> Ah, this explains why there is no grease. Did you step in
> anything?
I stayed outside the feedlot. At least I changed out of my
streetshoes.
> Did you at least have a grass stem hanging out of your mouth
> as you contemplated the angles?
I'm a non-smoker, but I've always had the strong desire to smoke
a pipe. It's partially a family heritage thing (all of my
father's family smoked), but also that contemplative aspect.
There's something about the process of smoking a pipe that gives
you time to mull things over in your mind before acting.
However, on the flip side, I'm A.D.D. enough that I wouldn't
have the patience for the process anyway. Usually, I can spot
my angle right away without pause.
> I'll have to look more later. Bibs or not, I'll love to
> examine your head innards.
Scairy thought. :)
So much of the time, I approach photography from the
"pre-visualization" perspective. The problem with that is you
tend to miss other shots that could possibly be better or
equally as important. This project's approach was one of no
pre-visualization. You start out wide and just start working the
scene. The first pictures are typically "record shots", but
eventually the artistic shots will emerge.
So many times we (I) have a preconceived idea of how to
photograph a scene. The problem with this is that we tend to
REPEAT the same pictures we've taken before. This happened to me
during the Porcupines shoot with Joel. There were many times
where I was just "refreshing" or "updating" the image files but
few times did I actually "add" something new and different. I
didn't "work the scene" using the methodology outlined in the
Farm Implement Project. As such, the photographs tell an
incoherent story.
AG
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