I was also thinking out loud about the intended audience for a piece, and how as photogrpahers, myself anyway, tend to react more to the photography rather than the content. I often buy Vanity Fair magazine, mostly for the portraits. I look through fashion magazines, even though I have no interest in fashion.

the strongest for me are:1, 2, 5, 19 all the rest are what i call “similars”
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totally agree + 16

i edit very loose on Burn, at least for my tastes….and we can only publish what the photographer gives us…it often happens that photographers leave out material we would have published if we knew about it..we literally do not have the time nor the inclination to be private detectives and try to imagine what was not sent to us… …we go with what is submitted to us…we have considered dropping submissions and taking everything from private interviews, workshops etc where i can really really know where a photographer is coming from…involved in a project from the get go…if i did not have my own work to do and was a full time editor, i think this is what i would do…Gordon, i cannot be a perfect editor here…if i were, i would have to sacrifice my own work…so Burn is a bit of a compromise in one sense …on the other hand if i were a full time editor and did not do my own work , i am afraid that would be even worse…i will just keep doing the best i can at both worlds..

WENDY

the strongest for me are:1, 2, 5, 19 all the rest are what i call “similars”

cheers, david

Beyond this, images 7, 8 and 12 resonated most strongly. The themes of some of the others struck me as good, but they felt too detached from the subject to me.

I am wondering about photo 20, referenced by ommphoto, since the essay stops on photo 19. Did an image get cut after the essay went up? If so, then images referenced by # before that cut was made could be out of whack now.

I really enjoy photos 1, 4, 7, and 11. What I felt most when seeing this work was the whole man-made world theme.

In 1 you’ve got the metal workers with incredible colors/reflections shaping raw materials in to useful things.
You have the skeleton of a building in 4 which resonates with the stone in 11.. which in turn resonates with the man in 7.

Nice work

David, you are always pushing for less, but often times I want to see more. I have no issue at all with “weaker” photographs mixed in with very strong ones. Like a musical composition, there are often the little hooks that anchor the piece, and tie it together, and then there are the intervals between. There is no doubt that leaving in only the gems increases the wow factor. But is the aim to wow, or to communicate? Is less really more, or is less just less?

On my personal gallerys, I find my photographer friends more impressed with the short edits, where I leave only the strongest photographer type stuff, while my non-photographer friends appreciate much longer edits. I appreciate photographs that show me what sometihing feels like, but also appreciate photographs that just show me what something looks like.

yes, that’s about how i feel as well…why is it on Burn if it isn’t perfect? well, cause there just ain’t nothin perfect out there…at least not that we know about…Lorenzo insisted that his essay be a work in progress and not to be considered a finished essay…of all the work we see, this is in the top 25% i would say in terms of work in progress and that i feel will go much much further…having 4-6 strong images and one killer (the lead/opening shot) is a damned good start….i always edit fairly loose for Burn..i think i have mentioned that before…i like for the readers to throw stuff out..play a bit….if i were being total dah, i would have this down to about 4 images….