Yep, still just a working title for that side project. I'll worry about a real title when I'm done with it. Maybe I'll finish it up over the holiday weekend. I'll be working three or four days from now until Monday. Maybe not. In any case I wanted to leave with an answer to a question I received via email. Specifically the person wanted to know why that side project is a side project and why I consider it so different than the Black/White project.
A Tale Of Two Photographs
Let's take one of the first experimental images I made for the project way, way back in the summertime with Mary.
Next up we'll take one of the recent one's that I did specifically for that Fragments side project with Jenna.
Both are pretty similar if you are talking in extremely large brush strokes so what makes them so so different? Easy, the first one of Mary is completely a grab of her reaction as are the rest from that set. We'll Jenna looks sorta like that right? Wrong. This is directed, completely directed.
The difference and why the fragment stuff where I was going down the wrong road for the white side of the project just doesn't work the way I want it to for that project is simply because it's what I want to see vs. What happens without my interference. That's what was happening with all of those experiments. That's why it's a side project.
Direction to me does not mean stasis. I almost never release the shutter when anyone in front of my camera is in stasis. My direction does whatever it has to to influence shape, form, and most importantly the feel that I want to see. In my mind there's a gigantic chasm between documenting reaction and driving feel with direction.
The fragments side project is far more like I used to shoot fashion with the only difference being the feel I want instead of the feel someone else wants. That's not the Black/White project at all.