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Last one.
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>>2836498
I can't figure out what you're trying to say with these, what you're trying to say by making them paired up, or why you would have taken any one of these images. It looks like you just walked down your street and took a bunch of photos because you promised yourself you wouldn't go home until you took 30 photos, but forgot to pee before you left, so you just snapped as much as you could to finish your project.
>>2836522
What do you see in the first and last pictures?
>>2836532
Thanks anon. I never had a plan to print these.
Why is the last one wtf and why do you think the pairs don't work?
>>2836534
because, going for the filename all this stuff is called "framing suburbia". it makes you expect ideas more than simple "shots", some sort of concept or social commentary, since suburbia is a pretty loaded word. your last shot could be a commentary on boundaries and what not, but the way its framed and presented looks it like a delete on camera shitsnap. if i wanted to photo a fence (while making it match with the intro shot) id shot it over its dead center along the fence, dividing the frame in two (also marking house a and b territory).
>>2836500
this doesnt work because its the same shot, redundancy defeats the purpose of any diptych.
>>2836502
right makes left look like shit. its a no pair.
>>2836504
left is awesome. right is not bad but presents a geometry that doesnt compliment left. right needs to be something round.
>>2836507
left is pretty good. it has a mood. right is plain and like could have got way better compo. tones dont compliment each other.
>>2836510
pair doesnt match at any level. both boring.
>>2836522
watch out guys Tysabri is back
>>2836544
Perhaps I should explain; what you say are partially acknowledging the flaws here but also acknowledging (in some way) some intentional parts of the work.
The title (which is not final here) refers to both the visual frames, and "frameworks", which are mental constructs connected to physical reality. I'm calling it a framework because I see the pictured phenomena as attributes to suburbia: simple streets, boxy architecture, forested boundaries, restaurant franchises, american flags, ornamental but common trees, simplicity, communications technologies, picket fences. These are all things we see in suburbia, among other things. These photos really were snapshots (some were taken on the way to work or on the way home or during a vacation), but they are the results of my visual awareness, which brings me back to the subjective aspect of all of this (these are not meant to be literal or documentary). There are moments where those generally banal attributes are enhanced or beautified or exaggerated or (from the camera) visually manipulated, either by external or internal conditions, or both. Those conditions can be anything from foggy mornings to my own perception of suburbia (isn't photography a manifestation of our perception)? Continuing this interplay between mind and matter, you get individual or paired photos which are the way they are simply because I saw a connection or a certain beauty in being shown individually.
In light of all of this, following rules of visual aesthetics or making diptychs wasn't something important to me when it came to pairing the photos (though perhaps it should be? I still have a lot to learn there). They were paired simply by my ideas on how the photos might be related to each other. (Cont.)
>>2836578
Cont. Another thing: the photos were indeed snapshots, just not "documentary" ones.
>>2836498
You said the first one was too predictable. Perhaps you also meant it was cliche. Any way, as I said, I was trying to capture attributes of suburbia as they were being played with by external or internal things. In this case, it was simply a typical suburban street, made to be moody by a foggy morning. Suburbia is typically cliche and predictable, yet beautiful conditions such as these are not (and aren't always acknowledged).
>>2836500
I agree that perhaps this could be totally redone — maybe the second one could be taken from a field. But the idea here was: even if you go to a forest, you're likely to see some big boxy houses if you look beyond the trees.
>>2836502
I also agree that the left is not so pretty. It was supposed to be a strange composition (and also supposed to be metered for the fence, not the sky). Then again, suburbia isn't always pretty. The idea here is that the sky and the crucifix suggested by the American flag's shadow allude to religion and/or its relationship with American culture. The photo on the left contrasts with the right by both aesthetic and context: retail space and a suburban neighborhood.
>>2836504
Geometry and shadowplay is a theme here. The left has mostly organic shadows and shapes, whereas the right is very geometric. One focuses on trees, the other on houses. Briefly touching on the interplay of mind and matter: shadows and trees and houses are physical, but their geometric significance, their pairing, and the compositions in which they are placed are determined mentally.
>>2836507
The left is dark and atmospheric, and the right is lit and eerily empty. I also positioned them so an extension of the house from the right photo into the left photo is suggested. Just a little playful thing.
Cont.
>>2836594
>>2836510
The most recent pair. Whereas all of the other photos are clearly of contemporary things, here are some more older buildings and areas (the main reason for their pairing, besides their mood). To me, their pairing brings a number of things to mind. They both have a particularly eerie feel to them (for me). The left one is more geometric, the right is more organic. They both have pointy architecture. They're both from a standing perspective but the left is more publicly accessible, whereas the right suggests privacy.
>>2836514
This is supposed to be a closer and the first is supposed to be an opener, in the sense that the first is an open space whereas this is like a wall. It's one of my favorites. It was initially supposed to be "about" the gap under the fence; I thought that a gap sort of defeats the purpose of a fence: to keep things out. But another reason I was inclined to take the picture was just because of the way the shadow of the fence emphasizes it. When I saw the picture, I was pleased by the wacky diagonal lines going all over the place: up and down, left to right. (Partially) natural and artificial things. Roughness and (partial) smoothness.
Hope all of that clarifies things a bit.
>>2836630
Why are you more interested in photos than reading?
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>>2837090
kek
>>2836507
stellar set m8, v nice
I give you an F for those frames and will offer no critique until you post them without that stupid shit
>>2837124
Then he doesn't need your critique. Now leave.
>>2837126
no
>>2836498
>I'll try frames, that's a good trick
>>2836498
this is middle school photo one shit. c'mon man you can do better than this
