Now that I had my final print safely rolled in a print tube, I could focus on my smaller prints and which to output for final submission. I made them all 10 inches on their longest side and constrained the proportions on photoshop which meant my shortest sides were 6.623 inches rather than 8″. I therefore decided to make them smaller and add a 10×8 white border around so’s to have them all at the desired size. However the border did not look right and simply didn’t work, with one edge larger than another, it looked unbalanced and amateur and not how I liked so I decided I would simply have my prints smaller by 2 inches but aesthetically pleasing. With all 20 images correctly sized I then had to make my edit.
I decided not to have ‘Image 17’ in my selection as did not want repetition as I felt this would take away from the series as an entirety. I wanted every image to offer something knew into the viewers understanding of the past. I also decided that as I was dealing with a landscape module I wanted to have my final images in the classic and traditional format of landscape. My landscape images incidentally were also stronger than most of the portrait ones and so I felt for the purposes of continuity, presentation and flow I would keep all of them the same, no one image distracting from another. I then removed the landscape images that did not have people in them for that too would break the flow (excluding my opening image which I shall come too!) and also removed a landscape image that was very similar to another one for it did not add anything new to the series.
As mentioned I have included one image, my opening image to the series, that does not have people in. The opening image is of ‘Escot House’, the setting for or directly linked to, all of my photographs. The archival image also has Escot House written on it which I feel is string opening for “setting the scene”. It also clearly shows what my project is about, looking into the history of this English country home and comparing its modern self to image of it a hundred years ago or there about. The image would not be appropriate within the collection however it is a strong opening shot that I believe is the perfect way to start my photography’s visual story.
I chose my closing image to be one looking down into the private garden of the house for it feels fitting to start looking at the house from the outside and finishing in the very heart of the home looking down. I feel the sequence I have chosen flows well and heightens the impact of the work, each image complimenting the next. It takes the viewer on a journey that I have guided them through, yet allows for personal reflection and opinion to develop whilst observing the work.
I chose to print my final 14 images on the same paper as my final print (Hahnemuhle Pearl) from the Print Space, for I did not want to loose any of the texture in them. Whilst this cost me a large sum and far more than it would have from The Dark Room, I felt this was an investment that I needed and wanted to make. The images will now reflect my work at the highest standard available and convey the archival yet modern feel I wanted them to give, it seemed pointless to me to lure viewers in with an impressive large print, only to disappoint them with the rest of my images – I wanted them to be held by my work and appreciate the quality of it. This also means I will be able to use my images for further exhibitions, portfolio reviews and competitions at short notice which is essential to stay ahead of the game.