After all you may just want to see if it works before committing to an edit. Ok, I know, pretty obvious right? Well no need to re-invent the wheel if it keeps on rolling… even better! you don’t have to buy your own prints just for that. Nothing new under the sun the power of the print prevails! Now the screen got scaled to room size, no scrolling madness, no drag and drop eeeeeh! pure human glance, gaze and touch. So now the tried-and-true approach: print, yes! print via good old dead-tree-media, as in print your photographs, lay them on the floor or a table and try to arrange them. Well try that! I garantee your eyes will bleed in less than 20 minutes, totally un.f.bloody practical! Now how the heck do we do this for more than 10 images on screen? using thumbnails on an ever too small a screen? Conversely hard work and deep conscious decisions don’t always mean we’ll reach your goals, but I’d bet we do give ourselves more chances for sure… It can be for visual relief for instance, a pause, or any other intended effect.Īll I’m saying is whether or not we make a consciously deep or an uncousciously shallow decision about sequencing our images, the arragement has a meaning of its own anyways. Some others, irrelevant as lone images, will trigger interest when combined with others in a series of photos. Indeed, some (most) images won’t find their place in a sequence and will be discarded for that reason alone. Or so we think: the sequencing comes after the editing. This is meant to come after choosing the images of a project, those ones that should stay and see the light of day in print. Therefore as long as at least 2 images are presented, the order, the placement or arrangement can be considered a sequence. Or we can simply do our best with what we have. And with great hopes we can even dream about what great work looks like when arranged in a perfect sequence. Pushed to the extreme this can mean poor work properly assembled may increase its own value… don’t laugh some highly regarded individuals do that for a living…Īnyways if what Confucius said is half true then there might be some middle ground here. It is a ridiculous concept for some artists who consider this notion superfluous to the meaning of their work, whereas others are entirely focused on sequencing rather than single image centric. Some will say storytelling, but this reduces a bit the scope of what is a visual flow, in my very humble opinion. So in essence sequencing is ordering the visual flow. For the total newbie: a photo sequence means putting a bunch of pictures in the order the viewer will receive those images, it can be for a book, an exhibition walking tour, or just the reading order of a few photographs displayed on a wall. So, in essence quite a few qualified souls in this regard…īrief note: I’m not covering “action sequence” (where a movement is decomposed in the same picture via assembling several frames or exposures). We conclude that the development of astronomical sequential photography was constrained by the reduced number of subjects to which the technique could be applied.How to sequence is an entirely different subject, quite a subjective one, and in my opinion one which should only be taught by people who have actually made it work via successful books or exhibitions. Astronomical sequential photographs were obtained both before and after 1895. The technique was seldom used but apparently the modern film camera invention played no role on this situation. During the time period studied astronomical sequential photography was employed to determine the time of the instants of contact in transits and occultations, and to study total solar eclipses. In this paper we strive to identify from the available documents the attempts made between 18, and discuss the motivations behind them and the results obtained. In the following years, in order to study the variability or the motion of celestial objects, several instruments, either manually or automatically actuated, were devised to obtain as many photographs as possible of astronomical events in a short time interval. This device, the 'photographic revolver', is commonly considered today as the earliest cinema precursor. In 1873 Jules Janssen conceived the first automatic sequential photographic apparatus to observe the eagerly anticipated 1874 transit of Venus.
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