Great to hear that this information is helpful to you. I hope you've checked out our resource page and our earlier posts too.
Your Faces of Malibu project looks great. Can't wait to see the book and congratulations for taking the leap. If you have any specific questions you're trying to figure out, ask away and we'll see what we can do to find some answers :. I'd be interested to hear more about what the considerations are for you and what you think makes a book special.
It would be great to hear from more photographers such as yourself who are thinking of making a book. Moderated by yours truly… looking forward to hearing your thoughts! Pet theory here: The codex format of books, which has been around for ages, has really grandfathered its way into human consciousness. It is the archetype. When I do workshops I would call books "machines," which seemed to confuse people, but that is just because I want people to consciously think about the object in question.
Their functions and forms are so sympathetic to our perception that we no longer see them as fairly advanced technologies—even, ironically, as they might be eclipsed. We are having a hard time finding new ways to organize and present content that has conventionally gone into books because we cannot unthink the book. We can't reach back to a consciousness that never knew the ease that codex technology afforded us. We try to adapt this content to pseudobook conventions: the web "page," obviously, but also some online magazines that still employ a page-turning graphic framing for no good reason.
All this to say the book is such an optimum technology for its kind of content delivery that any predictions to the form's demise belies its indispensability. It seems expendable only because its ubiquity insures we don't tend to consciously assess its value. On another note, Marc, in your experience with Japanese publishing, do you see more exploration of bindings and formats? A photobook that rolled out like that would present images in a different way than is possible in a photobook.
One continuous, evolving story in perhaps a long, uninterrupted panoramic image something like a tapestry I suppose.
As a trivial example, this is the sort of thing that McLuhan is talking about with questions like :: What does the medium retrieve that had been obsolesced earlier? This is an interesting discussion. And while it's officially about photobooks, it has interesting overlaps with the presentation of photos in electronic media. While designing my new website, I looked at dozens of photographer's sites. And yes, what struck me is that many of them are structured like a 'book' with a series of images you 'flick' through.
But I agree with Gordon — the joy of electronic presentation be it an ebook, website, PDF, app… is the freedom to escape the layout 'constraints' of traditional, printed books. The 'scroll' reference is interesting. And fits with where my design led. I aimed to recreate a gallery 'wall' with my layout, rather than a phototography 'book'.
So my webpage is very wide pixels and viewed by scrolling left to right, rather than up and down. This allows multiple images to play off one another, as they might on a gallery wall, and gives more space for visual narratives to develop. It also helped me avoid the familiar thumbnail and slideshow techniques.
Skip to content Free download. Nowadays, I do almost all my image editing in Camera Raw, even for scanned artwork. It is the archetype. Both the U. In the past, Lightning has screened all graphics to increase printing speed.
I had planned on an even wider site, but the application I used to make it is limited to this width — but actually that had the beneficial side effect of tightening my edits. It is by no means unique to Japan but the photographic explosion that occurred during those years took place without a single photography gallery to show prints in the first opened in Tokyo in So books and magazines were the only outlets for showing work and a huge amount of effort went into making them.
Collaboration was also crucial and designers had a big role to in making the great books of this period great. Interestingly speaking to photographers now about these books that are now considered seminal and highly collectable, they often don't feel complete ownership over the project. They even sometimes feel that it is not so much their book as that of the designer. It would be great to get the thoughts of any photographers on this.
Would you feel comfortable giving a designer a lot of freedom with your images in terms of cropping, full bleeds, juxtapositions and sequencing if you thought it could create a beautiful book?
I think Japanese photography remains pretty close to the pile in terms of production quality and design, but I think it has, naturally, become much more business driven, as everywhere else. In the 60s and 70s experimentation still had the upper hand. I recently purchased 'Japanese Photobooks of the 60s and 70s' by Ryuichi Kaneko and Ivan Vartanian — a recommended read for this topic.
The photography from Japan in these decades seems to have an edginess to it which seems intergrated into the culture of the time. There is a 'non-precious' feel to many of these books which is refreshing — you definately get the idea that there was an overriding spirit of experimentation with book designs. In terms of allowing the freedom of design to 'designers': Personally I would not really like to offer a designer the freedom to interfere with any work I am producing.
I think that alot of photographers who develop a substantial body of work worthy of a book-format need to have control over all aspects of the production of the work. However, one can get too enveloped in their own ideas sometimes and dialogue with designers, other artists…anyone really is absolutely necessary from time to time. Martin, thanks for mentioning Kaneko and Vartanian's recent book, something that anyone interested in the history of the photobook should definitely not miss. It's interesting to read your thoughts on collaborating with designers.
One of Japan's most prolific photographers of the twentieth century, Daido Moriyama has made so many photobooks that you could pretty much have an entire library devoted only to his photobook production. His approach is interesting because he hands his work completely over to the designer and editor and has pretty much nothing to do with the book process except for providing the images to work from. For example in Mite Kita Chugoku China as I Saw It he not only chose the images, designed the book and the cover, wrote the text, drew a map of China featuring his own calligraphy and actually had the paper made to order on which it was printed.
Doesn't get much more hands on than that!
Brian Oglesbee. Marc, the best example I know would have to be Keith Smith, who has been making amazing one-of-a-kind books using photography often along with other media since the 's. Hans Peter Feldmans 'Bild' or 'Bilder' book series late 60s — early 70s are interesting examples to investigate in terms of its production — very underatated, simple, almost primitive method of book-making.
But, perfect for his style and approach to photography. From my experience, people will always want art books. In fact, as publishing moves more towards being in favour of online-only editions magazines, self-published novels, "legitimate" stuff for the Kindle, etc. To me, the interesting debate is whether artists should control all aspects of their own publishing projects. Surely, there are some artists and other professionals who would be very capable putting their own publishing projects together but they would be a minority. But then there are the considerations of marketing, distribution, inventory control, etc.
Interesting analogy, I used a similar one recently but instead of musical styles I went for vinyl vs CD. I tend to agree with you that niche publishers can in fact benefit from the drive towards e-books, as photobooks become even more highly collectible and desirable as objects. Marc, I think online books look like printed books, because people haven't come to grips with what changed. That's what McCloud is talking about in his search for a 'durable mutation' and what McLuhan discusses in general in all of his work on how technology changes media.
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