New elements came and went; the branches were shot a few days ago to take advantage of the mood bare trees can offer. I had added lights to all the frames to sell the idea that these were a sort of tech device, and he was opening these portals. I added the crows because, well, crows are ominous, and they fit the bare tree branches and the moody sky well. But once I had the crows in place, I decided to remove the foreground frame blocking half his face, and the focus clearly became the model, with an enigmatic expression on his face, standing in front of a succession of portals.
What did that mean? No idea, except that this image was born out of a love of science fiction, scientific theories about parallel worlds, and a strong dose of Surrealism courtesy of Magritte and psychologist Carl Jung. In fact, the original idea that popped into my head was Jung's theory of Sychronicity, but it only implies connectivity very loosely, so this was not to be a stong central theme to carry that classic title.
Losing the foreground frame obscuring half his face changed the vibe from a mystery man to a puzzling presence standing in a field of symbolism. But I decided I liked not knowing what it all means for a change, and it was rather freeing to place things into a composition without the burden of intent.
The title comes form Philip Pullman's series of books, but also from Milton's "Paradise Lost," from which Pullman derived his title. In Pullman's book, children come and go between worlds by opening and closing windows between them. I thought the title fit the imagery.
Model: Gilberto Mendez