These didn’t make it to the final cut either; but they are images that I quite like and will eventually use in another project sometime. Why wouldn’t an image I like not make the cut? Usually because something formal in the image makes it contrast with others, or loads a sequence with a type of emotional impact that could be considered manipulative in the context of the work I am making here.
The extreme symmetry making the eye tunnel into bits and pieces of boats, continually chopped up by the architectural object in the foreground. As much as the photograph pleases a certain appetite for symmetry; it presents it with a boldness and deliberateness that contrasts with the kind of rational distance I want to maintain in order to remain true to the “new topographic” aesthetic.
Making engaging photographs in the absence of light is a favourite challenge of many photographers. The ability to play with exposure and slowly, gently; light becoming a thick fluid that you allow to come into contact with the light sensitive surface. It is seductive, but ultimately quite dramatic in a very superficial way. I could not see how these could be at home with the body of work that has become “Plant”.