Weight's method is deeply collaborative, creating trust and understanding between himself and the artist he photographs. He designs the setting and lighting to reflect the subject’s personality and artistic vision. e.g., in his photograph of Jiawei Shen, Weight integrates elements of Shen’s painting into the portrait, using colour and pattern to blur the lines between the sitter and the artwork. His process often involves multiple shots, with careful consideration of how each element(pose, light, environment) contributes to the final image.

Weight uses minimal editing to ensure an organic feel in his final images. He enhances the resolution and clarity of his images, producing large-scale prints that stand as fine art pieces in their own right. In his shift to colour photography in more recent works, such as the portrait of Jiawei Shen, the vivid hues and precise details elevate the visual impact of the photograph.

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The Humans of New York (HONY) series by Brandon Stanton is intended for a global audience interested in understanding diverse human experiences. The series appeals to those who are drawn to personal stories and intimate portraits that reveal the shared humanity of individuals from various walks of life.

Stanton’s intention with HONY is to capture the essence of everyday people by highlighting their individuality and shared experiences. Through his photography and storytelling, he aims to provide a platform where these personal narratives can be widely shared, fostering empathy and connection among a broad audience.

Stanton creates the HONY series using candid street photography. He approaches strangers on the streets, capturing their portraits and conducting short interviews to gather insights into their lives. His work often focuses on body language and facial expressions to convey the emotional depth of his subjects.

The method behind HONY involves a combination of documentary photography and personal interviews. Stanton interacts with his subjects, asking them personal questions that elicit meaningful responses. These quotes are then paired with their portraits, creating a compelling narrative that resonates with viewers.

In the editing process, Stanton carefully selects images that best represent the story each subject shares. He also curates the accompanying text to ensure it maintains the authenticity and emotional impact of the original conversation, enhancing the overall narrative.

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The series is intended for viewers who are interested in exploring the transient nature of human existence and the omnipresent surveillance in urban life. It resonates with those who reflect on the fleetingness of everyday moments and the anonymity of city dwellers.

Parke aims to highlight the ephemeral quality of life by capturing candid, unposed portraits of pedestrians at an Adelaide street corner. The project mirrors the unfiltered gaze of surveillance cameras, emphasizing the randomness and unpredictability of life in public spaces.

The series was created over nearly a year, with Parke photographing at the same pedestrian crossing each day. He used a rapidly firing shutter release to capture moments without selecting or directing the subjects, allowing chance to dictate the outcome.

Parke used 35mm film to capture the images, later cropping and enlarging the photographs to focus on individual faces. The varying clarity of the images, influenced by the film's grain, contributes to the ghostly, dream-like quality of the portraits, symbolizing the impermanence of human life.

During the editing process, Parke cropped his images to isolate particular faces from the bustling crowd, allowing each portrait to convey a unique narrative. The grain of the film was intensified, adding to the sense of disintegration and transience. By adjusting the focus and framing, Parke created a series that blurs the lines between clarity and obscurity, further reinforcing the theme of life's fleeting moments and the idea of being observed without truly being seen.

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