Wolf Street, Philadelphia, Pennsylvania, Jun 2014
Wolf Street, Philadelphia, Pennsylvania [composite]
For me, it feels like it's trying to be something it's not meant to be, or at least that it's trying to be something that I hadn't originally envisaged. I don't feel drawn to this at all. Perhaps this is because I've seen it a number of times, notably with the recent centenary remembrance of WW1, when historical images were layered onto modern images from GSV - I think this was on the Guardian website but I can't be sure and haven't gone back to check. Shore's image also feels lost in there, as it obfuscates the GSV image. All a bit messy I fear (not that I'm adverse to removing information, it's one of the things that drew me to Provoke).
Where to go then?
I recently started (re)reading Land Matters: Landscape, Photography, Culture and Identity by Liz Wells with the hope that it will inform my next trip over to France and the photography I make there for Le loup.... However, there was a quote at the head of chapter 5 from Lucy Lippard that went as follows:
Photographs are about memory - or perhaps about the absence of memory, providing pictures to fill voids, illustrating and sometimes falsifying our collective memory.
Wolf Street, Philadelphia, Pennsylvania [void]
The immediate question now gets raised: "What is missing? What are we not allowed to see?" There's a niggle there. Will anyone recognise this hole is the size and position of Shore's image? I would doubt it. Other than in my choice of series name (assuming I keep it as it is), there is no obvious link.
Does the opposite image add anything?
Wolf Street, Philadelphia, Pennsylvania [un-void]
Would these images make sense as a diptych? Is there any point in doing this? I really don't know... I suppose it brings back the lost information. Does it need to? Something to think about, to deliberate over...
Something else to consider will be the extent of what I can capture from GSV, this image was fairly straight forward in that it was approximately the same angle, etc. - the GSV image is taken from a similar (although not the same) location. This will not be the case with all of them. It shouldn't be a major cause for concern, but it's a factor.
Should the Shore rectangle be in the middle of the image? Purist design aesthetics might want to push in that direction, but does it being off-centre "do" anything?
I'll let this sit in my head for a while before I make any decisions on it.
Morris, E. 2011. Believing is Seeing (observations on the mysteries of photography). New York. The Penguin Press.
Wells, L. 2011. Land Matters: landscape photography, culture and identity. London. IB Tauris & Co Ltd