I’ve been a subscriber to the American magazine LensWork since 2021. It describes itself as presenting ‘Photography and the Creative Process – Articles – Interviews – Portfolios’; and publishes principally, though not exclusively, black and white work. There is always a pleasurable sense of anticipation when it drops on the doormat, but I’ve just received a renewal reminder and I have to decide whether or not to continue with my subscription.
It publishes high quality work across a wide range of genres – documentary, landscape, still life, nature, experimental/abstract, portraiture, the street and so on – interpreted in creative ways. I’ve been introduced to many new photographers over the past three years. It’s light on text, the emphasis is on letting the pictures speak for themselves, a big plus compared with most commercial photography magazines. The focus on the image is reinforced by the high quality of the publication, design, printing and paper. Its compact size (180mm x 215mm) makes it easy to store.
I have a couple of issues with it nevertheless. First, something of a preoccupation with what is referred to as ‘fine art photography’. Why not just ‘photography’? Other media have the self-confidence not to add ‘fine art’ as a descriptor. Second, the tendency to include substantial portfolios of rather repetitive images – 20 pages of raindrops and dew on plastic (Frank Clemmensen, No. 165 October 2023) seems excessive, good though the pictures are.
But these are minor quibbles really. Writing this piece has made me look back over past editions and I’ve been reminded anew of why I started taking it and of the pleasure it has given me. The collection of 17 copies on my shelf is now a valuable source of inspiration. I shall renew my subscription.