share more than just images, and substantially increased his web traffic.

LensWork #83
Jul-Aug 2009

Remembering Bill Jay

Bill Jay's first article appeared in LensWork #4, December 1993. He became a regular contributor via his EndNotes column in September 2000. Here is a look back at our long relationship with this master of words and observations.

LensWork #82
May-Jun 2009

Ten Motivations

From time to time, we all need motivation to keep a project moving — or more commonly, to break the inertia of inactivity. Here are some ideas to get moving and finish your photography projects.

LensWork #81
Mar-Apr 2009

Collaboration

Photography is often practiced as a solo endeavor, yet working with other artists can strengthen your finished work.

LensWork #80
Jan-Feb 2009

"Dear Mr. Jensen..."

So what advice might be useful as you prepare for your first exhibit? Brooks Jensen offers some ideas in response to this common email.

LensWork #79
Nov-Dec 2008

The Rebirth of the LensWork Special Editions

Our much-loved "Fine art Photography at Real People Prices™" returns … as folios!

LensWork #78
Sep-Oct 2008

Welcome to Bifurcation City

Jensen takes a hard look at the photographic enthusiast and the "Power Player."

LensWork #77
Jul-Aug 2008

Creativity Questions

We often think of the artmaking process as a search for the right answers. Jensen suggests we look for the right questions.

LensWork #76
May-Jun 2008

Fellow Travelers: Roundtable Discussion with Joe Lipka, David Grant Best, and Huntington Witherill

Prompted by a recent submission by Cole Thompson, Jensen invites three LensWork alumni to an email discussion about subject matter, with a multi-view look from contemporary and historical perspectives.

LensWork #75
Mar-Apr 2008

The LensWork Workshops and eSeminars

New for 2008, we are offering a series of workshops and eSeminars. Here is an out-line of the new programs and content.

LensWork #74
Jan-Feb 2008

It's Not What You See

The old canard proposed that the core creative process in photography is seeing. However, people who see but can't paint aren't painters. Similarly, photography may not be about seeing but is definitely about what we make, what we create.

LensWork #73
Nov-Dec 2007

The Real Revolution in Photography

While all of us have been paying attention to the changes in photography wrought by digital cameras, there is an even larger change impacting photography in the technological revolution in commercial printing.

LensWork #72
Sep-Oct 2007

Why You Should Do a Portfolio

A portfolio is more than a collection of matted prints in a clamshell box — it is an idea, a story, even a motivator — and a flexible medium worth exploring.

LensWork #71
Jul-Aug 2007

The Pragmatics of Creativity

This is a practical discussion about the art of seeing and explores how three photographers found such different responses to the same subject matter.

LensWork #70
May-Jun 2007

Experience and Symbol

The importance of experiencing and appreciating such things as music, cake, and abstracts.

LensWork #69
Mar-Apr 2007

LensWork Vision of the Heart

In this issue our editor introduces another free podcast designed especially for our readers. This audio commentary will focus on selected images from LensWork in the spirit of the docent, rather than the critic.

LensWork #68
Jan-Feb 2007

Printing for a Purpose

If your photographic work looks like it was put together by committee, you may want to consider your purpose before beginning your printing.

LensWork #67
Nov-Dec 2006

The Tsunami on the Doorstep

As technology continues to make the cre-ating of photographs easier, the volume of images produced these days is staggering. What will this mean in terms of quality, longevity and notoriety?

LensWork #66
Sep-Oct 2006

When Photography Becomes Art

Photography must ask the great questions of Life, which ultimately does not include "Which camera did you use?"

LensWork #65
Jul-Aug 2006

Some Thoughts on Gender and Photography
(by Maureen Gallagher)

With just 10 percent of submissions received from women, our woman editor shares the hard statistics and encourages women to compete.

LensWork #64
May-Jun 2006

Photographer as Director

The days when a pile of prints defined the role of a fine art photographer are long gone. Now we must become "directors" of our projects.

LensWork #63
Mar-Apr 2006

Ten Photographs

Which ten photographs demonstrate why you are passionate about fine art photography? Our editor goes first …

LensWork #62
Jan-Feb 2006

Commitment

Depth of work seems to be in direct relationship with the commitment made to the subject. Longevity and intensity of commitment characterize the best work.

LensWork #61
Nov-Dec 2005

The Spectrum, Revisited 10 Years Later

As a follow-up to his Unvarnished Truths About Book Publishing, our editor offers some valuable alternatives to getting your work seen.

LensWork #60
Sep-Oct 2005

Anecdotes

Photography is about life, and that means there are stories to tell. In this issue we introduce Anecdotes — a new feature that will allow us to share the experiences that shape us as people, and improve us as photographers.

LensWork #59
Jul-Aug 2005

Lessons from a Photographic Friendship

From shared photographic adventures, and hours of "shooting the photographic breeze," here are some lessons learned.

LensWork #58
May-Jun 2005

Twenty-One Ways to Improve Your Artwork

Here's a meat-n-potatoes 21-course feast for the photographic artist who is looking to feed their creative soul!

LensWork #57
Mar-Apr 2005

LensWork Extended

We're listening. Our readers want more, and now we're delivering lots of additional visual and audio content through our sister publication on CD!

LensWork #56
Jan-Feb 2005

Why Make Art?

In a world that has many concerns to "get serious" about, why shouldn't art be considered one of them?

LensWork #55
Oct-Nov 2004

The Two Competing Roles of Editing

Editors and curators often edit backwards for historical content (and value), while artists should edit forwards to find their artistic direction. Editing aside, the element of dumb luck plays a large part in the achievement of fame.

LensWork #54
Aug-Sep 2004

Why I Am Encouraged by the Piffle on Parade

There may seem to be plenty of reasons to be pessimistic about photography's future, but our editor remains convinced that this is a great time to be a photographer and there is, in fact, great art in the making.

LensWork #53
Jun-Jul 2004

People Are Not Faces

"It is not a stranger's appearance that makes them noteworthy but their being that does so." When portraits become more than shapshots.

LensWork #52
Apr-May 2004

Community of Peers

The electronic age has radically changed the meaning of "community." If you struggle to find peers in your area, you'll find a virtual community of very real photographers like yourself through your keyboard.

LensWork #51
Feb-Mar 2004

Tool as Door

"The tools we choose change the way we see the world." In a rare commentary on equipment in an otherwise near gear-free publication, our editor shares his recent experiences that have expanded the way he sees and works.

LensWork #50
Dec 03-Jan 04

A Look Back and a Big Thanks

Celebrating the 50th issue of LensWork as well as our 10th Anniversary, the editors take the liberty to reminisce a bit about LensWork's very humble beginnings, and to recognize a number of important partnerships along the way.

LensWork #49
Oct-Nov 2003

Evolution of the Artifact

When any number of technologies can render an image faithfully, does the artifact become secondary to the image? A review of today's incredible commercial printing quality versus the silver original.

LensWork #48
Aug-Sep 2003

Random Thoughts

Overloaded with little scraps of paper containing scrawled notes, our editor has cleaned out the drawer and is sharing selected random thoughts on photography.

LensWork #47
Jun-Jul 2003

What is Your Natural Vision?

Our editor observes that "Most photographers truly excel at only a few kinds of imagery." If this is so, have you discovered your natural eye?

LensWork #46
Apr-May 2003

Twenty Years to Break the Rules

Our editor shares his 20-year journey and the "20 Lessons" learned along the way in achieving (at last) his own creative aesthetic.

LensWork #45
Feb-Mar 2003

Excellence

In a continuing effort to offer our readers excellence, Brooks Jensen announces new historically rich images from the FSA/Roy Stryker collection.

LensWork #44
Dec 02-Jan 03

Art as Gift

Out of the cacophony of photographic images in the world, it is possible to have your lone voice heard. Our editor borrows from our friends in the book arts to suggest how a small victory may be had.

LensWork #43
Oct-Nov 2002

Letting Go of the Camera

Speaking from the larger world of art, our editor attempts to clarify the bigger meaning of making images, and further dispel the idea that there are rules when it comes to photographic tools.

LensWork #42
Aug-Sep 2002

Digital Tools vs. "Digital Images"

Our editor believes that non-photographic art history may help those who bristle at the word digital, and illuminate the profound difference between tools and style, while addressing the question of "real" photography.

LensWork #41
Jun-Jul 2002

Cheap Shots, Redux

To engender ongoing thought and discussion about art and photography is largely the purpose of LensWork. In this spirit, Brooks Jensen shares a reader's well-written response to Cheap Shots published in issue #40.

LensWork #40
Apr-May 2002

Cheap Shots

Reacting equally to "shock" photos and trite, insipid work, our editor takes photographers and institutions to task for creating and promoting work that, he believes, fundamentally spawns from laziness.

LensWork #39
Feb-Mar 2002

Beyond What It Is

Understanding the exoteric and the esoteric nature of "what is" is to understand the relationship between the physical and the spiritual. Our editor strives to convey that (often missing) element that preserves the soul of a photographic subject.

LensWork #38
Nov-Dec 2001

The Magic of It

Inspired by a suit of armor made centuries ago, our editor encourages photographers to transcend the possible, to dig deep into ourselves to bring forth the vision, to study the craft, so we might elevate our photographs from the ordinary to the extraordinary.

LensWork #37
Sep-Oct 2001

The Context of the Question

What kind of photographer are you? How do you define yourself? These are important questions. But, how one asks these questions makes a difference in how we answer them, and what we produce as a result.

LensWork #36
Jul-Aug 2001

Getting Published (by Maureen Gallagher)

Ref ecting on eight years of publishing, we share important observations that may help you get your work on the printed page.

LensWork #35
May-Jun 2001

A Change of Venue

Artists are served and cursed by their habits. Good artists seem to know their tools exceptionally well, yet knowing anything well can lead to stagnation. Whether looking at our equipment or our chosen subject matter, sometimes a good shake-up will result in better art.

LensWork #34
Mar-Apr 2001

The Importance of Structure

Working within a framework may create the vehicle that can move your art from concept to completion. Our editor finds that reverse-engineering and working with a sense of structure allows him to work more clearly along the way.

LensWork #33
Jan-Feb 2001

The Importance of Partnering

There is a long-standing tradition in fine art photography that dictates working in solitude. Why? Is there any room for partnering? And if so, doesn't this make a lot of sense?

LensWork #32
Nov-Dec 2000

Why This is the Best Time in History to Be a Photographer

As a part of a greater art history — not just of photographic history — our editor suggests that we acquaint ourselves with the great artists and their times, and recognize stylistic change as a natural force that is bringing us into a new era in photography.

LensWork #31
Sep-Oct 2000

The Democratic Art

Our editor announces an exciting innovation from LensWork, which will redefine the photographic book-publishing paradigm, and serve to bring the stunning images found in books into the open air for a better appreciation of this democratic art form.

LensWork #30
Jul-Aug 2000

Day Jobs: When Life and Artmaking Collide

For many of us, living the life of an artist competes with the prerequisite day-job and week-end chores. Photographers who integrate the demands of life with their artmaking, however, have proven that it is possible to produce a meaningful body of work in spite of the challenges.

LensWork #29
May-Jun 2000

When the Flock Veers Left

Photographic history clearly illustrates photographers' willingness to follow the latest fashion. Our editor observes that repeating what has been done can be a useful exercise, but that repetition of one's own creative vision results in better art.

LensWork #28
Feb-Apr 2000

Celebrity and Obscurity

In a culture that panders to celebrity status, LensWork chooses not to neglect the artists working in relative obscurity, since this is often the path to mastery. Our editor shares his perspective based on the work he sees through LensWork submissions, and why this leads him to be so optimistic about the future of photography.

LensWork #27
Nov 1999-Jan 2000

Creativity and Confusion: Part II

Following a resounding (and rather surprising) "thumbs up" response to the editorial in #26, our editor further clarifies an oh-so-important point in Part II of the thorny discussion on discerning "good art" from "bad art."

LensWork #26
Aug-Oct 1999

Creativity and Confusion: Part I

"Because the bizarre and the abnormal are so easily achieved, it becomes very seductive for someone to produce a mere mess and promote it as genius." With the popular movement against value judgments, our Editor is concerned that our numbingly passive society is losing its ability to distinguish between antics and art.

LensWork #25
May-Jul 1999

The Problem with Technique and Content

The progression of anything — including art — is built upon thework of those who precede us in the process. In its time, techniques can have cutting-edge appeal, only to fall out of fashion. What remains is content; but will it withstand the test of time?

LensWork #24
Feb-Apr 1999

Introducing the Wynn Bullock Special Editions

Following the overwhelming response to the debut of the LensWork Special Edition Prints Collection in the last issue, our Editor announces the addition of prints from a number of important photographers, including Wynn Bullock, and his wife, Edna. Now, nearly 25 years since Wynn's death, his images are once again coming up in the developer — and it's impossible for our Editor to contain his excitement.

LensWork #23
Nov 98-Jan 99

The LensWork Special Editions Collection

Fine art photographs at real people prices? Our editor announces The LensWork Special Editions Print Collection — fine art prints from digital negatives! What does this mean? For photographers: Freedom and income. For art buyers: Access and affordability. And for galleries: Increased value of original art. With everyone a winner — it's impossible to contain our excitement!

LensWork #22
Aug-Oct 1998

Announcing the LensWork MultiMedia Collection

Technology is allowing our Editor to offer LensWork readers what he's been enjoying all these years — a chance to hear photographers actually talk about their work and creative process, as well as bringing you additional portfolios not included in the paper version. At last, he can bury old frustrations with the exciting announcement of LensWork MultiMedia!

LensWork #21
May-Jul 1998

Why I Am Not a "Photographer"

Writers are defined as poets, novelists, lyricists and such, but the term photographer is subjected to all sorts of interpretations — mostly inaccurate —since it lacks any defining language. So, how do we refer to ourselves?

LensWork #20
Feb-Apr 1998

Tools

As photographers we select tools — as all artists must — that serve to make our art. While this may sound simplistic, we are as dependent on our tools as we are on our eyes. To replace or add new tools is to change our vision. Our editor stands at this frightening (yet exciting) precipice,and prepares to take the leap.

LensWork #19
Fall 1997

Another Revolution; A.k.a Gutenberg II

We're in the midst of a revolution; digital technology is continually opening up opportunities in the printing world. Regardless of your photographic process, this new technology provides an affordable means to produce or promote your work.

LensWork #18
Summer 1997

The Stupid Debate Over Digital Stuff

Those who resist the digital techniques now being introduced in photography might want to consider the technological innovations of the past — like hand cameras, roll film, and dodging/burning— before protesting too loudly.

LensWork #17
Spring 1997

What You Should Buy Next

Buy film. Practice kinetics. Use your eyes. Critique with intelligence. Debate with respect. Just a few things to consider from our Editor's roving thought-processes.

LensWork #16
Winter 1996/97

The LensWork Workshops

Our Editor introduces The LensWork Workshops; a powerful selection of subjects beyond zone & tone, offered in a spectacular oceanfront setting on the Oregon coast.

LensWork #15
Fall 1996

For Whom the Art Tolls

Photographic in-breeding has resulted in many photography books which seem to be created for other photographers. Elsewhere in the bookstore you'll find selections which feature exquisite pho-tography, but are not about photography. Often-times these can be the better choice, and certainly worth finding.

LensWork #14
Summer 1996

When It Becomes a Project

Hobbies and passions sometimes become obsessions and burdens; the fun of photography need not be crushed under the weight of serious art-making, just as the value of art is not dependent on massive personal investments of time and resources.

LensWork #13
Spring 1996

LensWork Adds Portfolios

It's exciting to be part of an organic process — even more exciting to be a part of several at once.

LensWork #12
Winter 1995

Remembering Morley Baer

Change promotes growth. With the recent passing of Morley Baer we findourselves closer to the moment when our generation must carry the torch. LensWork, too, is changing: we're introducing a Portfolio section for under-published, but meaningful work.

LensWork #11
Fall 1995

The Spectrum

As a two-dimensional art form, photography is easily acclimated into the computer environment. Whether or not a computer plays a role in how you create your imagery, it can certainly effect the way you find an audience.

LensWork #10
Summer 1995

Digital Distribution

The impact of the computer on the photographic world extends far beyond creating simple manipulated images; imagery and ideas find an enormous audience waiting in cyberspace.

LensWork #9
Spring 1995

Symbols

We encapsulate and dismiss whole persons, their lives and their work in a descriptive handful of words. As artists, how do we define ourselves?

LensWork #8
Winter 1994

Photography Books in the Art Section?

Some idiot far back in the reaches of photography's history was stupid enough to ask the question whether or not photography is a true art form. The raging debate has never ended.

LensWork #7
Fall 1994

Wynn Bullock

Wynn Bullock has left a legacy of considerable importance and influence. In this issue, we pay tribute to his work, his life and his artistic path. A few personal comments from the Editor.

LensWork #6
Summer 1994

The Mundane

The search for meaningful subject material continues amidst frustration that "it's all been done already."

LensWork #5
Spring 1994

Ideas

Images without ideas, either in them, behind them or created by them, are mere visual stimuli. Images that contain, evoke, createor stimulate ideas are always more memorable and more powerful.

LensWork #4
Dec 1993

Work & Play

An artist has a strange relationship to play and work. To do one's art is to "do one's work" and we crave it and love it.

LensWork #3
Nov 1993

The Artist

The artist and everyday life.

LensWork #2
Oct 1993

The Muse

A few opening comments for our second issue.

LensWork #1
Sep 1993

Welcome to LensWork

We launch. We invite. We welcome.