I love Westland. I get lost staring at each image. Don’t know if it’s tugging at nostalgia, or something different, but I can spend several minutes on each page easily.
That’s really wonderful to hear Travis! Simon has a way of capturing a special kind of mood, even in spaces where you wouldn’t necessarily always think there was an image there. That’s one of the things that’s always really drawn me to his work.
Glad you enjoyed the feature Roland! I agree, they’re definitely both working on the same poetic end of the documentary tradition that Soth is well known for.
Such an interesting array of animals shot in these series. The snake at the door is quite the shot and I think I'd die of shock walking outside my door to look down and see that. But wow, to capture it is fantastic!!
I bet there are many who could write a novella just using these images. And I'm not talking AI... but real, soul-bearing writers. These images - like most SubjObj posts!! - are rich and void and full. I'm particularly drawn to the sunlight-on-couch shot by Aaron... and the one under the bridge by Landon. That bridge shot is heart-achingly barren and those little puddles feel like light and hope are being drawn in... and soon there will be no more.
Very eloquently put Scott! I'm so happy that the work we're sharing is resonating with you like that. This is exactly what I'm hoping to achieve, since I think it's one of the real powers of photography. Images that tell a story, but necessarily one with an explicit narrative. The photographs are is the jumping off point, but each individual viewer has the opportunity to bring their own thoughts, and feelings, and experiences with them.
The potential novellas you refer to might have similar themes, but bet they would all end up as different stories, even though they're based on the same images source material. It's the open ended nature of photographic storytelling that makes it so special. It's what gives it the opportunity personally resonant many different people.
I can completely see your read on Landon's under the bridge one, even though personally that one actually feels like the end of really satisfying day to me. Probably because it reminds me of getting one last good image while you're out photographing before the light is gone. But it also has a very longing, forlorn quality to it. The fact that there's different ways to read it based on your individual perspective is what I love about it.
Thank you, Scott! I do use some form of them all the time. It’s something I’m constantly trying to impart to my students, particularly when it comes to book making.
Thank you so much Donna , this is a truly lovely comment! I feel like you completely get what I'm trying to do with Subjectively Objective. What you're describing is actually gets to the reason of why I named the project Subjectively Objective. Photography is often seen as this objective thing that documents the truth of the world around us. In reality though, photography can be very (or even entirely) subjective. Both in the photographers conscious or unconscious choices when making the images, but also in the way the viewer engages with the images.
The subjective nature of photographs is what allows them to remind you of home, even though that's not where you're actually from. Not all photographs function as strongly in that way though. It's images that can make you feel something, or remind you of place you've been, or a memory from the past that really do something for me. It's those special kind of images that I'm looking to share. It's not that you couldn't get deeper into the intellectual side of the things with them, but they have to present the opportunity to you a feeling first.
There is an intimacy in these shots that I admire. Both photographers are able to make me feel part of the photogaphs.
That’s a great way of putting it Chris! I feel that too.
I love Westland. I get lost staring at each image. Don’t know if it’s tugging at nostalgia, or something different, but I can spend several minutes on each page easily.
That’s really wonderful to hear Travis! Simon has a way of capturing a special kind of mood, even in spaces where you wouldn’t necessarily always think there was an image there. That’s one of the things that’s always really drawn me to his work.
I feel a similarity to Alec Soth's work - great stuff!
Glad you enjoyed the feature Roland! I agree, they’re definitely both working on the same poetic end of the documentary tradition that Soth is well known for.
Such an interesting array of animals shot in these series. The snake at the door is quite the shot and I think I'd die of shock walking outside my door to look down and see that. But wow, to capture it is fantastic!!
Yeah I thought so too. I don’t feel like I have many opportunities to make those kind of personally, but I’m alway intrigued by them.
Love your work! Curious to hear your thoughts about choosing images and sequencing a project?
Thank you so much Peter! That's a great question!
I’m in with a good shout of getting this book!
I have two questions about projects,
1. What are some common themes to group a project by other than place?
2. How do you know when a project is finished?
Excellent questions Liam!
I bet there are many who could write a novella just using these images. And I'm not talking AI... but real, soul-bearing writers. These images - like most SubjObj posts!! - are rich and void and full. I'm particularly drawn to the sunlight-on-couch shot by Aaron... and the one under the bridge by Landon. That bridge shot is heart-achingly barren and those little puddles feel like light and hope are being drawn in... and soon there will be no more.
Very eloquently put Scott! I'm so happy that the work we're sharing is resonating with you like that. This is exactly what I'm hoping to achieve, since I think it's one of the real powers of photography. Images that tell a story, but necessarily one with an explicit narrative. The photographs are is the jumping off point, but each individual viewer has the opportunity to bring their own thoughts, and feelings, and experiences with them.
The potential novellas you refer to might have similar themes, but bet they would all end up as different stories, even though they're based on the same images source material. It's the open ended nature of photographic storytelling that makes it so special. It's what gives it the opportunity personally resonant many different people.
I can completely see your read on Landon's under the bridge one, even though personally that one actually feels like the end of really satisfying day to me. Probably because it reminds me of getting one last good image while you're out photographing before the light is gone. But it also has a very longing, forlorn quality to it. The fact that there's different ways to read it based on your individual perspective is what I love about it.
An amazing response, Noah! Thank you - and I'd grab those words and use them repeatedly...
Thank you, Scott! I do use some form of them all the time. It’s something I’m constantly trying to impart to my students, particularly when it comes to book making.
I would like these without the promotion :) It’s one of my favourite substacks.
Wow, that's really wonderful to hear, thank you Jakub!
Fantastic work from both photographers! I always look forward to these features, thank you!
That's great to hear Steven! Glad you enjoyed this one!
Thank you so much Donna , this is a truly lovely comment! I feel like you completely get what I'm trying to do with Subjectively Objective. What you're describing is actually gets to the reason of why I named the project Subjectively Objective. Photography is often seen as this objective thing that documents the truth of the world around us. In reality though, photography can be very (or even entirely) subjective. Both in the photographers conscious or unconscious choices when making the images, but also in the way the viewer engages with the images.
The subjective nature of photographs is what allows them to remind you of home, even though that's not where you're actually from. Not all photographs function as strongly in that way though. It's images that can make you feel something, or remind you of place you've been, or a memory from the past that really do something for me. It's those special kind of images that I'm looking to share. It's not that you couldn't get deeper into the intellectual side of the things with them, but they have to present the opportunity to you a feeling first.