this guy
http://salavon.com/work.php also explores this technique.
How could I not remember having seen every single Playboy Playmate? Seriously though, his Playboy photos and the 100 Speical Moments composites were what persuaded me that only the most boring colour photographs would survive averaging to brown.
Note that in the d*g*t*l world, you can do other things than average (as Salavon hints at in the notes on the 100 Special Moments). Were I rich, or more interested in marketing a shtick, I would be taking long time series with something like a digiblad. Not for APUG though
it seems your more into the siskind found "visual moment". have you read his interview regarding his process in the book "darkroom" vol 1 & 2 by lustrum ? just amazing what he says about seeing and looking.
Siskind is a photographer I simply love on all sorts of levels, and my copy of Siskind 100 is on the list of things to be saved from the fire before helping the children, but apart from the odd dry stone wall I don't take photos that look like his. I have never got very far by forcing myself to expose film whether I want to or not - something he was famous for doing, using ten holders' worth day in, day out.
As a photographer I am indeed more interested in observation and analysis than synthesis. It is an empirical fact that the world is much more interesting and strange than my imagination alone, and I naturally tend towards a sort of neo-modernist photography. On that front I feel more immediate kinship with the art photographers of the 40s and 50s than later conceptual or constructed works.
As a viewer I am into pretty well everything, and I enjoy art that ranges from Carolingian goldsmithy to Spiral Jetty. I feel that my sense of composition and colour comes more from painting and illustration than from photography, despite the fact that I am a terrible painter and mediocre freehand draughtsman. So for me at least there is quite often a mismatch between what sort of work inspires me, and what sort of work most closely resembles my own. I don't think that's so very strange, but I do sometimes feel the photography found in the mainstream galleries and magazines lives in a rather stiflingly restricted visual world.
