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Still Photo: Approaching Fine Photography Photography as a visual artform open to any serious picture, where classical photography is the mode of our expression. Open to all! Not curated. For works intended for clients and galleries submit to GALLERY ONE.

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Old May 11th, 2014, 09:34 AM
George Holroyd George Holroyd is offline
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Default A book spread, perhaps

I would like to offer the following for your consideration. The below images together form one of the diptychs in my portfolio. This is a good starting point for discussion and for the series itself, as both images were made in 2011, around the time that I first began taking photography seriously. Recently, I have been considering representing these pairs as spreads with white space surrounding each element, as illustrated below. This is an obvious departure from my current style and is meant to be a complimentary means of representing my work, not a replacement.

At the moment, I can lay hands on ca. 70 images from which to construct such diptychs, depending on how self-critical I'm feeling. Within that set, there is a loose structure to the body of work and I am continuing to shoot and add images, however I'm struggling with how to mature the series into something worthy of exhibition and/or publication.

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Old May 11th, 2014, 09:56 AM
Jerome Marot Jerome Marot is offline
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More of the diptychs are to be seen here.
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Old May 11th, 2014, 10:05 AM
George Holroyd George Holroyd is offline
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Thank you, Jerome.
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Old May 15th, 2014, 03:57 PM
Asher Kelman Asher Kelman is online now
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Quote:
Originally Posted by George Holroyd View Post
I would like to offer the following for your consideration. The below images together form one of the diptychs in my portfolio. This is a good starting point for discussion and for the series itself, as both images were made in 2011, around the time that I first began taking photography seriously. Recently, I have been considering representing these pairs as spreads with white space surrounding each element, as illustrated below. This is an obvious departure from my current style and is meant to be a complimentary means of representing my work, not a replacement.

At the moment, I can lay hands on ca. 70 images from which to construct such diptychs, depending on how self-critical I'm feeling. Within that set, there is a loose structure to the body of work and I am continuing to shoot and add images, however I'm struggling with how to mature the series into something worthy of exhibition and/or publication.

George,

This is a stimulating approach to making the subjects of your images do much more by being positioned within the field of reference and comparison of its partner. If this is true, then, besides the white space around the pair, (and I think that should be more than generous), the space between them, in my reckoning, should be enough to separate them, but not so much to disconnect them from each other's influence.

In fact, design of the spacing seems to me to be critical to pulling this off with both flair and distinction. I don't think images need to be larger than 8" x 10" each. I'd force folk to come in close to get into this dual world you make.

In the example you have given, light comes in to a dark, empty cavernous space. We can imagine all sorts of conditions there and a glance to the right has light reflecting off glass and people in a confined space, perhaps a restaurant, again with light pouring in in the entire deep bg.

I do like this set up and feel that you will get a lot of satisfaction in repurposing your disparate pictures into pairs that, like it or not, must now work together.

Asher
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Old May 16th, 2014, 12:06 AM
Asher Kelman Asher Kelman is online now
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George,

Looking at the other image pairs on your blog, here, I am taken in by the sometimes almost perfect continuity of one image into its partner especially where deep black is used in common with the adjacent edges. So those pictures appear more like a unified essential form with "one conjoint life. Here, however, placing the images on a white b.g. dissects them apart and gives an entirely new esthetic of "separate but related lives" of the image pair.

I wonder whether you might have both formats in the same exhibition and how the differences might actually be exploited?

Asher
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Old May 16th, 2014, 03:30 AM
George Holroyd George Holroyd is offline
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Thanks, Asher. I've considered printing some of the pairs as spreads in addition to having many of the diptychs done at 30x40 cm. I'll blue tack them to the wall and see how they fair, should help with sequencing as well. I've found a printers in Budapest and will have those made once we get settled into our new flat. I'm also going to have to find a good frame shop while I'm at it.
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Old May 16th, 2014, 05:00 AM
George Holroyd George Holroyd is offline
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I've also been experimenting with taking things a step further by expanding some of the diptychs into additional page spreads. These are compositions that might not lend themselves to the seamless style but fit well into the series. For example, I think the below are complimentary to the original pairing, above.

Ideally, I would like each component image in my portfolio to be strong enough to stand on its own. However, I think some would have to be considered "b" sides. I'm still reconciling myself to the idea that my photos are more or less a collection of fragments.


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Old May 21st, 2014, 12:41 PM
fahim mohammed fahim mohammed is offline
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George, I find these images as if they want to say something to me. Something strong. But I do not know what.

If it were a book, what would you title it?.

Take care.
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Old May 22nd, 2014, 05:44 AM
George Holroyd George Holroyd is offline
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I have thought about using the below as a title and cover image. The image is a photo from a shop door that was located on the same street as our flat in Paris. As far as I've been able to determine, there is no business using that name.

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