An interesting note Carroll makes is that some pictures are made to look at in a series. This in some ways tie together with our first Making Photographs project, where the pictures had to be related.
However, there is be different levels to this. One thing worth considering is whether the series of pictures simply are related and give a better overall impression of given subject, landmark, theme etc., or wheter it is absolutely necesarry for the pictures to be view together, such as the sequence of portraits that Kimberly(?) had taken for her project.
I like the idea that the picture of the chair taken by Alec Soth is a portrait even though there isn’t a person sitting in the chair. The picture doesn’t tell everything but invites the viewever to let the imagination wander. This goes well with two of my response photos: The plastic bag with the ‘personal belongings’ in the underpass two weeks back, and then this week with the sign that has been left at the sidewalk. Who had that sign? Who was he? Why do I automatically think it was a man? Those are things that I wander when I see objects like this, and upon reading Carroll’s description of Soth, it seems like he definitely is a photographer I should look up as an influence.
Looking at the ‘Migrant Mother’ picture, I start to wonder about authenticity and documentary style photography, which might be an interesting point for discussion. In video-documentary, it is considered valid documentary technique to treat reality creatively and not simply capture uninterrupted reality. How does this transfer to photography? How much can be staged? How much can be digitally altered in post production?