As hoped and expected, hidden gems have started to emerge, now I have begun to take a closer look at the backfiles, with an eye to editing a "Viaduct" sequence. This always happens.
I think it's partly to do with the way the more declamatory, obvious images demand your immediate attention, and then -- too soon -- you have moved on to the next, fresh and exciting batch. Good stuff -- sometimes the best stuff -- goes unnoticed. But it's also got a lot to do with the way a sequence suggests a narrative, and demands connections.
For example, how do you show how the M3 cutting divides St. Catherine's Hill from Twyford Down, which, before 1991, were joined by a simple neck of downland? And, having found suitable images, what else do they bring to the story?
In the case of these two, I think you also get a strong sense of the watchful way nature's resilience has started to reclaim and heal the wound opened in the 1990s.
And the wind shall say: Here were decent Godless people:
Their only monument the asphalt road
And a thousand lost golf balls.
T.S. Eliot, Choruses from The Rock