World #PhotoBookDay 2016

Note: for all the news and events relating to #PhotoBookDay, this dedicated site is the place to be…

Yes, this is the fourth year we are celebrating World #PhotoBookDay. October 14th marks the anniversary of the purchase by the British Museum of the first known photobook: Photographs of British algae. Cyanotype impressions, by Anna Atkins. Now this first copy belongs in the British Library.

We celebrate our passion for photobooks, we rejoice that Anna Atkins bound some cyanotypes, we commemorate every book we have on our shelves, we applaude all the libraries buying photobooks and photozines, we love every person who love photobooks!

And we’d love you to join us to celebrate this global event by organizing an action related to photobooks in your own city. Spread your love for photobooks around your community. Please share your activities on social media using the hashtag #PhotoBookDay, it will be the best way for everyone in your local community to reach your activity.

On this map see how others celebrate!

As every year, we know there is not much time to organize large events. Here we can propose you some easy actions you can take to celebrate locally this global event:

  • Spread the love by sharing something you think someone will like, not something you think they should like.
  • Post a #PhotoBookDay Selfie or Shelfie on social media: an image with you and your current favourite photobook.
  • Ask your local library to buy local self-published photobook and photozines, we are sure you can give them some ideas.
  • If you are in charge of a library, consider to purchase and support self-pulished photobooks and photozines on this special day and mark your book record with a special note to PhotoBookDay.
  • Buy a photobook. Many bookshops and publishers will make special discounts for the day. Follow your favourite bookshops on social media or search for #PhotoBookDay for offers and discounts.
  • If you make or sell books, offer your customers discounts or some special goodies. If you run a bookshop a special 5% discount will make your clients happy. Don’t forget to announce it with #PhotoBookDay on your usual social media channels.
  • Search for a PhotoBook Club in your city to meet with like minded people and share photobooks. If there is no one, PhotoBookDay can be a good day to start one. We’ll make a list with activities organized by clubs all around the globe.
  • Discuss your love of photobooks via the twitter hashtag #PhotoBookDay. Or on instagram, too.

And please, tell us what you did for World PhotoBook Day 2016. We hope we all have fun this day with photobooks.

Organise! Participate! Celebrate! The World Photobook Day has been set up as a collaboration between the organizers of Photobook Club Madrid and Matt Johnston. Celebrating the photobook, born in 1843.

Matt Johnston
Juan Barte
Juan Cires
Bonifacio Barrio Hijosa

2015; a year in the photobook’s life

2015_year_in_photobooks_life_crop2015; A Year in the Photobook’s Life
A survey of photobook-specic happenings in the US and Europe.

Access the PDF here
Access the JPG here

This survey intends to visualise and in a sense, flatten, the many events, competitions and workshops that are taking place around the photobook right now. In doing so, a lineage — or at least a chronology — can be established, demonstrating a growth of interest and increasing institutional support in the medium.

It has been put together with the view that it will act as a record not just of 2015 but the new age of the photobook (golden or otherwise). is research is concerned only with photobook speci c events and only covers the US and Europe. is is not because these geographical areas can be seen as the home of the photobook – not by any means, but because this is both the focus of my broader research project, and provides an opportunity, through networks, to realistically claim con dence in correctly recording and listing the vast majority of appropriate events. e choice to begin with the year 2015 is similarly bene cial. While of course many events have run in earlier years, or are starting up in 2016, the single year provides a baseline from which to work back in establishing the aforementioned chronology and origin.

Only photobook-speci c events have been recorded — a choice which, if aiming to build a picture of the variety of spaces in which the photobook is present, would be disastrous. Here, art book fairs and non-medium-speci c zine workshops for example, have been excluded. In doing so it is hoped that clarity is improved and subjectivity removed.

Fairs and festivals are subject to a further limitation in that they must be multi-day events. Once again a choice of clarity and con dence and not a suggestion that single day events are not a part of the photobook world. Many single day events have been arrived at during this research, the transient and o en independent nature of which have on many occasions presented quite di erent ideas on what the photobook, and what a photobook event should be.

A list of thanks can be found on the right hand side of this visualisation — these are people who have contributed to this survey and without whom many omissions would have been made. ere are likely still some errors or misses so please do get in touch if you have any: A scroll of this document will be produced in Autumn of 2016 on lightweight poster paper, if you are interested in having a copy, please email the above address.

Matt Johnston


Despite a relatively strict set of criteria for the events listed here, it was inevitable that I would miss over signi cant happen- ings. In sharing beta versions of this research I was grateful to receive help from a number of contributors. My sincere thanks to Tommy Arvidson, Bonifacio Barrio Hijosa, Ana Paula Estrada, Sarah Greene, Jose Félix Liébana, Hermann Lohss, Malcolm Raggett and Hannah Watson who all got in touch to share information. If you see absences and would like to aid the building of this resource, please get in touch –

Photobook Club Aarhus, Books and the City

Great to hear from Moritz Neumüller about the possibility of setting up a Photobook Club Aarhus — something which would extend the great conversations that happen around Aarhus Photobook Week throughout the year. If anyone is interested in attending, or has any ideas/locations etc. to share, please get in touch with Moritz.

Elsewhere, on Wednesday 22nd I will be presenting the Photobook Club’s Box of Books at an exciting conference called ‘Books and the City‘ in Maastricht. Along with a discussion of the box and intent, I will highlight the fantastic variety of events and outcomes of Photobook Club communities all over the world. It is only a brief paper but will be a good way to begin a more thorough survey of the Photobook Club, its organisers, attendees, conversations and locations.

All for now but if you have not already, get your hand on max Pinker’s PDFs here and if you have other examples of free PDFs, please let me know! (

Arts Libris, ELISAVA and PBC Barcelona!

Really looking forward to some time in Barcelona next week. I will be heading over to launch Code-X; Paper, Pixel, Screen and Ink with the bookRoom (UCA Farnham) at Arts Libris. The book brings together some great voices who are playing with, responding to, and generally trying to make sense of the sometimes chaotic changes the codex is going through. The chapter I contributed is titled ‘The Photobook Club; a pragmatic response to hierarchical conversations and the photobook as capital‘ and is available in the book (of course) and soon online.

While in Barcelona I will also be giving a lecture and workshop at ELISAVA, the school of Art and Design and will be meeting with the Photobook Club Barcelona which is super exciting. If anyone is in Barcelona and wants to meet up then drop me an email.

Photobook Reader Reviews: Spirit is a Bone and Shelter Island (but not really)

I have only ever written a handful of ‘reviews’ on this site – it has never been the purpose of the platform in any way – and still is not, but for a few reasons I like to engage with the process. Primarily the review allows a new connection to the work and a deeper engagement with it – positive or negative – it demands a concretisation of loose and often fleeting thoughts. Secondly, the review, from a readers perspective should be invaluable to the author of the work – I am consistently surprised by the emphasis placed on a few ‘elite’ and selected reviewers over a true readership, especially with works that seek ‘to do’. Thirdly, any books I receive end up at Photobook Club events or, if light enough (and this is a very serious limitation) touring round different locations, getting posted to other parts of the world and being enjoyed by tens and hundreds of people.

With this in mind I thought a reader’s perspective on a recent publication* from MACK and a brief comment on another would be a good start. These books were received amongst others and were unsolicited. I had originally planned to write about Ivars Gravlejs’ Early Works – a book that I took to a Winter book club in Coventry and was extremely popular, but Colin Pantall had already written a thorough piece on the book which resembled a lot of my own thoughts**.

*New issues are interesting for sure but how about more reviews on older works/books that didn’t sell well/second editions etc?

** Colin’s review was posted in July – giving some cause to think that I may never be someone to write about a book when it first launches.

Oliver Chanarin & Adam Broomberg
Spirit is a Bone

It is inevitable that with a medium like the photobook, in which we, the reader, are given so much room to bring our own thoughts to the experience of reading, that we will find books articulating what we are thinking about at the time. I spent time with Spirit of the Bone at the same time as I was getting my head around the underlying state of the ‘visual’ that led to James Bridle’s proposal of a ‘New Aesthetic‘. The New Aesthetic – which represents a new way of looking and making, influenced by an undercurrent of computational seeing manifests itself in the everyday screenshot, glitch, timecode, manipulation or satellite image. Broomberg and Chanarin’s work immediately connects with these notions of computation seeing – images in a hybrid form – recognisable not as photographs but as photographic elements.

Spirit is a bone_ 7

The series of portraits in this book, which include Pussy Riot member Yekaterina Samutsevic and many other Moscow citizens, were created by a machine: a facial recognition system recently developed in Moscow for public security and border control surveillance. The result is more akin to a digital life mask than a photograph; a three-dimensional facsimile of the face that can be easily rotated and closely scrutinised. (MACK)

Spirit is a bone_ 9Together, the series as a taxonomy of portraits of resistance and futility is powerful. The breadth of subjects and the sense of ‘collection’ together with their lifeless representation through the cameras and software creates a highly voyeuristic reading. To compare a reading of this book with a visit to a taxidermy museum would not seem too far fetched.  Physically the book is commanding and exquisitely printed – the separation of image from page via tip-in(?) highlighting the alienation of subject from surrounding, reduced to algorithmic visual interpretation.

An interview follows the photographic section of the book – suggesting augmentation and addition as apposed to essential reading. The interview (between B+C and Eyal Weizman) is a little meandering. Physiognomy and phrenology give way to forensics and taxonomies, colonialism and retrospective anthropology before arriving at surveillance and facial recognition in relation to terror and modern conflict. A little more focus and some discussion on the process (including subject selection) would have improved my own reading and understanding of the work.

Spirit is a bone_ 16

A note on reading: Despite spending considerable time with the book, and having explored each page, I have never done so in a sitting and have not felt much has been missed in not reading the book in a single, linear fashion. I would be really keen to hear how others have navigated through books like this, and whether you feel it has had an impact on what you have taken away from the experience.

Roe Ethridge
Shelter Island

Shelter Island_ 8

Erm…. how to comment on a Roe Ethridge book? I don’t really want to comment on the work actually, as a reader I found it rather thin and was given no help in the work (Shelter Island is the only piece of tex aside from acknowledgements). For what it’s worth I figured that Ehridge was interested in speaking about the changing relationship to place (in current and past forms) that digital technology has brought about. What is really exciting about this work though is that it is a wonderfully made book, with high quality prints, of a decent size…. and for £10! Of course Ethridge’s name likely helps keep the edition size up and cost down but to know that works of this quality can be sold for £10 is so encouraging – perhaps MACK might consider a progression of Schilt’s excellent ‘Grey Matters’ series?


Natural Collection Updates

The Photobook Club’s Natural Collection (found online here) returned from a stay in Australia recently where it was exhibited at the Monash Gallery of Art in Melbourne. The collection is now back in Coventry where it awaits an exhibition at the Lanchester Library and a number of social engagements with schools in the area.

A number of the books have already been requested and sent to Casablanca – if you would like any packages of books sent on then just get in touch.


the Natural Collection arrives back


books on their way to Morocco


The Photobook Ghetto – Surely an Ironic Post?

Yesterday Colin Pantall, on the Photobook Bristol blog, posted a sort of response to criticism that the photobook world is a ghetto, that it is a closed world, one which is hard to break into. It is an interesting position certainly and one which many may feel was a) not taken seriously (‘Next in the Photobook Repeated Circular Arguments’ followed this post) and b) only confirmed and solidified in Pantall’s response.

There is little need to deconstruct the argument, and a few commenters have already pointed out the flaws, but here is the gist of the piece which fails to consider that perhaps inclusion is not only about the (tiny percentage of) books making these lists. Fails to consider the irony in declaring openness prior to listing self-made criteria for ‘entry’. Fails to think even about the selection of practitioners to speak at the event this year – which is mostly made up of book list ‘success’ stories and established voices in the ghetto or village or whatever the self elected guardians of the photobook world are calling it.

Full post here

But the Photobook World is nether closed nor difficult to get out of. Look at the list of Best Books for 2015 and while there are old-er-hands in there like Alec Soth, or Boris Mikhailov, the top places are taken by photographers like Mariela Sancari, Dragana Jurisic, Daniel Mayrit, Laura El-Tantawy, Thomas Sauvin and Ivars Gravlejs…

So it’s not a closed world. If you want to be part of it, make a nice photobook that says something different. If it looks the same as every other photobook, if it doesn’t have an opinion or attitude, if it’s bland and tasteless, it won’t cut the mixed-metaphor mustard. It really is that simple – if you ignore all the other complicated things that we won’t talk about here.

So the photobook world is not closed to anybody. And if you don’t want to be part of it, then you can just walk away and not come in. Or if you’re a little bit interested or curious you can just drop in and stay for a little visit. You can leave any time. It’s really quite open,

Of course a lot of people wouldn’t want to be a part of this world anyway – maybe the fourth failure is in not recognizing that we can walk away and still be a part of the photobook and its significance.

Update: some additional and insightful comments on Colin’s post found here by Lewis Bush

The Shift?

It is silly to try and predict the turning point of the photobook – and of course there need not be one. But in cutting for sign we can surely see something is moving against the photobook – in a positive manner. I wrote about the photobook’s dull hierarchical conversations and the trend for contribution of content (and books) to a pointless cycle around the photobook for Code-X recently (a short chapter I hope to have online for free). It seems perhaps there was something in the water, or else everyone got fed up of hearing and seeing the same stuff again and again. A number of notable posts recently pick away at the veneer of the photobook scene as we see it represented by production, consumption, miss communication and poor thought.

These are some great starting points for a critical perspective…

Harvey Benge – Link
Craig Atkinson Pt I – Link
Craig Atkinson Pt II – Link
Lewis Bush – Link

In the spirit of thought over reaction, i’m not going to add much here for now but spend more time with these pieces. I will finish with this though…

Craig Atkinson comments that

The main problem to my mind is that so much photography is made with no intent. People don’t know what to do with their pictures. Naturally, they want people to see them, so they head for Blurb, or Lulu and often never speak to a printer, never consider paper stock, typography, sequence, size, fold, edit…

To which it might be worth adding that perhaps worse than those who don’t make well made books, are those who do – who speak to the printer and get on the latest trendy designer – the artist formally known as SYB? They get gorgeous paper and interactive elements, only to realise that the book costs £40, they don’t have an audience beyond family and friends, and the book says nothing other than that they value style over communication.

Oh, and if this is all a little negative. This will make you laugh…

The continuing presence of SPBH as an arbiter of the DIY spirit affirms Ceshel’s belief that self-publishing is an independent state of mind, an attitude as much as an aesthetic. “DIY culture,” he says, “is by its nature an ethic in opposition to society’s rules at large. It flourishes in environments of communitarian support, collaboration, and even informal barter economics. It is rooted in self-affirmation against a conformist and normative system … An army of young artists is undermining the greed-run system at its foundations, one page at a time.” Long may it flourish.