Of the set this one is my personal favorite, but the others are amazing as well:
I think it really boils down to two primary things:
- The control of tones in B&W that I love.
- The familiar presented in a way that challenges your interpretation of what you’re seeing.
Both of these things are summed up in a photograph that I think was one of the earliest images to inspire me to start photography as a hobby (back in high school), Edward Weston, Pepper #30:
Hopefully it’s not too far a reach to see the abstraction of both subjects through the use of an unfamiliar viewpoint coupled with the unusual shape of the subjects (compared to how you might normally view them)?
It’s actually funny, but normally I might say that #4 is my next personal favorite from the set, but on reflection I really think it may be more #6 for it’s more classical painterly feeling coupled with that wonderful chiaroscuro lighting and fall-off. Could almost be a Ruben-esque painting…
(#4, while also looking semi-abstract, is slightly edged out by #6 precisely because it’s a view that could be considered more commonplace, though from a better framing, and lacks the contortions in the subject like the pepper or #2.)
Does anyone else have a favorite from the set? Any insight as to why? @Elle which one would you have said was your favorite?