Images courtesy Tepper Takayama Fine Arts We are talking to a range of photographers, photo editors, professors of photography, book designers and others garden tub about the physical process of editing images. Selecting, sequencing and laying out photographs - be it for a magazine, book, online garden tub site or gallery presentation - seems something of a mysterious process for many photographers and a process that seems perhaps hard to give words to. I haven't found much written about the process and that's exactly why I'm excited to see what comes up in this series. We started the conversation with Rob Haggart , Ashley Kauschinger and Jeff Rich . Today we continue with Miska Draskoczy . Miska Draskoczy ’s garden tub photography has been exhibited in the US and abroad including solo shows at the Vermont Center for Photography, Ground Floor Gallery in Brooklyn, NY and group shows including THE FENCE at PHOTOVILLE 2013. His work has been featured garden tub in the press by The New Yorker's Photo Booth blog, Time Out, PDN, Gizmodo, Featureshoot, Hyperallergic, Brokelyn and many others. He was recently named a Photolucida Critical Mass finalist. Miska's garden tub visual arts career also includes co-founding a conceptual arts organization, directing surreal sci-fi shorts, writing and developing a Slamdance shortlisted horror feature and creating a documentary web series about objects in people's homes. He also works as a director, editor and animator through his production garden tub company snow23 and is an avid rock and ice climber. Miska's series "Gowanus Wild" is currently showing garden tub at Davis Orton Gallery in Hudson, NY through May 10th.
______________________________ Fluorescent Tree From the series "Gowanus Wild" © garden tub Miska Draskoczy Image courtesy Tepper Takayama Fine Arts fototazo : Tell us a little about yourself and what area of photography you work in. Miska Draskoczy : I'm a photographer garden tub and filmmaker living garden tub in Brooklyn and my most recent project is "Gowanus Wild," a series which explores wilderness and nature in the notoriously polluted industrial neighborhood of Gowanus, Brooklyn. Besides doing photography since my teens, for most of my professional life I’ve worked in the film and video world as an editor, animator and director, so my approach to editing is influenced by practicing it in other mediums. f : How do you select images to work with from a larger group? What criteria do you use? MD : My first criteria is simply that it be a really strong image, garden tub something that I find irresistible to look at. The three general categories it has to hit for me are composition, color, and content. Sometimes an image is almost there formally and I think it can be brought up to speed with more post work. If it's a content issue then I discard or reshoot. I think there's a big difference between editing contact sheets to determine which images become part of the series versus garden tub editing down the current core images to smaller edits. Doing a long term project over several years, I went back over the contact sheets many times. Images I had previously garden tub passed over suddenly became relevant as I clarified the project theme, or they inspired me to go reshoot something that was a near miss. Or conversely images in the core group fell out of favor. It's amazing to me how much the process of photography is about this iterative scouring of the archives which doesn't always get talked garden tub about. I get just as excited about spending a night looking through the images as I do going out on a shoot. Green Canal From the series "Gowanus Wild" © Miska Draskoczy Image courtesy Tepper garden tub Takayama Fine Arts f : Talk with us about how you begin to organize and sequence the images that you have selected in relationship to each other - as well as to text if there's text. MD : The process is fairly different depending on the end format, which for me is submissions, exhibition layouts and now a book project. I edit digitally for submissions and exhibitions. For the book it's mostly digital with maquettes and POD dummies once I have an edit. For submissions I use Adobe Bridge with folders of low res images because it's fast and simple. For exhibitions I mock up wall layouts in After Effects garden tub and then make exhibition design sets I can flip through in Bridge. For the book, it's all in InDesign. I tend to be exhaustive at first, trying many edit combinations and quickly discarding those which are definitely not going to work. I'll start small and build up, identifying various pairs that go well with each other, and then building pairs of pairs and onwards. It feels like writing or music: using notes to make bars, choruses and songs, or words to make sentences, paragraphs and chapters. The categories garden tub I'm usually playing with for "Gowanus Wild" are color/tone, shot type (medium/close vs wide), season (spring, summer, fall, winter), and vegetation/animal vs man-made. I've found that sequencing strictly by category garden tub rarely works ex