This paper addresses the late work of American photographer Francesca Woodman, produced at the start of the 1980s shortly before her death in 1981. Representing a radical departure from her usual practice of small, barely enlarged silver photography, her late “blueprint” diazotypes point to a shift in Woodman's practice that enables a contextualisation of her practice within the postmodernist concerns of the period. Demonstrating an engagement with issues of identity and self-representation current at that time, Woodman's appropriation of outmoded photographic processes also demonstrates an experimental vein in her practice in which she looked beyond the boundaries of the photographic medium as well as exploring its limits. By addressing her late “blueprints” through the idea of the photographic touch, this paper suggests that in her engagement with the outmoded temporality and space of the “time exposure” (dramatised in the exaggerated production of the large-scale “blueprint”), Woodman's practice should be re-situated at a pivotal moment of change that looks both backwards and forward, its fixation with temporality, duration and time revoking the past at the same time as anticipating the concerns of the photographic future. [ABSTRACT FROM PUBLISHER]