i chose #2 mostly because of the man in the doorway behind as you point out….still this is an exercise…i doubt this picture will in the long run make it….

well that just seems a gratuitous philosophy to me…or, only works with “still life” photographers as is Eggleston…i am an Eggleston fan..yet, my big question is “why?”…what would be the point? i will say that many of the very best frames i end up with are very often single frames, but sketching and tweaking has been the role of artists for centuries…having said this, my early family album is one picture per situation as Eggleston does…yet that was surely because i had basically two or three rolls of film per year to work with…i think if you read how Eggleston became Eggleston, it will give you an indicator of why he might have this philosophy….for sure even the three pics here are in my mind “one picture”…and if you did not see the other two , then you might not miss them…for sure everyone gets themselves psyched up in a different way….and for sure if Eggleston only wants to take one and move on then cool….however honestly, for me, Eggleston has very few really fine pictures…the great ones are great and yet he really does not have a super large body of work….we just saw a retro of his in L.A. and the icons were amazing and the rest, well you needed to know it was Eggleston otherwise i doubt anyone would really choose most of the pictures …no matter…there is no way to doubt the Eggleston power in the history of photography….he was anointed early by Szarkowski as a reaction in the opposite direction of Steichen at MOMA…so he is the progenitor of a whole movement…still, look at the contact sheets that many of the greatest pictures come from and you will see most “evolved” from sketching first…even the single one off pictures were evolutionary in nature….yet whatever works, works…

Is it ever possible to get 100% agreement on any one image, even among Magnum members?

I’ve always been fascinated by William Eggleston’s ruthless rule where he only ever takes ONE picture. If he gets something good, all is great and if he screws up or misses the “moment” it’s hard luck and keep on and forget.

saludos!

Pilar.

Picture #3 is the one I pick up.
Candy is thinking about something someone, looking at the ceiling… I Like the expression in her face. I will also cropped it, I will take away the left side, with you shooting through the glass anf therefore make the person look bigger and more important.
That’s my humble point of view, but in this kind of art, there are no rules…

Wander safe.
P.

i was just playing a game of 8 ball…folks were just moving around normally….

YOUNG TOM

exactly…

well amigo, part of a larger narrative is what i am doing…i would not see this as a collector print of course….and i am not married to this scene…it may find its way into this scrapbook and it may not….right now i am totally in the formative stages….we are plastering all over the walls of the van all the snaps from along the way…the whole project could fail…isn’t that the point? to risk it all? all safety nets gone….only high risk will lead to the best work…and the worst work as well!!!

JEFF

this essay is about Family Drive not necessarily literally “family” in every picture…of course this trip is about our moving family….by the way, my choice has been #2 all along…of course one of the reasons we photogs end up with choices like this is that each one has something we wish the other one had…so always a picture choice tends to be a compromise….nothing ever ends up exactly perfect..unless you paint instead of photograph…..so i try to get as close as i can, knowing full well i will never be 100% satisfied…a level of acceptance must be found of course and one can only get this level up as high as possible….nice to have you here with us Jeff…i sure enjoyed spending time with you at Look3….you are a great thinker….and a nice guy…good combo….

cheers, david

One fellow has turned away from her in exasperation, another one is already waiting in the wings, Candy is confused.