As I've mentioned on my poodlewalks blog here and here my work flow is often based on me making photographic sketches of a scene or object with a point and shoot digital camera, then play around with the image on the computer, and then decide whether or not I'll reshoot the scene with a large format camera. Underneath his lies the idea of skill and artistic labour.

In the Preface to his The Intangibilities of Form: Skill and Deskilling in Art After the Readymade John Roberts asks:

what kind of theory of authorship do we want after the displacement of the author from the centre of his or her artisanal labours in the twentieth century? One in which the decentred author is returned to art history merely ‘intertextualised’ within a history of artistic styles, or, one in which artistic authorship as an ‘open ensemble of competences and skills’ is grounded in the division of labour and the dialectic of skill–deskilling–reskilling? This distinction is crucial because, despite the general cultural assimilation of the avant-garde and acceptance of the readymade in contemporary practice, there is much intellectual confusion about what constitutes skill in art after the readymade and the critique of productive labour and art in the early avant-garde.