Sequencing
Sequencing within photography is important, especially when it comes to the flow of a project. The course notes highlight how each photograph is read within a sequence to tell a story.
I've looked at the sequencing of Dewald Botha's 2012 project 'Fame'. The photographs of Zeng Kaigui that have been papered everywhere are almost like advertising posters. They remind me of when people put up flyers for lost cats, etc but I feel the sequencing is interesting. As each frame progresses you wonder why we are seeing the same poster in all the photographs in so may different locations but without the text there is no way of knowing exactly why these images are everywhere. I feel the sequencing draws you in. You can almost feel like you are walking through a town and seeing this mans face at every turn. Each photograph emphasises the focus that someone wanted this man to be known for what he had done and their desperation of physically putting up these posters everywhere to inform the public.
Looking at my own project, I think sequencing is also important for me. I am creating a project based on a time factor and so the sequence of my photographs is crucial otherwise the timeline is incorrect and doesn't mean anything.
Looking at another photographer whose work I have enjoyed when it comes to sequencing is Duane Michals. I remember looking at his work back in an earlier module and was aways really interested in his sequences especially 'The Fallen Angel' and 'The Bogeyman'. Both sequences are fascinating and you can see the importance of reading each image in its rightful place. If any of the photographs were in a different order, the story would not make sense. Each frame gives a bit more detail and can only be read in the order they are shown.
References:
Botha, D,. (2012). "Fame" [Online], Available at: https://player.vimeo.com/video/74703746, [Accessed April 6th 2017]
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