Your point is so well made, all about small projects and selecting pictures (I loved the previous post about using a regular person to help make that final decision). Absolutely love the concept and the way you approach it. Your text is fabulous. And inspirational.
The thing that struck me though, the photos supporting the text. All six together look less like a story about the bay, but somebody trying to figure out exactly how to frame the subject, moving around a bit to try different things. The center image does that, one is with stones, the other is cropped tighter without stones. Looks more like a cropping experiment than two very different images. I'm sorry, I didn't see the story there.
On the other hand for all six together, I love the angles pointing toward the center image. Leads my eye into the pictures. That works incredibly well. Which, oddly the final three presented doesn't do. I realize this is a picture for somebody that knows the bay well - but from a visual standpoint, the right picture should be mirrored so the angle points toward the center image. Leading my eye into the series, not away from it. That's also assuming they would be presented as three together side by side.
This could all be an anomaly of seeing the images on a webpage, looking at them all at once in a small size.
As always, I love your train of thought and how you share it. Please keep telling your stories and sharing your thought process. It's sort of like seeing the Diane Arbus exhibit in Portland many years ago. The exhibit included a bunch of contact sheets. Seeing pictures I'd known and loved for so many years in context of how she photographed them was amazing. Getting closer to the mindset of a photographer is a wonderful thing.
A HUGE part of exhibition and book design/curation is sequence and juxtaposition. I have thoughts on that but that would have made this post more of an epic novel instead of a newsletter.
Truth be told, I am not even close to figuring that out for this tiny project on its own let alone in the context of anything larger. Of course when displaying them together on my own wall no matter if it were 2, 3, 4, or 6 that would be a giant part of my thought process and probably take me the entire day as I over-thought it at least half a dozen times and then went back to my original thoughts (kind of my M.O.).
You do bring up something I don't think about much, How I arrange groups of images here in the newsletter. I have a different curation/editorial hat on than I do compared to when I am displaying prints in a physical space. For this I ordered them in the sequence they were shot as I thought that would help readers orient themselves to the space I was making the photographs in. Did I forget to mention that?
Your point is so well made, all about small projects and selecting pictures (I loved the previous post about using a regular person to help make that final decision). Absolutely love the concept and the way you approach it. Your text is fabulous. And inspirational.
The thing that struck me though, the photos supporting the text. All six together look less like a story about the bay, but somebody trying to figure out exactly how to frame the subject, moving around a bit to try different things. The center image does that, one is with stones, the other is cropped tighter without stones. Looks more like a cropping experiment than two very different images. I'm sorry, I didn't see the story there.
On the other hand for all six together, I love the angles pointing toward the center image. Leads my eye into the pictures. That works incredibly well. Which, oddly the final three presented doesn't do. I realize this is a picture for somebody that knows the bay well - but from a visual standpoint, the right picture should be mirrored so the angle points toward the center image. Leading my eye into the series, not away from it. That's also assuming they would be presented as three together side by side.
This could all be an anomaly of seeing the images on a webpage, looking at them all at once in a small size.
As always, I love your train of thought and how you share it. Please keep telling your stories and sharing your thought process. It's sort of like seeing the Diane Arbus exhibit in Portland many years ago. The exhibit included a bunch of contact sheets. Seeing pictures I'd known and loved for so many years in context of how she photographed them was amazing. Getting closer to the mindset of a photographer is a wonderful thing.
YOU ARE WAY AHEAD... ;-)
A HUGE part of exhibition and book design/curation is sequence and juxtaposition. I have thoughts on that but that would have made this post more of an epic novel instead of a newsletter.
Truth be told, I am not even close to figuring that out for this tiny project on its own let alone in the context of anything larger. Of course when displaying them together on my own wall no matter if it were 2, 3, 4, or 6 that would be a giant part of my thought process and probably take me the entire day as I over-thought it at least half a dozen times and then went back to my original thoughts (kind of my M.O.).
You do bring up something I don't think about much, How I arrange groups of images here in the newsletter. I have a different curation/editorial hat on than I do compared to when I am displaying prints in a physical space. For this I ordered them in the sequence they were shot as I thought that would help readers orient themselves to the space I was making the photographs in. Did I forget to mention that?
Thank You for your support!!!
You did mention they are arranged in shot order.
Sorry for getting ahead.
This is a true gift of wisdom you've bestowed upon us. Many thanks.
Thanks, glad you found it enjoyable.