My tutor suggested further reading around editing and sequencing of images, this is an area I need practice and to develop an effective techniqe
Some notes I took from the book so far :
The book’s concept is very important
Elements of the story can be introduced at first without being related – the viewer trusts the author that the story will be revealed later on in the book and they can make sense of the photos – eventually things will start to relate to what has been seen before
Use double sided tape so can attach and remove images either from a wall or a dummy book
Dont put too many different layouts and image sizes for different spreads
Start edit and sequence and simple layout with a basic dummy – and then when happy refine other bits.
Simple decisions and ideas lead to a complex and truly immersive book – Mariela Sancan (Moises) – the book is unfolded to discover portraits of an old man in his 70’s – her dad died from suicide and this searching experience in the book reflects her pain.
Design :
- How a page works
- How to pace information
- How text can support an image and vice versa
Design is not what the photographer wants but what the work in question demands
Most photographers are not trained designers- approaching a professional designer early on in the process is a good idea – find graphic and physical manifestation of your photographic ideas
Tien Van Der Heijden – Dutch Designer
2 books on either side of the design spectrum : Walker Evans – American Photographs and Interrogations, Donald Weber
A designer that knows how to read the language of photography can have input on the editing too
Design helps telling the story in a physical form that adds to the intention of the story
Limited budget will force you to enhance the essentials and the basic elements – often making the work stronger as a result
The Dutch Photobook – Aperture 2012
The photobook, A History – Martin Parr
Kuipers 10 golden rules pdf
Physical aspects : the colour cast across a book especially if its a budget print
Choice of paper, type of printing and type of binding will all affect the outcome
Perfect Binding – a common cost effective binding, restricts opening – avoid detail close to the middle – there is no perfect binding option and with age a physical object will deteriorate no matter what the quality of binding used
Richard Benson describes the difference between a photobook and an exhibition :
“How naive are we to think that we can see it all at first glance when hung on a wall or on a computer monitor. The book solves this problem, we can look long and hard without distraction and return to it again and again. Photographs can become like old friends, and like the best of them they can reveal themselves endlessly as we come to know them better”
In my own work
I need to start to print out my work and get the editing and sequencing part of my work better – put images on the walls and live with them
Need to find a partner that can critically evaluate my work and I can work with going forward
Become familiar with a number of photo books to inform your own work – try to understand whether they work, how they work – how their different elements come together and how design helps to support the work
Bibliography
http://jmcolberg.com/weblog/extended/archives/how_to_make_a_photobook/
http://harveybenge.blogspot.com/2012/03/photobook-some-thoughts-on-editing-and.html
Jenny Stork: Photography 1: Context & Narrative 