The group of photographs I came to call ‘Portfolio One’ range across a long period of time. They are all images which, by one means or another became materialised as presentable prints of a similar size, physical enough to find a shared home in an archival box. They mark a point in the mid-1990s when I had completed a fine art degree, and which made me see photography through newly critical filters, a time when I had also started using a medium format camera. ‘Portfolio One’ may have its roots in my original 35 mm photojournalism images (for which the negatives were tragically lost or stolen) but it also has a distinct end in pictures like that of a coffee machine and bag in which I began to investigate philosophical concepts and psychological states – such as waiting or decision-making (both of which can also be seen as intrinsic to the procedures of photography.)
It was while assembling these images as a set, despite them being drawn from different periods of my experience, that I first noticed a tendency I had always had to make images that appeared out of time or of another time. And this also made me start thinking how and why Photography in particular might itself have this timeless or anachronistic tendency.