After being incredibly jealous of the likes of Joe Wright, Valda Bailey, Tim Parkin and others who have all previously been on the John Blakemore book making and image sequencing workshop, I made sure I was eventually in line not to miss out on this wonderful opportunity to spend time with one of Britain's artistic treasures. I genuinely didn't know what to assume but I was told to "expect to examine your photography in terms you have never considered before". They weren't wrong.
In the final part of this series, and now I've sourced the protective hand-made outer shell and slip case from Hartnack & Co, I'm going to cover off the most important aspect of the portfolio - filling it.
In Part 1 of this series I set out the arguments to printing more of my work and although it's arguably taken far too long to get to this point, it's still felt like a natural journey. When I first started out in photography, I actually printed more than I do now. I think there was definitely a naivety on my part back then, I perhaps didn't care what others thought about my photography, I blindly and plainly didn't see what I regard today as obvious flaws in my earlier work but I certainly didn't have the attention to detail or the benchmark I set for myself now.
I’ve read a few articles recently which talked about the risks to a digital legacy. The crux and central theme of these views are that if we create a purely digital portfolio as photographers then eventually this is at real risk of being lost, more so, it’s pretty much guaranteed. But all the backups in the world won’t protect your photography if no one else knows how to easily view or access it after you’re gone....