Been thinking about editioning a lot lately. Probably because of PhotoLucidia’s Critical Mass call.

I think I’m a little strange with how I handle photographs. Rather than create one perfect image, I find myself going back to the original (whether a film negative or a raw file) and redoing them.

Even with just making social media posts, I’ve redone images.

Creating photographs, I find myself repeating motifs and æsthetics. There’s some adversion to showing too-similar images together, as if one should be edited out of existence.

A curious perspective. With traditional media, the expectation is more common to have similar, but different images. Little artistic variants.

With books, different editions change the meanings. The quality of the printing can give a book an air of authority or pulpy penny dreadfulness. The text itself may differ between editions. Editorial decisions can affect the lens through which the work is considered…

This past month, I’ve been creating a new edition of Fæking. Starting with Xerox photo transfers. Now, by the nature of the toner, these prints are nonarchival. They will fade over time. But, that makes me like the process more.

They’ll fade just as dreams and memories do.

When you’re remembering something, it’s not like a VCR playback. You’re altering the memory as you think about it. Some details may become more pronounced as you fixate on them. Some details may even be completely fabricated.

With this sort of rewritten psychology, I decided to play with other media atop these transfers. These additional media have a higher lightfastness, meaning they’ll outlive the toner transfers they modify.

Your thoughts about a memory outlive the memory.

They don’t feel necessarily cohesive, yet. Some of the media ends up so dominant that you can’t even tell there was a photograph.