Thought-Factory.net Philosophical Conversations Public Opinion philosophy.com Junk for code

Mandy Martin, Puritjarra 2, 2005. For further information on MANDY MARTIN, refer here: http://www.mandy-martin.com/
If there are diverse kinds of knowledge and ways of knowing place, then we need to learn to value the different ways each of us sees a single place that is significant, but differently so, for each perspective.
RECENT ENTRIES
SEARCH
ARCHIVES
Library
Thinkers/Critics/etc
WEBLOGS
Australian Weblogs
Critical commentary
Visual blogs
CULTURE
ART
PHOTOGRAPHY
DESIGN/STREET ART
ARCHITECTURE/CITY
Film
MUSIC
Sexuality
FOOD & WiNE
Other
www.thought-factory.net
looking for something firm in a world of chaotic flux

photo books: self-publishing « Previous | |Next »
July 19, 2009

There is a current explosion in the art & photobook market due to the emergence of the internet and the turn to digital photography. This offers all sorts of possibilities for independent photographers.

09June23_Adelaide architecture _005.jpg Gary Sauer-Thompson, leaf, Adelaide, 2009

In this interview at The PhotoBook Darius Himes, the co-founder and editor of Radius Books, says that the new print-on-demand phenomenon has placed the ability to “publish” directly in the hands of photographers. The consequence is that it gets photographers to think outside of the box of photography and to think in relation to the book as a separate entity.

In this post on his blog Hines says referring to book competition by Blurb:

A book, in general, is a very democratic and accessible vehicle to disseminate ideas, in the form of either text or images—two primary advantages are that books require no electricity and can be returned to again and again, unlike an exhibition, for instance, or the Internet.Creating a successful book involves editing and sequencing and design all in light and in line with an overriding concept which has to be determined ahead of time. Asking yourself ahead of time, “Who is this book for?” and “What am I trying to accomplish with this book?” is extremely important.he three categories of this years’ contest—Fine-Art, Editorial and Commercial—are designed to encourage photographers to think about books the way publishers do. Let me restate that: the categories require that photographers think like publishers.

Hines adds that editorial and commercial photographers often serve patrons other than themselves. So, an editorial photographer sent on an assignment to cover X, may find themselves with a much larger, broader, more engaging body of work than will ever get published in a magazine. And they may want to turn that project into a book, and get it out there to a wide audience. Likewise, a commercial shooter ofter has photographic skills that translate into a broadly accessible visual language, and can be used for a “commercial” book project. Publishers often conceive of book projects in-house and then commission commercial photographers to produce work for the book.

| Posted by Gary Sauer-Thompson at 6:57 PM |