After deleting the worst of the unsharp images and those interrupted by foreground, I was left with 152 passenger-view images. My long-list selection cut that down to 60, as seen in these contact sheets.
I have short-listed down to 14 images, which I have laser-proofed and will now spend a few days living with, shuffling, staring at and generally agonising over to select 6 or 7 for assignment submission. I am looking for images that show the environment that we are passing through, but detail that the driver has no chance to take in.
Two of my favourite images (the Headcorn tea room and the man selling Mother’s Day flowers) are unsharp, so will be early casualties of the cull. For the rest, I am looking for a balance between detail and wide views, town and country.
When I showed this set to my wife (who was the driver) she said that, other than the man selling flowers, she had not seen any of the things in the images. This is a nice confirmation that the basic concept of the exercise is sound.
The drivers-viewpoint images will be easier to select, given that framing and basic composition are identical through that set. I will look for the images taken closest to the same time as the selected passenger-view.