Backstage Kokoro
A "behind-the-scenes" look at selected images in my Kokoro project —
Content, photographic notes, EXIF data, creative process, miscellaneous commentary, and original digital captures. And now with additional audio comments about selected images!
From Kokoro #057 - Dreams of Spring
Elsewhere, I've written about my philosophy of photographing in the field. Essentially, I'm not there "making artwork," but instead I'm just gathering assets. Later, back at home, I make my artwork from those assets. This has liberated me from having to make final decisions in the field. Instead, I am free to just respond, intuitively, to whatever tickles my fancy and my eye. It's the opposite of Ansel Adams' previsualization approach — and one I think is more more conducive to today's workflow.
There are several implications to this field strategy. Most importantly, when I find a subject I repond to, I don't know how I will eventually use it in a project. So that I have options, I'll "work the subject" by making a number of compositions, verticals and horizontals, different exposures, focal lengths, etc. I typically end up with an array of possibilities from which I can choose the composition that fits the eventual project(s).
In the links below, you'll find a version of this image in its original digital capture, but I've also included a screen capture from my Lightroom Library that shows the various compositions I made over the course of roughly 36 minutes as the moon was rising. The two used in this project are not the "greatest hits," but rather the ones I thought went best with the idea behind this installment of Kokoro. Other versions are likely to show up in other projects.
Original digital capture (downsized for the web)
Grid of the 17 compositions
1/200 sec at f / 8.0, ISO 160, Panasonic DMC-G6, LUMIX G VARIO 35-100/F2.8, 68 mm
New! Additional audio comment about this image
Elsewhere, I've written about my philosophy of photographing in the field. Essentially, I'm not there "making artwork," but instead I'm just gathering assets. Later, back at home, I make my artwork from those assets. This has liberated me from having to make final decisions in the field. Instead, I am free to just respond, intuitively, to whatever tickles my fancy and my eye. It's the opposite of Ansel Adams' previsualization approach — and one I think is more more conducive to today's workflow.
There are several implications to this field strategy. Most importantly, when I find a subject I repond to, I don't know how I will eventually use it in a project. So that I have options, I'll "work the subject" by making a number of compositions, verticals and horizontals, different exposures, focal lengths, etc. I typically end up with an array of possibilities from which I can choose the composition that fits the eventual project(s).
In the links below, you'll find a version of this image in its original digital capture, but I've also included a screen capture from my Lightroom Library that shows the various compositions I made over the course of roughly 36 minutes as the moon was rising. The two used in this project are not the "greatest hits," but rather the ones I thought went best with the idea behind this installment of Kokoro. Other versions are likely to show up in other projects.
Original digital capture (downsized for the web)
Grid of the 17 compositions
1/200 sec at f / 8.0, ISO 160, Panasonic DMC-G6, LUMIX G VARIO 35-100/F2.8, 68 mm
New! Additional audio comment about this image