You know the drill. In the last episode I did of this series, I said the next one would be coming shortly, huh?

Yeah, right. I lied. These come out when they come out.

Here’s another linkdump—a list of links to stuff I thought was interesting but likely won’t get to properly reviewing any time soon.¹

I reserve the right to more fully review any of these article at a later date, of course. (Though at this point, it’s extremely unlikely to ever happen.)

I’ve always been a quantity over quality artist, and what I mean by this is that rather than being intentional about what I’m doing or meticulously planning things, I typically make a lot of garbage and hope for the best. This isn’t a particularly efficient way of working, but I personally find it quite effective. There are three main benefits of half-assing my art process that I would like to point out here:

In some ways, photography is to visual artists what piano is to musicians. I can get you to play a somewhat accurate rendition of Mary Had a Little Lamb in about 2 minutes, and if it isn’t in tune, that’s the piano’s fault, not yours. Similarly, if you have a camera, you can create an image in about two seconds, and if the image quality sucks, it’s probably the camera’s fault, not yours. But have you ever tried playing a bowed instrument? I did, for over a year. I doubt I ever actually played a note in tune, and my tone quality bordered on unlistenable. Drawing is similarly difficult; my first two years of drawings are generally not good.

When I was in high school, I attended a magnet school for the arts, which meant that around 70% of the students had auditioned for competitive admission to a specialized program in theatre, visual arts, dance, music, or creative writing. This meant that there were often two versions of each art course: there was the version of the course intended for (and restricted to) the students studying in that discipline, and there was the general version, intended for everyone.