With Work From: Gregory Crewdson, Amy Stein, András Zoltai, Larry Sultan, Sheron Rupp, Joachim Brohm, Paloma Dooley, John Divola, Andy Tew, & Andrés Rios
I agree with the scripted feel, but i changed my mind about that a while ago when I realized that when it comes to photography I am like a monkey trying to write The Sun Also Rises. It may be that every time we take an image we are scripting an interpretation.
Ha ha, I think that's what makes photography so interesting. It encourages us to project onto it, especially since images are so connected to experience/memory. Intentional sequencing and pairing can definitely guide viewers into a "feeling" and sometimes even a narrative, but ultimately it's up to one's interpretation.
I always like the features that combine the work of well-known photographers (Sultan & Crewdson) with good photographers. There is very good work out there, but to create a body of work is difficult. Good feature.
I'm glad to hear you like these types of features Greg! I totally agree that making a large body of work that feels consistent is very difficult, and a bit of a different process. Personally, when making a body of work, I generally don't worry too much about limiting the images I take to only what feels in-line with the rest of the project, since I believe it's never good to keep yourself from making a good image if the opportunity presents itself. Editing the selection of the project tightly makes all the difference in world when making something long term, especially since the images that don't make it can be used for something else. If there's a certain type of image you really want to include but doesn't fit visually, you can also try to photograph more images that are similar to it (this, of course, depends on if you are able to shoot more, and if it doesn't all feel wildly different from the concept/visual language of the current project). With long term projects, you really have to ensure you have enough work that feels cohesive and tight.
Thanks for your insights, Noah. I tend to shoot what I like, although having a project can be a strong motivator to just get out and will focus me on a location or subject matter as a starting point. What happens from there is not always predictable. I have found that a "project" sometimes develops naturally after reviewing a group of photos.
I can totally see that Drayson! Intentional selection, sequencing, and pairing can make work from different artists feel like they're all part of the same vein. That's why making survey books is so satisfying to me!
The image by Amy Stein 👏👏👏👏👏
That one has a real mood to it.
I agree with the scripted feel, but i changed my mind about that a while ago when I realized that when it comes to photography I am like a monkey trying to write The Sun Also Rises. It may be that every time we take an image we are scripting an interpretation.
Ha ha, I think that's what makes photography so interesting. It encourages us to project onto it, especially since images are so connected to experience/memory. Intentional sequencing and pairing can definitely guide viewers into a "feeling" and sometimes even a narrative, but ultimately it's up to one's interpretation.
I always like the features that combine the work of well-known photographers (Sultan & Crewdson) with good photographers. There is very good work out there, but to create a body of work is difficult. Good feature.
I'm glad to hear you like these types of features Greg! I totally agree that making a large body of work that feels consistent is very difficult, and a bit of a different process. Personally, when making a body of work, I generally don't worry too much about limiting the images I take to only what feels in-line with the rest of the project, since I believe it's never good to keep yourself from making a good image if the opportunity presents itself. Editing the selection of the project tightly makes all the difference in world when making something long term, especially since the images that don't make it can be used for something else. If there's a certain type of image you really want to include but doesn't fit visually, you can also try to photograph more images that are similar to it (this, of course, depends on if you are able to shoot more, and if it doesn't all feel wildly different from the concept/visual language of the current project). With long term projects, you really have to ensure you have enough work that feels cohesive and tight.
Thanks for your insights, Noah. I tend to shoot what I like, although having a project can be a strong motivator to just get out and will focus me on a location or subject matter as a starting point. What happens from there is not always predictable. I have found that a "project" sometimes develops naturally after reviewing a group of photos.
I really dig the photo by András Zoltai, I'm not 100% sure what's going on in the scene and that's what makes it so interesting.
Me too, I can't wrap my head around what is going on in that image at all!
Alright! Some Joachim Brohm. I've got two books of his, but would really like to get my hands on that Ohio book.
Me too Rob, the work in that series is really great.
To me, many of these feel “scripted” in the Crewdson way. It is interesting how this feeling of narrative can arise from different methodologies.
I can totally see that Drayson! Intentional selection, sequencing, and pairing can make work from different artists feel like they're all part of the same vein. That's why making survey books is so satisfying to me!