Post
by butte » Tue Jun 25, 2013 3:59 am
You'll have to take this as it comes, from someone who actually has had photographic and several kinds of hand rendered artwork hung in museums, displayed commercially, and lithographed in combined sizes and resolutions that are technically difficult and rare to achieve.
The esthetic talent and implementation evident in at least some the work did not make it into the cart. The first esthetic editor whom you must satisfy is yourself, and you need to become a better esthetic editor than you are. The background is hopeless for the purpose. The thumbnails as well as the blowups are far too small for the purpose. Why am I even looking at twenty acres of surround for so few and so tiny images relegated to a small swath down the center? Look carefully at Architecture 1 and 2, and at several among your night shots. Why do they appear better than the cart, six ways from Sunday? For architectural shooting, unless you actually want the even extreme vertical convergence seen in the Medieval vintage structures, shoot dead level and crop the expected expanses of unwanted foreground. Our brains offset parallax; cameras record it, and when it's too tiny our brains do not correct it but dislike it. Take a deep breath and crop: squirrels and insects, for example, among many others. Take a deep breath and weed out the lesser among effective duplicates, as well as all that were not quite shot. Look at the grasshoppers; BE the editor who is hard to please. Be particularly cold-blooded about your focus, depths of field, and technical graphical aspects, 24"x30" is not all that easy to print competently even with the best experience, equipment, and bankroll. You have not been in a gallery or yet suffered enough post-vacation, chicken-potluck slide shows. You must fully prepare the work in order to showcase it (wander into some galleries for kicks, look at quite a few on-line photographic galleries for kicks), and then you must showcase it where the work attracts attention and the setting does not distract from it. The work should be selective, from among your best. The cart is the setting. Get the fine into the art by weeding out what isn't fine, and into the cart by simplicity.
As for the extensions (if they're still there), never mind.