Mirror Moment and Camouflage Photos
Hi, I’m Azmi from Meknes! Tonight the blog becomes a small gallery with two walls. Wall one: the mirror series. Wall two: camouflage. Each photo gets a curator’s note, light, caption, and why it works. No behavior claims, just delightful photos with captions. The mirror is a 30 cm unbreakable acrylic square taped at floor level to the hide side; it has never tipped in four months. Blankets are flat cotton, no loops. Keep the mirror low and stable, keep blankets flat. My album from these two series is the most shared with friends, here is why I think each frame lands.
Wall one, the mirror series (4 frames)
Frame 1, “First Contact”: approach, nose 5 cm from reflection, ears straight up. Morning window light from the left, no flash. Why it works: the double ears, real plus reflected, in perfect symmetry. Caption in my album: “negotiations begin.” Frame 2, “The Pause”: sitting side-on beside the mirror, one eye on reflection, 3 full minutes by my timer. Evening lamp warm. Why it works: profile doubled, calm geometry. Frame 3, “Verdict”: flops beside it, back to the mirror, case closed. My favorite, indifference as composition. Frame 4, “Encore”: a week later, binky past the mirror without a glance. The series arcs from curiosity to furniture in four frames, and I date each in the corner so the week-long arc reads. In the mirror set, my rabbit approaches, pauses, then flops beside it, that three-beat arc is the whole wall.
Wall two, camouflage (3 frames)
Frame 1, “Find the Bunny”: beige throw, beige bunny, only the dark eye gives it away. I circle him in the photo, thin white ellipse added on my phone, because friends genuinely couldn’t find him twice. Harsh noon light flattened everything; the trick needed flat light, learned after two failed contrasty attempts. Frame 2, “Half Lurk”: head out from under the throw edge, body hidden. Side lamp low. Why it works: the emerging eye contact. Frame 3, “Texture Study”: close-up of fur against weave, same tones, different textures. In the camouflage set, he matches the beige throw so well I circle him in the photo. I log date and light for each: March 22 noon fail, March 23 17:00 success, March 30 lamp session. Light discipline made the wall, flat or low, never overhead noon.
Curator’s notes, what I’d tell a friend
Seven frames, seven lessons. One: same phone, same distance (one meter), so the series matches. Two: no flash ever, two early flash frames show white-eye and got deleted from the wall. Three: burst mode for approach frames, single shot for flops. Four: caption within 24 hours while the moment’s fresh, “negotiations begin” would never survive a week. Five: date in the corner, always. Six:the mirror gets wiped before series days (paw prints read as smudges in frame 2’s first take). Seven: quit while ahead, the wall stopped at seven because frame 8 attempts felt forced, rabbit napping through them. A short wall beats a tired one. Total shooting time across both walls: maybe 40 minutes over two weeks, all during normal play. Nothing staged, everything noticed. That is the entire philosophy of my most-shared album: hang around with a camera, keep it flat, circle the bunny. Gallery frames shot by me on the phone, dates in the corners. Not vet advice.
The reject wall, frames that didn’t hang
Behind the gallery stands a reject pile worth its own tour. Reject 1: flash frame, white-eye demon bunny, deleted from the wall but kept in a folder labeled evidence. Reject 2: mirror with my own slippered feet huge in the corner, compositional crime, photographer photobombing. Reject 3: camouflage attempt on the striped blanket where stripes beat fur and the photo shows just blanket (he had already left; the empty blanket fooled me for a full minute). Reject 4 and 5: two noon camouflage tries, contrast so harsh the beige burned white. The rejects taught more than the wall: feet out of frame, flash never, stripes never, noon never. Printing notes: three favorites printed 10 by 15 at the Meknes shop for the wall above the desk, Frame 3 Verdict, Find the Bunny circled, Texture Study. Cost small, effect disproportionate: visitors ask about the prints before the rabbit, then meet the model. The gallery lives on the blog, the prints live above me, the model lives under the chair. Good arrangement.
Visiting hours: the blog wall never closes, prints above the desk for guests, originals in the month folder with dates in corners. Next exhibition, if the model cooperates: the yawn series, three near-misses already, one perfect mid-yawn blurred beyond hanging. The camera stays ready on the chair arm. Circle the bunny.
Catalogue closed at seven frames plus five rejects. The model has left the gallery.
Seven hung, five binned, one bunny unbothered.
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