Looking at developing the work, the placement is to long maybe and need to Aled’s advice on the choice of words. His input was to use the words sparingly and in a way that they would not be obviously recognised as lyrics. His thoughts behind that was to enable as much freedom to the viewer to decode the images. That has always been a really important part of the creative process for me to enable such a great degree of freedom in viewing my work.
I checked in with Stella and we discussed my intentions and as well some key issues that I had some reservations on.
The split of images , ( roughly) half editorial portraits / constructed cinematic scenes. I feel quietly confident with the idea to move forward in this direction and the Stella could see my idea behind it with the words being the thread together.
Actual production of the text on the images. For some reason I thought that I would stick the dymo label on the framed prints. I just overlooked it so i’m glad that I talked it through with Stella, who advised that it probably wouldn’t be as effective as if it was on the print itself. I thought the frames I had bought wouldn’t allow for that to happen but I was wrong. I checked and it would be able have to space to do it the other way. We talked about how it really should be on the image itself as it’s part of the work and if it was on the frame it could be easily taken of or the image simply reframed, and that would cause a lot of confusion.
Selling prints, I worried as a completely unknown artist in the contemporary photography world it might hamper any progress of working with agencies or galleries. I might seem like i’m putting the horse before the cart somewhat but I remember some talks with in previous modules from agents and gallery owners that have said having work out and about can make a difference to how viable you are to working with them. ( Sustainable Prospects). Stella shared her personal experience as a photographer and said that I should ‘ dip my toe’ and sell prints. I did have an idea to sell zines and posters much like Juno Calypso does and leave prints but time and resources mean I can’t do it in time. So after a little encouragement from Stella I decided on selling both prints and zines. I’ve already got them on the big cartel shop and one thing Stella also said was to decide on a limited edition number and not to be scared to make it higher than normal as she has very successful friends who regret not having a larger number. SO after talking about some ideas I decided on a limited edition of 200 in both a3 and a4 formats. Stella’s advice was to avoid limited edition prints smaller than a4 as there seems to be confusion on if its a pr thing like a postcard so it might be better to avoid it and I agreed.
I talked it through with Stella and my peers on the webinar followed it up with a little research and designed and printed some Certificates of authenticity.
I’m lucky that I’ve been able to brush up on a few skills with indesign and illustrator thanks to the collective I’ve started and sharing knowledge and skills is a lot easier and more ethical if people can call on my for my expertise to help them.