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There is a very good reason to consider cross-media production of our photographic artwork — as this example from Jeremy Irons’ involvement in “Brideshead Revisited” demonstrates.

How long do you spend with a photography book, or at an exhibition? Could it be that our great challenge as photographers is to engage our audience in more profound ways?

There is a limit to how much homemade bread a person can consume. What to do? A question surprisingly useful for photographers.

Lessons from one area of life often can be unexpectedly applied in another. Here is an example.

Photography is a technologically intensive pursuit. And, wherever technology is involved, change is inevitable — as both the history of photography and our own personal histories tell us.

Some may see this as the “Age of Contention,” — where we know what we like and that’s all that we like. But, such specialization can also lead to deeper connections between artist and audience.

One of the central themes in photography is its ability to connect us with one another — over time, over distance, over differences. How marvelous!

Each time we read that we’ve lost another great photographer (this week, Cornell Capa) is a reminder of the “thank you″ they have earned — and the torch they have passed to us.

The downside of ubiquitous photography is that it may seduce us into postponing experiencing life in the present. Why live life now when we can pull it up from the hard drive when we have more time?

Life is suffering, and it’s not our role as artists to deny this. It is, however, our role to rise above it.