Cower in fear - the miniprint draws near...

Though I am moderately pleased with the Aust services photography the Mini Print is looming and creating quite a level of anxiety. I don’t feel confident with any of the new images I’ve captured and instead return to my Iceland series, selecting the image that grabbed me when I did 4 colour test prints several weeks ago. 

It’s the one image from this series that I feel is powerful enough to work separate from the series, capturing the isolation and calmness of that eerie Icelandic landscape with a Hopper like softness, and (I hope) Ruscha’s everyman lack of objectivity.  I begin with a four-colour separation – which is very successful, with a perfect balance of the four-colour process and a soft painterly quality that evokes the eerie midnight sun of the Icelandic landscape.

However, I’m nervous about the time (and accuracy challenge) of producing and edition of 50 of this print (it has taken me the best part of a day to produce a small edition of 10, with a 50% fail rate). Instead I decide to do a simpler duotone of the same image and produce a short set of test prints on the Thursday – with a view to completing the edition-proper on the upcoming Saturday University Open Day.

I’m glad I’ve taken the opportunity to print on the Saturday. The studio is practically empty aside from myself and Arthur, and the occasional round of students, and in spite of having to give an impromptu demonstration to 20 of them just as I pull the last colour it all goes surprisingly well. The final print has an eerier quality to the four-colour version I did earlier in the week, more haunting, more other, and I feel more successful for all of that. I adjusted the framing for the mini-print, centring the image on the paper, rather than placing it towards the top – and I prefer this simpler less divisive framing, it’s a simple touch but it improves the overall impact of the print greatly.

It is incredibly satisfying to create a full edition of prints of this size for the first time, and it is without a doubt the first time I feel I accomplished on the course since my return. Not only from a technical perspective, in having create a near perfect edition, but also in selecting and developing a print that I am so aesthetically pleased with and speaks to so much of my Quiet Earth vision.

I have found working at the size ordained by the mini-print constraint to be incredibly satisfying – allowing for quick exploration of images, with engaging and satisfying end results. I’m not sure I want to expand particularly beyond this scale with my images at present, despite my keenness to work at scale in previous semesters. I am attracted to the idea that these smaller images have a preciousness and delicate quality that means I am not yet interested in exploring them at scale. I am interested in the idea of creating scale through multiples – and the presentation of some form of typology (such as all 8 of the selected Keflavik building images) as either an artist’s book, or some form of multiple wall/installation is intriguing.