PHOTOGRAPHER'S JOURNAL: Once seen, the pressing question was where to crop. That's always the case, but rarely must edges be so precisely calibrated at all sides and corners. The temptation is to shoot large and preserve all options by cropping in the computer. I prefer NOT to do that, and I try to compose to the proportions of the image my camera makes. (Of course, at a certain point the image has laws of its own that dictate proportions.)
A major question here was whether to include the details in the top right corner. Intuitively, I thought they should be avoided, and made most exposures that way. Back in Lunenburg, however, it was this one I chose to present to the workshop. Without the detail at the top left, this is a curious op pattern. Included, the detail is an annoying (perhaps slightly surreal?) presence that must be unravelled.
Have you figured out what it is, or did you grasp it right away? Once you do, you can enter the image space. Some would say that it is only then that this becomes photographic.
Can you stay in the image space? No need to anymore.
Of course there were many more images to be made here, but the sun was moving quickly and the moment was passing. I had come on this by chance, and I have no idea how it looked moments earlier. Surely, it didn't last long. Could I ever find my way to the time and space of this alignment of elements in order to watch the full arch transpire? Do I really want to go looking for images I've already seen?
