I'm not sure if it's obvious, or ever will be even remotely clear to anyone but me, and I don't even know if it matters, but there is a plan here.
The five pictures are, roughly, of 3 different kinds. Call the kinds A, B, and C. The cadence in my motif is ABABC, and by numbering the pictures we could say A1 B1 A2 B2 C1, five different pictures of three kinds. I think of it as kind of Pa-ping/Pa-ping/THOOOOM. The overall plan for the book looks something like this:
A B A B C
A B A B A B C
The C photos might all be the same C1, that goblin/spirit shape (which is actually a contemporary totem pole from one or another of the Salish tribes). I'm going to go back and reshoot the object, and may wind up using several variations, but i definitely want that as a repeated, anchoring, visual. It's central to the idea, as well, I think, so using it a bunch feels right. The As and Bs will, according to the plan, evolve, in some fashion to be determined. There will probably be some repetition.
This looks like a poem, and that is quite deliberate.
As I read more about "book art" I find that book artists tend to get carried away with structure, building incredibly beautiful and complex objects with utterly uninteresting content.
My plan here is, well, to not do that. I want structure and content to balance and complement one another. Repetition of actual photographs, as well as kinds of photographs will, I hope, make it easier for the unprepared reader to make sense of it.
One consequence of having this plan, approximate and malleable as it is, is that it will direct shooting pretty explicitly. I need a bunch of As, Bs, and a handful of Cs, right? And the Cs are easy, since they're all, by intention, very much the same. I need some breadth in As and Bs, to allow me to pull out some sensible evolution that means something (I have some ideas here, but they're even more vague and approximate than the rest of this scheme).
Baby steps. I predict that I'll look back on this thing years from now and laugh.