Images can be printed to any given size.So what are the advantages of office paper (recycled none the less)? But hey! they’re still functionnal in the context of this post. So here you go, yes those prints are hugly, but fonctionnal, and yes those quick phone pics are appaling. My cheap office printer running on recycled paper, yes I know it’s a mess…Īnyways, this is how I end up doing it, not a reference by any means, but if it works for me, then it might work for a few others if I’m not too much of a wierdo… insert huge leap of faith here… ![]() There is absolutely no need for proper photographic print at this stage, we just need some visual reference, some tactile thumbnails of sorts. Yes the boring cheap printer fed with cheap recycled paper, add a cheap pair of cissors and you can kiss your screen good-bye. Here comes the not so new magic trick: the office printer, laser printer or what have you. Or you may have poor scans and intend to properly print or scan them only when all (text/illustrations/images) has found its place. After all you may just want to see if it works before committing to an edit. Ok, I know, pretty obvious right? Well no need to re-invent the wheel if it keeps on rolling… even better! you don’t have to buy your own prints just for that. Nothing new under the sun the power of the print prevails! Now the screen got scaled to room size, no scrolling madness, no drag and drop eeeeeh! pure human glance, gaze and touch. So now the tried-and-true approach: print, yes! print via good old dead-tree-media, as in print your photographs, lay them on the floor or a table and try to arrange them. Well try that! I garantee your eyes will bleed in less than 20 minutes, totally un.f.bloody practical! Now how the heck do we do this for more than 10 images on screen? using thumbnails on an ever too small a screen? Conversely hard work and deep conscious decisions don’t always mean we’ll reach your goals, but I’d bet we do give ourselves more chances for sure… It can be for visual relief for instance, a pause, or any other intended effect.Īll I’m saying is whether or not we make a consciously deep or an uncousciously shallow decision about sequencing our images, the arragement has a meaning of its own anyways. Some others, irrelevant as lone images, will trigger interest when combined with others in a series of photos. Indeed, some (most) images won’t find their place in a sequence and will be discarded for that reason alone. Or so we think: the sequencing comes after the editing. This is meant to come after choosing the images of a project, those ones that should stay and see the light of day in print. Therefore as long as at least 2 images are presented, the order, the placement or arrangement can be considered a sequence. Or we can simply do our best with what we have. And with great hopes we can even dream about what great work looks like when arranged in a perfect sequence. Pushed to the extreme this can mean poor work properly assembled may increase its own value… don’t laugh some highly regarded individuals do that for a living…Īnyways if what Confucius said is half true then there might be some middle ground here. ![]() It is a ridiculous concept for some artists who consider this notion superfluous to the meaning of their work, whereas others are entirely focused on sequencing rather than single image centric. Some will say storytelling, but this reduces a bit the scope of what is a visual flow, in my very humble opinion. So in essence sequencing is ordering the visual flow. ![]() For the total newbie: a photo sequence means putting a bunch of pictures in the order the viewer will receive those images, it can be for a book, an exhibition walking tour, or just the reading order of a few photographs displayed on a wall. So, in essence quite a few qualified souls in this regard…īrief note: I’m not covering “action sequence” (where a movement is decomposed in the same picture via assembling several frames or exposures). How to sequence is an entirely different subject, quite a subjective one, and in my opinion one which should only be taught by people who have actually made it work via successful books or exhibitions.
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