An image sequence needs more than five versions of the strongest picture. An opening can establish the subject, a second frame can move closer, and a small detail can slow the reading. The final image may return to the wider space, but it should leave something unresolved. Repetition is useful when it reveals a change; otherwise it can make a short series feel longer than it is.
Begin an edit by looking at the photographs at a similar size. This makes it easier to judge their individual roles before a layout gives one more emphasis. Then try a wide frame beside a vertical one. The contrast should come from the pictures themselves: a change of distance, a shift of light, or a relationship between objects. A dramatic crop is not a substitute for a missing view.
Captions belong in the sequence too. They can identify a material or clarify a location, but they should not insist on an emotion that the image does not support. When photographs come from licensed sources, the credit remains separate from the editorial caption. A fictional project title must never erase the actual photographer’s authorship.
On a small screen, the order matters more than the spread. Each photograph needs to remain understandable when it is followed by its caption and the next frame. This journal keeps that reading order intact and preserves the original proportions in the project pages. The large-image viewer is an optional closer look, not a requirement for reading the story. You can follow the complete sequence with ordinary links and without animation.
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