Tuesday, 31 May 2011

The JOHN Collection: Summer 2011

Seventeen months after the last catalogue, the JOHN Collection's third installment is ready, and boy am I glad to get it done! With 106 new pieces (and others that didn't make it into the final layouts), 18 pages and 563 photos taken for it, it's a beast of a project and now it's a finished beast. I'm slowly uploading it to Flickr, but you lucky JOHNSPACE readers can see it in its entirety on Issuu:



On a more serious note, I must say I am sick to death of this damn catalogue. I originally planned for it to be finished in Summer 2010, then at Christmas (exactly a year after the last one), but I was too ambitious with the scenes I wanted to do and pictures I wanted to take for it, so I gave up on it, and its myriad scenes and photos just sat on my harddrive for five months. I knew I wanted to finish it at some point - I knew I needed to finish it, considering how much work I'd put into it - but I'd lost interest.

Luckily for you guys, a few weeks ago I was reading through my layouts for the pages (I'll upload them to Flickr at some point) and I was inspired to just finish the damn thing. I originally thought 'let's just finish it with what I have', but some things were really necessary and I shot three more scenes (front cover and kitchen, waiting, commercial furniture) and another bunch of photos against a white background (the fifth shoot of that kind), then set to work creating the pages in Illustrator.

A few weeks later - and several Illustrator crashes later - the catalogue is finished. The page layout has been fully redesigned since JC2, with a tasty new colour - aqua - for the majority of the graphics. There are 18 pages including the front and back covers, each one with a unique layout and - I hope - checked for errors. Though the sand-red stool does appear twice, I am aware thankyouverymuch.

Now I'll 'briefly' go through each of the pages in case you're interested in the scenes or the names of the pieces of furniture. Feel free to skim-read, I know not everything will be of interest to you.


Page 1: Contents
Not much to say for this page - only that it was the last page I designed. There's a small note from me at the top (yes, my name is really John Danishsurname), which is basically a summary of the above paragraphs, but without the 'sick to death of this catalogue' bit, I thought that would put off readers, heheh. There's also a massive aqua box and - I think - the only black text in the catalogue. Oh such interesting trivia!

Page 2: Home divider
This is the same set as on the Home Office page, which is next. So I'll explain it there.


Page 3: Home Office
The set you see here was the second one I did (the first being Office), and it's surprisingly traditional for me. I was quite proud of it so I posted it empty on Flickr at the time. There's a lovely large four-pane window, a large 'Sumo' desk that I never took a picture of on a white background (dammit) and two JB Task Chairs, which I love. They were inspired by the AJ Task Chairs that Arne Jacobsen designed for St Catherine's College, Cambridge - though they bear little resemblance. The other chair is just there to be a side chair - and one of many pieces that includes the 3-long bars, I love 'em.

Page 4: Bedroom
I don't really like making beds so that's why there are only three here, and two of them are boring (guess which two, and you won't be far off). I always thought I'd make more beds at some point but that dream was one of many that got cast aside in recent weeks, the 'fuck it, let's just get it finished' stage. Also notice several of the pieces on this page come from my LEGO architecture - specifically the Rødovre house. Not all the furniture I designed for Ishøj, Rødovre and Henne are in the catalogue, as I only think of them being functional in the building and not good on their own, but a couple of the best are in there. None from Kongsholmparken, but that's because it was a public building. And the furniture was shit. Too much brown.


Page 5: Modular Kitchen
The modular kitchen was, as many things were in this catalogue, something I liked the idea of but didn't have enough inspiration to do. So the modules you see here are pretty basic, and most of them come from my architecture (all of my residential houses have used this modular system, in different colours). Still, I am very proud of the set you see above the modules - it's part of the set used on the front cover, and was the final one I built. 'Build something small, John,' I said beforehand, 'get it done'. I did get it done, but I got it done well, and the 'glass' panels are something I've wanted to include in my architecture for a while now. They offer a really interesting divide through the room, splitting the higher dining area from the lower kitchen and utility area while letting through light and keeping the rooms together, in an interaction kind of way. The change of height increases the importance of this divider, and stops the glass from being purely aesthetic.

Page 6: Kitchen
Not much to say here, only that I was pretty annoyed when I came to put together this page and found I only had one dining table, the 'Grande'. I decided to throw in the dining tables from the Rødovre and Henne houses, which offer some much-needed varation. So it wasn't all bad. Other recent additions include the 'Dara' chair, which is called Dara for no real reason. I was going to say it's named after a friend of mine called Dara who is bottom-heavy like the chair, but that's a lie. It's just a shameless merge of the JB Task Chair and the Pinchair. Also on that page is the Jalkow stool, named after the awesome guy Jalkow who included it in his Jalkow collection - I named this and two tables after him because he's always so supportive of my furniture stuff. Thanks, mate.


Page 7: Living Room
A couple of great pieces in here, notably the 'centrepiece' pic at the top of the page including the Shell chair (hmmm Jacobsen) and the Jalkow table Sr. I really like both of them and I think they go well together. The Jalkow table and its junior buddy are merely named so after their similarity to the Jalkow stool, sadly they're not his own work. Speaking of chairs' namesakes, the 'Verner' chair is, of course, a homage to Verner Panton and his 'Amoeba' chair. Notice also the 'Lighting options' box which is there to fill up the empty space. It's a shame the Helix lamp (blue one) is revealed before the Lighting page, but ah well.

Page 8: Bathroom Planning
Bathroom planning = I couldn't get inspiration to make enough pieces for the bathroom department. However, it did result in a really nice set, and my first experiments with the LEGO Power Functions lights. There are four of them in the set - two either side of the sink, one in the ceiling of the shower cubicle and one above the door.


Page 9: Garage
The garage set was massive, a real beast to photograph, especially because I wanted to keep both the garage door (left) and raised part (right) in the frame. The raised part contains a door (Gambort-style), two Mono recliners, a JC2 table in white that we'll have to keep hush-hush, a glass table unit and - below it, hidden in shadow, a Trio unit. It's packed, it's dark, it's got light-up hanging lamps (thanks fibre optics!) and it's all light grey if you can ever see a photo of it in the light. Sure, no garage is as big or as complex, but I really wanted to show the luxurious side of the garage, for your 'man den' - a place to watch football on TV and drink beer and get away from it all. Apart from modernist furniture, of course! There's no escape from that! Ahahahahaha!

Page 10: Office & Other Divider
This page isn't uploaded to Flickr because, sadly, it isn't interesting enough. It is, however, a set that I spent considerable time on. Details you can't see here include a silhouetted skyline beyond the windows, a staircase coming down from a hole in the ceiling, and a dark turquoise wall. It's amazing how much work I put into these fully lit scenes and yet how little of the details you see in the final picture. I'd say it isn't worth it, but perhaps it is to get that perfect shot.


Page 11: Office
The set you see here was the first one I built, way back in April last year. It's not the greatest - it's square and the furniture is kinda strewn around the room, not connected to walls or anything logical, but it does the job. It also has an awesome ceiling, made to look like the modular lights and ceiling panels of many offices and schools, but - as aforementioned - sometimes the best bits just have to be left out.

Page 12: Office cont'd
More office on this page because it is the largest department of the catalogue. You may recognise the Clippon tables from this post last year, and now they're arranged all fancy and with other colour combos! Also on this page is the Charles table, my homage to the design and chair legs of Charles and Ray Eames back in the 50s. The Professional Table also has something of Eames in it, it's quite similar to the Charles but not as neat.


Page 13: Lighting and decoration
This page should probably appear a little later in the catalogue - after Outdoors, certainly - but here it is anyway. Including floor lamps in various styles, including the one with the drawstring from the Ishøj House (remember that?) and some strange 'Leanpost' thing that fell together and I thought looked nice. The bottom photo shows the five assorted desk lamps posed stylishly on the Professional Table from the Office department - this 'several pieces together' idea was something I wanted to implement across the catalogue, but I ran out of time and ability to give a shit so most of the pieces are in their own individual photographs.

Page 14: Waiting
For some reason I accumulated many of these Waiting pieces, and quite quickly too (the last ones, the circle bench, was made last October) - it's just a style of furniture that I enjoyed creating. My favourite is the Jeames seating, another homage to Charles and Ray Eames, this time their public seating (as explained in this post). The set, quite a small one, was put together last week because I was originally going to have my modular public seating pieces at the top of the page, but I ran out of effort to photograph it. One day I'll show it to you all. One day.


Page 15: Outdoors
The penultimate page is for the various outdoor pieces I've created over the past 17 months. Originally I hoped to create an outdoors scene, with a large tree lit up by fairy lights and people enjoying an evening summer barbeque on the decking, but I ran out of time to make it and as a result this page is very... spacious. Note the Hope and Glory camping seat, which comes from Hope and Glory Towers. I wanted to chuck it in there, it's an outdoors piece. Also on this page are other pieces from previous MOCs: the Ishøj BBQ, and the lounger and two-sprout box from the Rødovre Townhouse.

Page 16: Commerical Furniture
We finish the catalogue with a relatively boring page, one that would have been spruced up with a large scene of a cargo ship's mess hall but - you guessed it - I ran out of time to make it. As a result we have a little scene that is meant to be part of a cargo ship, hence the Maersk furniture. It has a functional staircase and a strange light grid thing in the wall - a concept that I've wanted to put in a MOC for a while now, it's probably more appropriate for a spaceship (it was inspired by the light wall by Sam's bed in Moon), but here it is on a high-tech Maersk ship. A very old LEGO plate, if you're interested.


And that's it, folks! 106 pieces, 18 pages, 8 fully-lit scenes, 17 months of work and one catalogue. The JOHN Collection 3. Wow.

As a final note, I'd like to say thanks to everyone who's appreciated past JOHN Collections and this one too. Without praise, I am nothing. If anyone's crazily thinking about a JOHN Collection 4, you can crazily unthink that - for now, this is it in terms of LEGO furniture catalogues. I'll still make furniture, but for my architecture only. JC3 is my final 'tada!' of furniture, I foresee. I hope you all appreciate it, because it's taken a lot of work to get it finished how it is. Enjoy.

~John

Wednesday, 25 May 2011

Jallery: May

Look ma, culture!

Now don't go saying I spelt 'gallery' wrong - this is a gallery, John-style. Alongside my infrequent 'Wossup' posts I've decided to make a monthly 'Jallery' post showcasing some of the stuff I've been making, rather than whole plain paragraphs of the stuff I've been doing. We all know which is more interesting (FYI, this one), and this is easier to skim-read. Because it's about time I started to take note of what you all do on here, haha.


Daltown Minecraft Server Blog My Minecraft server, or at least one that I frequent (more than most people on it, pssht) is called Daltown, and I recently designed a blog for its members to use to find info about mods, people, places and the recent goings-on in that virtual world. Recently, the server's been a little empty because apparently we all have exams to be doing. Well fuck you guys, I posted about my newly discovered album 'Into the Murky Water' for no reason. Other than it's an awesome album.

I was really struggling with the new Blogger whilst making this blog, so I'm glad it came out as well as it did. Simple, updatable, and bold. Also, Helvetica, if you've got it on your system. I was pretty happy when I finished it one sunday a few weeks ago, it's gathered a few bugs since then but I can't be bothered at the moment. Considering no one goes on the server, I can assume that even fewer check the blog so I'll leave it.


Akzidenz 2 You guys will never see this post, I never got around to writing the words to go with this second Akzidenz Grotesk article. I bet you're sad. I bet you're really bummed about it. Haha yeah right, one post was enough methinks, and in a way I explored the font enough myself in just making the diagrams (about 5) like this one, no words needed. Besides, I'd just say 'modernist' and 'utilitarian' too much. I need some new adjectives.


Henne Original Plans Recognise this? Ya, it's a graphic version of something similar to my recent Lego architecture excursion, the Henne Beach House (80 faves - suck it, haters). The Lego model only has one cube form in it, but I always wanted to include two (as in my original sketch). This isometric drawing of the house shows what I was trying to create, but maybe less pod-like. IE. move the bottom of the flat sections down to meet the ground as in the Lego model. Also, I'd make the shape of the back part like it was in the Lego model (symmetrical), and remove that pointless second flat plane coming out the side of the cube there. I drew this up before I made the Lego model, so it is really a preliminary idea, not a 'this is what I would have done' picture.


MUME Magazine I feel kinda odd showing this so early in its... development? Life? I don't even know where I'm going with it, where I want to go with, or what I'll do with it. All I know is this: I need to make a magazine. Not a glossy mag with articles and reviews, but something else. Something different. And I think it's going to be called MUME (let me know if that means anything odd, as far as I know it's only the name of a Runescape site). I'm just experimenting at the moment, including this cover. I kinda like it. I like DIN. It's nice and neat and useful for work in grids.


JOHN Collection: Summer 2011 Wow, isn't this a turn up for the books? JCiii? More stuff about it? A new picture? Yes indeedy folks, it's nearly finished. I don't want to say too much about it because then it may never be finished, I'll keep procrastinating, but I shot a few scenes (such as this one) earlier this week and am planning to do the Kitchen one this weekend, then stick the new photos in the layout, then touch it all up a little, then it will be done. Finished by the end of this week, posted up on Flickr sometime soon. I'm quite excited, actually. By the way, you shouldn't be seeing this really, but it's a teaser for you faithful JOHNSPACE readers. Not that anyone's going to leak it or anything.

There. Five pictures. Five descriptions. Five insights into what I've been up to. I'm quite pleased I blogged, and pleased I talked about these things (especially MUME). Next up: JCiii. Hopefully.

~John

Wednesday, 11 May 2011

Love at first type

It's often said that Helvetica, that typeface we all know and (mostly) love, that defined mid-century modernism in typography and has been used profusely ever since its release in 1957, was inspired directly by one earlier font, Akzidenz Grotesk, a round and characteristic sans-serif designed by Günter Gehard Lange of the H. Berthold type foundry. Recently I downloaded several weights of Akzidenz Grotesk (a name not too dissimilar to Helvetica's original title of 'Die Neue Haas Grotesk' - yet more similarities), and it's really got me thinking about where Akzidenz fits into the range of sans-serifs we use today, despite being so old. According to typographic standards, it's a grotesque sans (and Helvetica is a neo-grotesque), but there's a lot more to Akzidenz than that.

It's not used commercially as much as, say, Helvetica or Univers, but it still appears here and there. For example, the American Red Cross use it in their graphic identity, and I also noticed it absent-mindedly in my garden, on the packaging of Homebase compost:


Looks nice, doesn't it? It doesn't have those horizontal terminals, those rational restraints of Helvetica, let alone the squarish forms of Univers. It's a little freer and a little more natural, though not humanist. In fact, it's damn near my concept of a 'modern sans serif' that I mentioned a few posts back. It's got the right capital R-form and has a petite look, but maybe doesn't quite compare to the contemporary stylings of Gotham. Even still, to see this font used is incredible in 2011. Why? Because it was designed in 1898. That's like designing a modern department store and using pre-Thonet wooden furniture. It's amazing how type, in contrast to furniture, can last for so long - because it's not a physical thing. So long as you can keep hold of the dimensions in one form or another, that typeface can be preserved. Another thing the continued use of Akzidenz tells us is that when your teacher tells you 'sans serifs are modern', they're talking out of their rear end, or some other unpleasant orifice. If their definition of 'modern' is 'in the past century', then they're still wrong. Akzidenz goes incredibly far back.

Using Akzidenz in a modern media, a website, where its boldness is used to give a modernist edge. Photos © people off Google Images, website design © yours truly.

The interesting thing about Akzidenz Grotesk is how modern-looking it is. It has that modernist touch a lot more than Univers (many would disagree but this is my opinion), yet predates both Univers and Helvetica by almost fifty years. Sans-serifs began as industrial designs, such as DIN, created to standardise type, especially in Germany (DIN is in fact named after the German standards institute who commissioned it). DIN was constantly reinvented and redesigned throughout the early 20th century, even during WWII, as a rational and functional alternative to black letter script that could be found across the country. This was a late part of Germany's industrialisation, its move from the Germany of the 19th century to a new, forward-thinking country of technology and standardisation.

Though also being German, I think Akzidenz holds a lot of different values to DIN. They were developed for different purposes, almost opposite purposes. DIN was created to replace serif and script types in practical uses (such as engineering diagrams and railway signage), building letterforms from repeating geometric shapes (rational angles, perfect circles, arcs, etc) in search of the appropriate typographic system. Akzidenz, however, has more character and lacks those restrictions. It's more experimental and the letters differ more from each other than the almost dull regularity of DIN or the visibly squarish forms of Univers. And why? Because it was such an early sans serif. It's practically a serif font, but with the serifs chopped off and personalisations added. Wikipedia dutifully informs me it was based off Walbaum and - get this - Didot. No wonder I like it so much. Any sans-serif taking inspiration from the trendsetting face Didot gets my vote, and if that same font inspired Helvetica, it's surely love at first type.

But I'm not saying Akzidenz is perfect. It certainly isn't, and like Helvetica certain glyphs show its age and its inspiration quite obviously. Akzidenz's numbers are the real giveaway - the archaic serif remnant hanging from the top bar of the 7, the nearly-closed calligraphic counters in the 2 and 5 and (elsewhere in the font) the flared terminals. It's these kinds of unique features that Univers eradicated, prompting many to call it a 'true modern typeface'. Me? I think it's a true functionalist typeface, it has that DIN look to it, unlike Helvetica which has enough style for me to consider it modern [-ist]. Univers reminds me too much of Eurostile, an unusable font for anything other than futuristic titling.

Ignoring DIN (that'll have to wait for another post), I like to think of the three grotesque sans-serif heavyweights of the 20th century (sans Gill Sans, which I think of as humanist) as representative of furniture design styles. They may not coincide chronologically with the furniture, but they hold a similar design intention and style.


Univers is certainly something Bauhaus, it has that German functionalist edge to it. But to me it's imperfect, and it has a futuristic side too. It can only be really appreciated if you see its squarish forms as representative of that utilitarian ideal of the future, like DIN but a little sharper. And for that reason, it's Marcel Breuer's bentmetal 'Wassily' Chair.

As for Akzidenz Grotesk, for me it holds a little too much character for a Bauhaus piece. It's a 'modern' redesigning of an older design - Didot and Walbaum. And what classic chair design of the early 20th century was based off older designs? Ludwig Mies van der Rohe's 'Barcelona' chair, designed for the German Pavilion at the world expo in - you got it - Barcelona. Mies van der Rohe wanted to design something that reflected the ancient stylings of the city and that's where that distinctive leg shape came from. It also has that edge of luxury, of not just being a purely functional piece - and I think Akzidenz has that too.

It's near impossible to pin down Helvetica into a piece of furniture - it means so much to so many. It's totally flexible, as fifty years of use in graphic design has shown us, but when I imagine Helvetica I imagine classic Swiss modernism, those glorious exciting posters of the 40s that made such an impact on the world of graphic design. So who better to show Swiss mid-century design than Le Corbusier? He may not always be my favourite designer (I can't get the hideous image of his chaise longue in cow hide out of my head), but I think his LC2 chair is appropriate for Helvetica. It wears it functionalism in plain sight - that bentmetal tubing framework - but it still manages to look classy and contemporary, without showing too much subjective character. And that, to me, is Helvetica.


I have a bunch more stuff to talk about re: Akzidenz Grotesk, with a load of analysis diagrams, but they'll have to wait for another post because this is enough for now. Two posts on one font? We haven't had something like that since Helvetica itself!

Though you may have skim-read the post and those scarily obsessive typographic bits, I feel a real need to show Akzidenz Grotesk to everyone and let them know where Helvetica came from. Akzidenz played a big part in modernism, and still is affecting graphic design today, way back from 1898. What a font.

~John

Wednesday, 4 May 2011

Where now, photography?

Hey guys, before I start today's complicated post I feel I must make a stand against something. Blogger, ever the great blog hosts, are having a massive update (that can be accessed through Blogger in Draft) which, though the GUI is spiffy, is ultimately disappointing. You either choose one of their templates and be able to edit layout and 'add CSS', or you start right from scratch in HTML and don't have access to the layout page. Basically, it's a shit deal and it's left me - who usually takes a Blogger template then edits it in HTML - with a problem. Making and updating the designs of my blogs is now near-impossible - I doubt I'd be able to edit JOHNSPACE's design without transferring the HTML in a messy process. And I don't like messy, not at all. So thanks a lot, Blogger. I managed to squeeze out this blog for my Minecraft server on Sunday, but only using the old version of Blogger currently available at blogger.com. Fuck knows what I'll do with JOHNSPACE, maybe I'll have to move it.

Anyway, onto photography. I'm not showing you through every photo I took this time. My art project - hell, my whole art GCSE - was finished today in five hours of printing and binding mayhem, and I'm left drained in more ways than one. Physically and mentally drained from such a rush, such an experience, but also drained of creativity.

Here's the sitch. My creative style changes dramatically from month to month, I'm fully aware of that, I'm just exploring and finding what suits me best. Also, my creative interests change from month to month. First it was movies, then typography, design, architecture, photography and now I'm heading into a more artistic direction. It seems through this whole process - which I can only really trace back a year - photography has been the constant, the easy-to-do creative outlet that shows my progression in style. it also shows my progression in how I think about my photography.

Basically I started off with this:


This was taken when I was in Paris in summer 2009. It's a nice angle, sure, and I edited it beyond recognition, but there's nothing more to it. Most people would not care about there being nothing else to it, but for me photography is art. And what is art? Simply, a medium for expressing human emotions in non-human ways. And what emotion is shown above? None. I wasn't too bothered about this but it was only when I discovered film that I realised how powerful photographic mood is:


Suddenly, photography had a deeper purpose. It had tools - I had the ability to control aperture, shutter speed, developing, the type of film I used. That and composition, the rule of thirds, contrasting elements. Lighting. Photography became all about going somewhere, finding that all-important mood, that atmosphere, and accurately representing it in a photo. I was still a believer that photography was for capturing a moment, and the skill was in finding the perfect angle and the perfect representation of the mood I felt in the place. I couldn't - and still can't - take a decent photo in a moodless place. Sunny days are the worst - who wants blue skies? What do they emote?


My next art project saw me taking on the massive task of portraiture. I wrote in the previous project ('Urban Life', all gritty architectural B&Ws) that I didn't like taking portraits because 'people are hard to work with (and no, that's not just because I can't work with people)'. So, after seeing many great portraits (well, less portraits, more photos with people in them) from talented people on Flickr, I decided to prove myself wrong and try a portraiture project - 'One'. And it was amazing. Truly amazing. Urban architecture can only emote so much: more or less, 'gritty and downtrodden'. That's it.

But add a person into your photo and you have flexibility. You have a face - emotive mouth, those all-important eyes. How the person stands. Where they stand. If they interact with the background. What they're wearing. The possibilities are so much greater and there is more chance to get to that 'emotional photo' I am always striving for. So above is one of my first experimentations with portraits, and it's a nice shot, sure. Nice composition and DoF yada yada yada. But I learnt later on that composition means nothing. Well, something, for sure, but if you're doing photography as art it's near-meaningless unless you choose it specifically. Art is not just about taking a pretty picture. The picture must mean a lot more. And I discovered after several photoshoots that, interesting subject-surroundings interactions aside, I was taking fashion shots. Over. And over. And over. And none of them held any artistic weight.


In the eleventh hour of my 'One' portraiture project I commissioned my good friend Tom for a night photoshoot near where we live. He was reluctant, always had his mouth open in photos, and spent a lot of time informing me of how much he didn't like being in photos, but something changed. Something clicked. And it wasn't just the lonely urbane backdrop to the photoshoot. For, that evening, I realised an important thing. I don't want to take fashion shots. They look nice, sure, and I'm all for helping my friends' Lookbook pages, but there's still not enough weight. But hold on - I take away the pretty girls, take away the fancy clothes, the bokeh and the pouting. Now the photo isn't about the fashion. It's stripped of models - this guy doesn't even want to be in the photos. And now we can concentrate on something other than composition. Now we can focus on that emotional weight. Now we're taking artistic photography.

And that's where I'm left at the moment. That's where I am in the progression of my photography. I've moved slowly into taking deeper and more meaningful photos:
- The 'nice composition' aspect is important but it's only a surface thing, and is not emotive.
- Using people gives me a lot more flexility and emotion to deal with, but still I can't get to the raw emotion
- Stripping the photo of fancy clothes and fancy people means we're left with the emotion.

But I had a lot of time to look over my photos today, sticking them onto boards and what-not. I looked and looked. Because - and you're going to facepalm now - there's something missing. 'There's always something missing' you may comment. Sure, maybe there is. But I really felt like I'd reached a point of photographic enlightenment, a conclusion, and now I find it's still not enough. It's not emotive enough. I don't mean the subject should give passionate poses and intense looks - that's not what I mean by emotive. I mean that the artwork (for that is what I want it to be, eventually) should convey a strong and meaningful emotion - the basics would be 'sadness' or 'loneliness' (as above), and the ideals 'the interaction between man and his environment' or 'inner conflict in the external world'. Arty farty it may be but, once again, my photography is too lightweight.

So, sigh. A pat on the back for finishing that GCSE, but also a look to the future. I find myself once again at a photographic impasse, more prominent now that I have reached deeper in the technique of photography as art. The title of this post says 'where now'? - I honestly can't answer that question, I have no idea. Let's hope I keep trying and keep photographing and keep searching for that ideal, whatever it may turn out to be.

~John