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BOOKS COMMENTS INVISIBLE CITY REVIEW THOUGHTS ON BOOKS

‘Invisible City; A Digital Resource’ – The most Surprising 2012 Photobook Publication

Very proud to see the Photobook Club’s digital publication ‘Ken Schles, Invisible City; A Digital Resource’ make it onto Martin Brinks ‘Top Digital Photobooks‘ list last week and now very happy to read a great little review of the publication in Taco Hidde Bakker’s ‘Photobook Listmania‘.

Alongside comment on lists and photobook consumption which is worth a read in itself, Taco dubs our publication as ‘the most surprising 2012 photobook publication’. You can read the section below but please do head over to the post to hear Taco’s other thoughts.

The most surprising 2012 photobook publication to me has been The Photobook Club‘s free-of-charge e-book: Ken Schles – Invisible City: A Digital Resource. A page-by-page digital representation of the beautifully printed original 1988 book (which is rare and expensive nowadays) embedded within notes around the production of the book, and recent discussions. An excellent example of how valuable older, sometimes overlooked and understudied, photobooks can be lifted out of the shadows and be studied in a public realm beyond the traditional library.

Taco Hidde Bakker

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EVENTS NEWS THOUGHTS ON BOOKS VIDEO

A Brief History of The Photobook Club

This talk I gave at the Open Education conference in Vancouver (2012) tells the story of The Photobook Club in particular focusing on the importance of accessibility, discourse and experience. I hope you might enjoy it and share it.

– Matt

A Brief History of The Photobook Club from Matt Johnston on Vimeo.

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BOOKS INVISIBLE CITY NEWS THOUGHTS ON BOOKS VIDEO

Ken Schles: Invisible City, A Digital Resource

This really should not have taken as long as it has, and for that my apologies. I often stress that accessibility is of paramount importance to me and The Photobook Club so was well aware that in publishing the Invisible City iBook I was both improving access to content for some but excluding a large audience also.

And so here I hope to rectify that by launching ‘Ken Schles: Invisible City, A Digital Resource’ as an enhanced PDF. Provided you have the latest Adobe Reader software (free and available on all platforms) you can download the resource for free below.

About:
This publication takes on a magazine-style format, inside of which you will find not only the images and text featured in Invisible City, but a variety of personal reflections, commentary on the process of creating Invisible City from Ken Schles and even original notes from a lecture given at New York’s International Center of Photography in 1990.

Download the enhanced PDF here to view on your PC/Mac/Tablet (File size: 90mb)

If you have an iPad, you can download the publication free from the link given below via the iBook store.

The complete forward featured in the publication alongside screenshots is featured below this introductory video.

Forward
I set up the Photobook Club in 2010 as a response to both my own fascination and frustration with photobooks. My fascination was born and nurtured as a student spending thousands of hours in the University library choosing books at random by the colour of their spine, or based on recommendations from my peers and tutors. My frustration was a little harder to pinpoint but essentially stemmed from my wanting to learn more about the classic photobooks, those revered and often rare books that held a sense of mystery between their two covers; everyone agreed they were classics but there was little discussion of why.

At the time there was, and still is, a huge interest in photobooks, but predominantly in the new, the self published and the handmade, and so together with partner-in-crime Wayne Ford, I decided to open out my thoughts and learning to a wider community – just as a traditional book club. As well as promoting and facilitating this shared experience online, I was keen to encourage the generative experience the photobook offers us both in spending time with a beautifully crafted artifact, and in sharing thoughts (as well as books) in person.

I certainly hope that (depending on your knowledge of Invisible City), this publication will either introduce you to, or help create a greater understanding of a hugely influential modern photobook. Inside you will find not only the images and text featured in Invisible City, but a variety of personal reflections, commentary on the process of creating Invisible City from Ken Schles and even original notes from a lecture given at New York’s International Center of Photography in 1990.

Regardless of your previous experience with this book, or whether you are a lecturer, photographer, student, book lover or just curious, I would really appreciate your comments via the email address below.

Finally, thanks must of course go primarily to Ken Schles, not only for allowing all to see his wonderful images but also for kindly lending me a copy of the book to work with, and for his enthusiasm towards this project. My thanks also to the contributors listed on the following page who offered their own, personal reflections on the book.

Matt Johnston


matt@photobookclub.org

 

Download the enhanced PDF here to view on your PC/Mac/Tablet (File size: 90mb)

If you have an iPad, you can download the publication free from the link given below via the iBook store.

 

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INTERVIEW THOUGHTS ON BOOKS

5 Questions from Martin Brink of ‘The Digitial Photobook’

Swedish photographer and writer Martin Brink recently set up ‘The Digital Photobook’, a place to discuss and review how photographers and photography is exploring new possibilities in digital publishing. As part of this site Martin put 5 questions to me about The Photobook Club, our meetups and the choice to publish ‘Invisible City, A Digital Resource’ digitally.

Hit the image to head on over…

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BOOKS THOUGHTS ON BOOKS

Photography and the Artist’s Book

This book has just landed on my doorstep. Published by MuseumsEtc ‘Photography and the Artists’s Book’ is edited by Theresa Wilkie, Jonathan Carson and Rosie Miller, featuring varying essays by some clever folk I wont list here. Unfortunately, the academic book relies on a high price from low volume sales and at £34 (£64 hardback) it is certainly not one for everyone.

I will be reading this one once back at the desk and will look to share some thoughts and comments on the blog. Has anyone else purchased the book as I would be keen to completely rip off Tom Grigg’s great idea and have an open dialogue as we read different essays?

– Matt

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EVENTS INDEPTH INVISIBLE CITY NEWS SUMMARY THOUGHTS ON BOOKS VIDEO

The Photobook Club Presents… Ken Schles: Invisible City

Today I am pleased to announce the launch of a digital publication looking closely at Ken Schles’ photobook Invisible City. This publication is currently available as a direct download for the iPad but will be available on more platforms shortly. This publication takes on a magazine-style format, inside of which you will find not only the images and text featured in Invisible City, but a variety of personal reflections, commentary on the process of creating Invisible City from Ken Schles and even original notes from a lecture given at New York’s International Center of Photography in 1990.

If you have an iPad, you can download the publication free from the link given below via the iBook store.

DOWNLOAD – ‘Ken Schles: Invisible City, A Digital Resource’ straight from the iBook Store

The complete forward featured in the publication alongside screenshots is featured below this introductory video.

Forward
I set up the Photobook Club in 2010 as a response to both my own fascination and frustration with photobooks. My fascination was born and nurtured as a student spending thousands of hours in the University library choosing books at random by the colour of their spine, or based on recommendations from my peers and tutors. My frustration was a little harder to pinpoint but essentially stemmed from my wanting to learn more about the classic photobooks, those revered and often rare books that held a sense of mystery between their two covers; everyone agreed they were classics but there was little discussion of why.

At the time there was, and still is, a huge interest in photobooks, but predominantly in the new, the self published and the handmade, and so together with partner-in-crime Wayne Ford, I decided to open out my thoughts and learning to a wider community – just as a traditional book club. As well as promoting and facilitating this shared experience online, I was keen to encourage the generative experience the photobook offers us both in spending time with a beautifully crafted artifact, and in sharing thoughts (as well as books) in person.

I certainly hope that (depending on your knowledge of Invisible City), this publication will either introduce you to, or help create a greater understanding of a hugely influential modern photobook. Inside you will find not only the images and text featured in Invisible City, but a variety of personal reflections, commentary on the process of creating Invisible City from Ken Schles and even original notes from a lecture given at New York’s International Center of Photography in 1990.

Regardless of your previous experience with this book, or whether you are a lecturer, photographer, student, book lover or just curious, I would really appreciate your comments via the email address below.

Finally, thanks must of course go primarily to Ken Schles, not only for allowing all to see his wonderful images but also for kindly lending me a copy of the book to work with, and for his enthusiasm towards this project. My thanks also to the contributors listed on the following page who offered their own, personal reflections on the book.

Matt Johnston


matt@photobookclub.org

 

DOWNLOAD – ‘Ken Schles: Invisible City, A Digital Resource’ straight from the iBook Store

Categories
BOOKS COMMENTS THOUGHTS ON BOOKS

Crowdfunding Books: Let’s Sniff the Glue

Crowdfunding is a fantastic opportunity for photographers and other creatives to sidestep traditional barriers of entry to the production and publication of work. It also offers the chance to target and reward niche groups and communities for work that would otherwise not be supported by the ‘mainstream’.

Unfortunately for photobook enthusiasts and potential funders, the crowdfunding platforms are generally geared towards the project and content than the form of the artifact; that is that we cannot see the print or design quality, cannot feel the weight or sniff the pages (always surprised how many people do this, and if you don’t – try it!).
This isn’t so much of a problem when the funding goes towards both the production of content AND artifact as we are very much aware that funds make the project happen in the first place, they bring it to life.
However, when money is being raised after-the-fact and images exist elsewhere, in some form, it is a harder task to get funding for a physical object which is only described or shown as a preliminary sketch.

Peter Dench's succesfuly funded 'UK Uncensored'

This is why book dummies are so important, and ensuring these dummies can be seen and touched, I hope, will become more common. I only raise this post as today I was notified that Bruno Quinquet’s excellent ‘Salaryman’ series has just been launched as a crowdfunded book project here. As well as a snappy video and detailed guide to both editions, the dummy copy was available to see recently at the photobookshow in London. Seeing this has alleviated any potential worries over shoddy craftsmanship or print quality (which can vary wildly in self published titles).

Bruno Quinquet's 'Salaryman'

And so I wonder whether more can be done here. There is already Bonifacio Hijosa’s promising ‘Gloves for Dummies‘ and of course the Fotofestival’s ‘Dummy Awards’, but why not more? Perhaps photographers can team up with bookstores or galleries to hold a copy of their dummy in a small section of the store; the visitors likely appreciate the physical artifact and would enjoy casting an eye over the dummy before going online to conveniently fund it. On that note, dummy’s could be sent to various Photobook Club meetups and other live events, accompanied by the author for direct feedback or introduction?

However these books get seen, I believe it is vital that they are seen and held, not simply to avoid potential disappointment but to generate a community interested and excited about the book and it’s physical properties; after-all these people are parting with money for something they can likely see on screen, for free.

– Matt

If you would like to send a dummy to be shown at a Photobook Club meetup, send an email to me here or pop in the post:

Matt Johnston
Photobook Club
10 Granby Ave
Harpenden
Hertfordshire
AL5 5QR
UK

Categories
BOOKS EVENTS REVIEW THOUGHTS ON BOOKS

The London Book Fair 2012

I should preface this wee post by saying that my background is not in publishing or books in a wider sense, and have never been to the London Book Fair before. That being said, sometimes this is the best way to approach events like the LBF2012.

On the whole I found the fair to be a disappointment, I was hoping to be inspired by companies and individuals experimenting with the book, it’s form, and it’s potential. Unfortunately this was certainly not the case. The majority of the space (and there was a lot of it) was taken up by trade stands who met with clients/distributors/authors etc throughout the day and who were reluctant to talk to or entertain the thought of any changes to the publishing industry in which they may need to adapt.

The digital zone took up approximately 1/10th of the floor space and unless the concept of an e-book or App were unfamiliar beforehand, would offer nothing of interest. Perhaps those who are inviting, and pushing new digital ideas forward do not see the Book Fair as the place to showcase their tools and products, perhaps the idea of a 3 day event in which you pay for a pitch seems old fashioned. But if this is the case, it is a shame, as the visitors and exhibitors at the the fair need new concepts and thinkers quickly.

A notable exception to my disappointment was this year’s market focus on China which featured an array of books from thousand-year-old scrolls to the latest in digital publishing and hardware. It will be no secret to photobook fans that Chinese photobooks can be some of the most exquisitely produced in any collection, and it was apparent as I drooled over what turned out to be a science text book for high school students.
It seems as though, here at least in the ‘China spotlight’, there is a harmony between the analogue and digital. The analogue books are covered for their design and beauty, they are not throwaway artefacts simply printed on the page for old-times-sake. The digital books here are accessible, cheaper and are more than a digital version of their printed cousin; they allow sharing, note taking, and more.

What with his being a photobook blog I should probably highlight a few books I came across today that I had not seen before, so here they are:

‘May 12 Wenchuan Earthquake’
Various
Sichuan People’s Publishing Co, Ltd

May 12 Wenchuan Earthquake

“This picture album selects over 200 pictures taken by professional photographers and reporters. Consisting of three parts, namely, “Catastrophe,” “Rescue,” and “Reconstruction,” the album represents the enormous disaster caused by May 12 Wenchuan Earthquake, displays the hardships Chinese army and people suffered in the struggle against the earthquake, and demonstrates the efforts Sichuan people made to reconstruct their home under the leadership of CPC and Chinese government and with the support of other Chinese people, overseas Chinese, and foreign friends.”
(More here)

Manifest Destiny: A Guide to the Essential Indifference of American Suburban Housing
Jason Griffiths
Architectural Association Publications

Manifest Destiny

For anyone interested in the likes of Jeff Brouws, Ed Ruscha and Stephen Shore (among many others), this could be an interesting read for you.

“In Manifest Destiny, Griffiths reveals the results of this exploration. Structured through 58 short chapters, the anthology offers an architectural pattern book of suburban conditions all focused not on the unique or specific but the placeless. These chapters are complemented by an introduction by Griffiths and an afterword by Swiss architectural historian Martino Stierli.”
(More form the AA here)

‘The Table of Power 2’ (Special Edition)
Jacqueline Hassink
Hatje Cantz

Table of Power 2

50 tables from the headquarters of businesses ranked by Fortune as America’s most influential. With the special edition you can chose your own wood cover in Walnut, Cherry or Red Gum!
(Hear more from Hatje Cantz)

‘Nomad’
Jeroen Toirkens
Lannoo

Nomad by Jeroen Toirkens

Not quite sure how I completely missed seeing or hearing about this last year but wow! What a book, the special edition is stunning but not cheap and the ‘regular version’ is still a fantastic success in design, content and context.
(See much, much more, here)

-Matt

Categories
BOOKS MEET-UPS NEWS THOUGHTS ON BOOKS

The Art Book: An Interview with Matt Johnston of the Photo Book Club

I was interviewed recently by Sara Potter of ‘The Art Book Group‘ who have published a book on art books. It will be available shortly and I shall post a link to it, but in the meantime here is my conversation with Sara on the future of photobooks for anyone interested.

SP: Where did the idea for The Photo Book Club come from?
MJ: Essentially, the club came out of my own desire to learn more about photobooks, I was discovering old books all the time with the help of bibliophile Wayne Ford and was enthralled by them. I was also surprised that there were very few places to discuss these books, there were a number of great websites discussing the new, indie, or self-published books, but nobody was inviting discourse on the classics. I wanted to spread the availability and discussion of old and rare photo books, to discuss the authority of the photobook in our world, and to share ideas with others. I was also keen that this would not be one person’s voice but a community project.
Recently I have also been hosting Book Club meetups and encouraging others to do so, the idea here is to get a lot of the discussion that currently happens online, to happen in person around a table. Fortunately, it seems that this idea has really resonated with the community and thanks to a group of enthusiastic organizers, there are now a whole host of monthly meetups.

Photo Book Club Barcelona

SP: How influential are photo books for promoting an artist’s work and is social media taking over the book’s function?
MJ: I wouldn’t say the two are competing as books and social media have very different purposes and outcomes. There is no dismissing social media as a powerful tool of promotion (and more importantly for me – discussion and collaboration) but in a very different way to producing a photobook.
One of the things I love about the photobook that we don’t replicate digitaly is that you have a story from start to end, all the narrative is consolidated into one physical object and you need no instructions or playback devices to enjoy it. To produce a good photobook involves a completely different set of tools and skills compared to social media and web galleries. This self contained narrative can be fantastic promotion for a photographer when done well, it can demonstrate the ability to tell stories within the confines of the printed page, and it has a physical quality that someone can treasure (which again digital media currently cannot attain).

SP: Are they an artwork in themselves?
MJ: In short, yes. Viewing a book is sometimes compared to visiting a gallery, as you turn the page (or a corner of a gallery), the impact of the previous image gives you a different context for the next image, you can use space to give a breath to the reader, or to surprise them, and images can be paired in harmony or stark contrast. When careful sequencing, appropriate printing, layout, typography, paper stock, size and design are combined to enhance the content the book holds, then yes, it can absolutely become artwork in itself. But not all photobooks are, Alex Sweetman sums this up when referring to Cartier Bresson’s ‘The Decisive Moment’ and ‘The Europeans’;

“…these elegant presentations of photographs fall short of being bookworks. The art here is the single image, not the expressive action of the whole. And this is true of the bulk of photography books, monographs, and exhibition catalogues which remain merely collections – portfolios between covers.”

SP: Can you see ‘e-photo books’ being popular in the age of iPads and Kindles?
MJ: Yes, but not in the current format they resemble. As with all new technology, the e-book has been shaped by what has proceeded it (the book), and to me, this seems a  wasted opportunity. The constraints of the physical book do not apply in the digital world, so why allow ourselves to be limited by them? I see the future of the digital photobook looking more like an App than a book, and it must be immersive and engaging. It is all to easy to click ‘next’ through a web gallery, the majority of which will offer little context, no option to share and discuss, and will be displayed in a manner dictated by the website, not catered for the project itself.

 There are several promising projects starting to emerge though.

Via PanAm iPad App

SP: Do you think the value placed on quality design and production is increasing within the book market?
MJ: It absolutely is, and it needs to. While there will be some people who will buy a photobook in physical form because they have the money, and that is what they enjoy or are accustomed to, this group of people will get smaller and smaller, and it certainly doesn’t include me. I wouldn’t rush to spend £30-£50 on a photobook if it was available online, or in App form unless it was beautifully produced and offered an experience that it’s digital counterpart could not match.
The same goes for the young generation of consumers (often dismissed as wanting everything online, for free). Many of my students treasure the photobooks they have, they treasure the physical qualities of it, they treasure all that the digital cannot replicate, like the smell of the glue, feel of the paper, or the fact that the photobook demands you sit down with it and carefully turn the pages rather than consuming images quickly, and on the move.
As for how the physical object affects the narrative/content; I don’t believe it should  affect it as such, but should enhance and support it. Every choice in production should support the message it holds rather than dictate the content.

SP: Where do you like to buy your photo books? Are there any particular shops that add to the whole experience of buying a book?
MJ: As much as possible, I try to buy from bricks-and-mortar stores like Claire de Rouen and Koenig books in London , but it would be unfair to say this is the only place I buy books, I also shop online and sometimes venture to the dark side of Amazon. We should support our book shops as much as possible but this cannot be based on sentimentalism alone. Book shops should be doing more for the customer paying an extra 10-25% on their purchase. They cannot compete with price or selection of the online giants such as Amazon, but Amazon cannot hold intimate photobook meetings, or invite publishers or photographers to introduce and sign books (Dashwood books in NY is great for these events).
In the early days of the Photo Book Club we started a map of great bookshops around the world where you could get your photobook fix. I started by adding those that I knew of and as people added more recommendations it grew as a community sourced map and now boasts over 160 stores worldwide. I love that the map has personal comments about helpful staff and favourite purchases, and that it can be added to by anyone, it’s a collaboration of great bookshops around the world.

SP: How do you like to ‘read’ a photo book?
MJ: It depends on how I already know the work. I usually begin by quickly flicking through the book (usually as I walk out the store, or on the train home), getting a feel for it. Then, I’ll make the time to sit down with it. A closed book is a fresh and self-contained object so I don’t believe I should need to research or look at other photobooks prior to my first reading. I will read all text presented before the images, followed by the images (if presented in this manner) and consider any text that follows the images to be the bonus material or extra context if needed.

Ken Shcles' 'Oculus'

SP: What is your favourite photo/art book and why?
MJ: If I had to pick a photobook based predominantly on content then I suppose Alec Soth’s Niagara is my favourite project that lives within a book.
If I were to choose a favourite photobook based on its physical qualities then it would be hard to beat Watabe Yukichi’s ‘A Criminal Investigation’. It’s the perfect marriage of subject and object. It’s set out like a documented police file of a 1958 Tokyo murder investigation and the book has beautiful Japanese folding with incredibly rich, matte black tones. It’s been featured on a few ‘best of’ lists recently and because of this it’s now hard to get hold of. It’s a shame that there is a great number of people who don’t get to see and feel the physical book once it becomes popular or collectible (in many cases, me included).
For me, the best photobooks are the ones that I can’t get out of my head, the ones that I just have to pick up again and look at. I didn’t get Ken Schles’ ‘Oculus’ on the first reading – part photography, part philosophy, but it just called me back to revisit again and again, each time taking something new from my ‘read’. And I always pick up something new in John Gossage’s The Pond. I’ve probably read it over 50 times and I’m sure there is more.

Categories
BOOKS COMMENTS THOUGHTS ON BOOKS

Magnum’s ‘Postcards From America’

I should preface the below by saying that this is only my own view on Magnum’s ‘Postcards From America‘, as yet, I have only really heard positive things about the book.

I’m not interested in slating this publication, but, as there are more of these trips planned by Magnum and their all-star cast, I thought I would share my thoughts for anyone pondering a potential purchase, you can hear other points of view on this publication herehere and here.

If you do not know of the project, and product already, check out this video walkthrough from a true photo hero of mine, Mr Alec Soth:

Magnum’s ‘Postcards From America‘ is an interesting exploration into a section of the Southern States of America, the collaborations between photographers and with writer Ginger Strand lead to new and exciting perspectives. I particularly enjoyed Soth and Subotzky’s input. However, I am not producing a view of the content here, but of the product instead:

Instead of a traditional book, Magnum present us instead with a box, and within this box we find all manner of objects along with a sticker detailing our edition number and presenting the 5 signatures of contributing artists. The disparate elements of the box make sense in as much as they echo the fleeting and fluid idea of a roadtrip but fall short of contributing any sort of understanding about the project and it’s themes or ideas. Perhaps this is where the book comes in, as a sort of guide from which we can scoot of to explore the mini-stories contained within the zines?

Unfortunately this is not the case. I love to see progression in what the book can be, it’s exciting and is pushing forward a fantastic medium, but I have to question the ‘book’ included in the Magnum box. It is unbound for starters which I can accept were it not so big and unpractical to be so. And more annoyingly – the sheets are not printed as a book sequence, they are in fact a big stack of posters placed one on top of the other, and then folded in the middle. It requires space, and patience to attempt a ‘reading’ at all, and the (very) cheap-feeling paper combined with (very) average printing do not make this ‘reading’ a pleasant one. it could be my love for the physical object speaking but everything here seems to be very much a throw-away object, especially when you consider the asking price.

And perhaps this is where my relationship with this project and publication came unstuck  – ‘Postcards From America’ was $250 and it was the first time I have ever spent more than $100 on a photobook, so from the beginning I was going to scrutinize what I got for my money. As you can see Soth demonstrate in the video above, you get a lot for your money, at least it seems as though you do.

Actually, there is little substance here in terms of material objects. A smattering of zines, the above mentioned ‘book’, some stickers and a poster which makes up most of the box weight but which I imagine only a handful of people will have the room or interest in assembling. Let’s not forget the postcards received during the trip of course, although to my disappointment, even though I had ordered well before the start, all were sent at the conclusion of the trip (those who payed the $125 for the postcards alone must surely be even more frustrated?).

I understand that I cannot boil this argument down to material costs but there is such a mismatch between cost and price here it is hard to understand what I paid $250 for. I can only assume then, that a portion of my money is helping fund this trip, to make it possible. Great! Except that where many projects are open with those that fund them, Magnum’s seems to take all the credit. I would have been far happier had this been a kickstarter-style ‘reward’; knowing that while the material costs do not add up, the extra money had made it possible in the first place, maybe even a contributors/funders thanks in the book or online.

‘Postcards From America’ is a really interesting project, there is lots to explore here, but I think Magnum has completely missed the mark in relation to the product. If I were to be so bold as to offer pointers for next time, either:

  • Tell people where their money is going, credit those who fund the project, or
  • Make the product beautiful, something worthy of the pricetag, or
  • Make a non-limited, no-signature version available for the $60 it cost

I would love to hear from others who have this publication, unfortunately there are less than 500 and I fear many have bought it to put in a cool, dry place, unopened, waiting for the dust and price to rise. But, if you have opened it, and feel like sharing, do so in the comments section below.

– Matt