The PhotoBook Journal

November 18, 2017

Matthew Thompson – Camino

Filed under: Book Publications, Book Reviews, Photo Book Discussions, Photo Books — Tags: — Gerhard Clausing @ 6:02 pm

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Photographer:  Matthew Thompson (born Fullerton, California, USA; resides Ostrava, Czech Republic)

Publisher:  Self-published, Ostrava, Czech Republic, © 2017

Essays:  Introduction by the photographer

Text:  English and Spanish

Sewn hard cover with dust jacket; 112 numbered pages; 54 images; four-color lithography; 15×21 cm; edition of 500; printed by Printo, CZ

Photobook designer:  Jiří Šigut – Concept, 2017, CZ

 

Notes:

This is another interesting photo book dealing with pilgrimages (previously, I presented Andrea Huddleston’s East or West). There is a perpetual spiritual and communal fascination with trekking the paths of the past while hoping to find oneself in the company of other kindred seekers, all against a background of those who came before and were striving toward similar self-exploration in union with a mystic environment. In this case we are dealing with the very popular Camino de Santiago that has its destination in Spain.

Matthew Thompson is an astute observer of both himself and others. Having traveled to many places in the world and honing his art of documenting local rituals and customs, he participated in this pilgrimage several times, culminating in his photographing the experience, as shown in this interesting book. It is good to find out that one can even find one’s future wife on such a pilgrimage!

He prefers to work with film, here mostly color negative film, as well as a few slide film exposures. Nowadays, of course, as he reminded me, having a small digital camera along for backup is also advisable to prevent losses, as it not possible any more to get your color film developed around the next corner. And a moderate wide-angle lens is his preferred way of viewing things, for those of you who like some of these technical details.

And so we get a beautifully printed and well-designed volume that is a pleasure to hold and view. The dust cover has a particularly pleasant sturdiness to it, giving a feeling of permanence, as it is of particularly heavy stock and endowed with ridges, resulting in tactile pleasure. The design and layout are nicely done and sufficiently varied, both in regard to the sizes of the printed images as well as the layout of the double pages, thus keeping the viewer’s interest. Several drawings by Aleksandra Sienkiewicz lend a bit of historical mysticism to the volume.

The photographs are both respectful and intimate at the same time. They let the viewer participate vicariously in this endeavor, as they also reflect some ardor and strife. The frequent use of a wide-angle view allows Thompson to include several layers in the images; from the self in the immediate foreground we are privileged to view both the “other” and the environment further in the distance. Close-ups and medium shots of some key structures and of encounters with local individuals (human, canine, et al.) are also included. The volume presents a pilgrimage from beginning to end in the sequencing of the images and creates the impression of a cinematic touch. We get a strong sense of both private and shared parts of the experience. Color is used well, somewhat more muted for more routine moments, while at times more saturated when more emotional scenes are shown. Thompson demonstrates his affection for the participants and the whole experience very well; this is reflected in the refreshing directness and immediacy of his photographs.

A very successful volume; note that the photographer offers very affordable print/book combos!

Gerhard Clausing

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November 3, 2017

Douglas Stockdale – Guide to Self-Publishing an Indie Artist Book

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Author and Principal Photographer:  Douglas Stockdale (born Butler, PA; resides Rancho Santa Margarita, CA)

Publisher: Self-published; first edition, first printing of 400; copyright © 2017

Text: English

Stiff-cover saddle-stitched book of 40 numbered pages with 14 images on several types of paper; 7.5×9 inches; full-color digital lithography, printed by Dual Graphics, Brea, California; $19.95 plus shipping ($4.50 in US & $15.00 USD other countries)

Book Design: Douglas Stockdale and Craig Evans – Text Editor: Gerhard Clausing – Cover Photograph: Scott Mathews

 

Notes: 

This book had its debut at the Medium Festival of Photography in San Diego, California, on October 26, 2017, and was received with great enthusiasm. It is a detailed guide to help the artist through all the steps and considerations to keep in mind when thinking about and executing an independently published artist book.

Douglas Stockdale, editorial founder of and prolific contributor to The PhotoBook Journal and SoCal PhotoExchange, who has been our guide through many artistic and publishing intricacies which he has discussed in hundreds of book reviews and articles, really gets to the point in this publication. Fortunately, his collaborator and sponsor in this venture is the renowned printing and communications company Dual Graphics in Brea, California, which already assisted Ansel Adams in artfully transferring his photography to print many years ago.

Doug certainly practices what he preaches. As a successful mentor and leader of workshops dealing with planning, producing, and marketing photo books, and as an author of a number of them himself (In Passing, Ciociaria, Pine Lake, Bluewater Shore), he is able to lay out logical and creative patterns for planning and doing artist books that are designed to help artists avoid many possible pitfalls that he has observed over time. The discussion is divided into five stages, which also constitute the chapters of this book:

  1. Book Pre-Visualization
  2. Marketing (including funding and fundraising)
  3. Book Development (including editing, sequencing the images, and making a book “dummy”)
  4. Book Design (and options)
  5. Book Production

Just to name one very important consideration, this Guide introduces marketing issues early in the process, rather than at the end, as others have done, since marketing information and decisions are integral to all other considerations that follow. Doug also devotes important space to the topics of selecting and sequencing the images to be included in an artist book, a topic that is sketchy in other guides on publishing your own artist book. There are many other planning considerations that he discusses to help the reader untangle potential difficulties.

Another fascinating feature of this book, extremely useful and exclusive, is the addition of sample pages of several different types of paper on which the same color and monochrome images are printed, so that the effect of printing on papers with different surfaces and characteristics can be seen. While the images below are no substitute for getting the actual book and studying the printing on the actual paper, they allow you to begin to see some differences. This feature alone is worth more than the cost of the book, as it is the best demonstration for working closely with a top-notch printing company, and to alert the potential maker of an artist book to all the details that can make a huge difference. There are also detailed descriptions of the papers included, as well as definitions of many terms that make the artist more knowledgeable when dealing with the printing and binding options. Needless to say, the author’s style is to the point, easy to read, and not filled with unnecessary technical jargon.

This book is highly recommended, especially if you are not quite sure about doing an artist book. The overview and the details provided here will help you understand and appreciate the process and will serve as a checklist to guide you through the entire process when you have made the decision to take the plunge, which will be greatly facilitated when consulting this publication during the sojourn.

 

Gerhard Clausing

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October 15, 2017

Dronescapes: The New Aerial Photography from Dronestagram

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Editor:  Ayperi Karabuda Ecer

Publisher:  Thames & Hudson, New York, NY, © 2017

Essays:  Eric Dupin (foreword); Ayperi Karabuda Ecer (introduction)

Text: English

Hard cover, sewn binding, four-color printing, 288 numbered pages; 250+ captioned color images; 10×8.5 inches; drone user guide, author biographies, supplementary image references, index of photographers and websites, index of locations; printed in China by C&C Offset

Photobook designer:  Michael Lenz, Draught Associates

Notes:

It seems that drones (quadcopters and other multirotors) and images taken with them are everywhere these days. The website Dronestagram was founded in 2013 to provide a place where extraordinary images taken with such small aircraft by their owners/remote pilots/photographers can be shared. It should be noted that a few years later, when certain communities are severely restricting the use of drones because of some irresponsible owners, this website as well as this volume advocate and give instructions for their effective and safe implementation.

This printed volume of images selected from Dronestagram, edited by Ayperi Karabuda Ecer, provides us with some 250 bird’s-eye views of the world, in ways that might otherwise be impossible, since we do not have large birds that take us to the skies allowing us to ride on their backs to create such images, nor do most of us have access to personal mini-helicopters (yet!). Each image is accompanied by a short or expanded caption regarding its location and story if applicable, as well as the exact latitude, longitude, and altitude at which it was taken. The editor has divided the work into nine thematic areas, constituting chapters of the book, with the following titles: Drones Are Us (playful, humorous); Close (unusual angles); Urban; Fauna (animals); Probe (environment); Space; Pattern/Shadow (images emphasizing composition and seen as more artistic rather than straight-forward); Move (sports and leisure); and I Do (wedding photography). This is quite an assortment of topics to cover; examples are reproduced below, in the order of the chapters. At times, the volume provides biographical features on some photographers and further explanations as well.

The images include startlingly different ways of telling stories, often taken from directly above the subject(s) to provide dynamic perspectives, especially when making good use of shadows. Other images provide startling angles, for instance, combining a close-up of the top of a high-rise building with the ground below as background. Still others could also have been taken from a small plane or helicopter as well, if it were not for the safety issues already discussed. I would hope that as the use of this technology matures, sequences of shots would also be created to allow the viewing of a story from several angles (virtually) simultaneously.

A most interesting volume to give to someone who treasures this new form of aerial photography, as well as to others who appreciate seeing things from new perspectives! This book is a finalist in the 2017 Lucie Photo Book Prize competition.

Gerhard Clausing

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October 3, 2017

October 14: The 5th Anniversary of World #PhotoBookDay – A Toast To Anna Atkins

Filed under: Photo Books, Book Publications, Photo Book NEWS — Tags: — Gerhard Clausing @ 5:02 pm

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The Photobook Club Madrid (Juan Barte, Juan Cires and Bonifacio Barrio Hijosa) in association with Matt Johnson sent us an interesting message today: The first photographically illustrated book dates back to 1843 and was done by a female botanist/artist, Anna Atkins. Her Wikipedia entry itself is fascinating; it informs us of her background as well as her technique in producing photogram cyanotypes to illustrate a variety of algae. So since 2013, every October 14th, photobook enthusiasts are celebrating World #PhotoBookDay, the anniversary of the purchase by the British Museum of the first known photobook: Photographs of British algae. Cyanotype impressions, by Anna Atkins. This first copy is now in the British Library, and as far as is known, only 16 other copies, some partial, survive.

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Courtesy Wikimedia Commons

This year October 14 will be a Saturday again, as it was in 1843, so 174 years later we can celebrate photobooks in view of all this and toast the creator of this wonderful publication: Anna Atkins. Our motto for this year’s World PhotoBookDay will be: #AToastToAnna.

As the originators of this idea say:

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

Some ideas proposed for October 14 are the following (to which we would add: help spread the word about blogs that discuss and promote photobooks, such as this one, our beloved The Photobook Journal):

  • Spread the love by sharing something you think someone will like, not something you think they should like.

  • Post a #PhotoBookDay Selfie or a Shelfie on social media: an image with you and your current favourite photobook.

  • Ask your local library to buy local self-published photobooks and photozines, we are sure you can give them some ideas.

  • If you are in charge of a library, consider purchasing and supporting 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, or free shipping costs, 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.

You may use the image of the 5th anniversary as shown above to add to your visuals. And please, tell the organizers  what you did for World PhotoBook Day 2017. We hope we all have fun with photobooks on October 14, and the rest of the year too.

Gerhard Clausing

 

September 27, 2017

Jack Spencer – This Land: An American Portrait

Filed under: Book Publications, Book Reviews, Photo Book Discussions, Photo Books — Tags: , — Gerhard Clausing @ 12:53 pm

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Photographer:  Jack Spencer (born in Kosciusko, Mississippi; resides in Nashville, Tennessee)

Publisher:  University of Texas Press, Austin, TX; © 2017

Essays:  Jon Meacham (foreword); Jack Spencer (introduction)

Text:  English

Cloth-bound sewn hardcover with dust jacket; 284 numbered pages; 148 captioned color or sepia images; 13×11 inches, printed in China

Notes:

“Spencer has found a mythical world, except it is real, and it is now, and it is ours.”         — Jon Meacham (Foreword)

It is a real pleasure to contemplate this volume by Jack Spencer. I must admit that my old cliché considering landscapes a predictable genre has had to be revised. Here is a multi-layered set of images full of surprises at every turn, a testament to the land that once was, is still here, and is ready to be considered anew. Parallel to all the strife there is the underlying beauty that marks the land, from coast to coast, in all its contemporary vibrancy, against a background of a fading past tinged with the nostalgia that some attach to it.

Over a period of thirteen years, Jack Spencer undertook trips covering 80,000 miles and 48 states, to come up with what I consider the consummate artistic observation of a country and its potential. Fueled originally by anger, the project took him to a point of mellowness, resulting in a project that represents a counterpoint to what he calls the “narcissistic, consumer-driven neurosis” so prevalent in our society, toward a symphony that constitutes a beauty marked by simplicity; “the simplest of lives are often the happiest as well.” Images of the Amish are used to frame this viewpoint visually.

Indeed, this is a book about land and nature, and the more modest role that people and their structures will play in it. The images of ghostly, fading town elements are desaturated, the forces of nature are presented in vibrant tones. Images of well-known and previously stereotyped landmarks, such as Niagara Falls or Yellowstone, are seen with a refreshingly different view so as to generate astonishment in the viewer, as well as reconsideration. Animals are seen roaming about, blending in, and people occasionally occupy a smidgeon of the image, or are captured in motion blurs as a representation of what comes and goes. The images are full of vigor and emotion; they are not meant to be viewed as records of what is customarily seen, as may have been the case in the past. There is a soothing yet exciting painterly quality to many of the images; I am happy to report that pictorialism, thus revived, is making a strong comeback, shown here through all the mystery and joy that an expressive approach affords.

This Land is destined to become a classic. I recommend it not only for every collector of art books, but also for every coffee table!

Gerhard Clausing

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September 14, 2017

Brenda Moreno – B to B

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Photographer: Brenda Moreno (born, Mexico City & resides Mexico & Spain)

Publisher: Witty Kiwi, Italy, copyright 2017

Text: Spanish & English

Essay: Carmen Dalmau

Stiff cover, die-cut with French folds, sewn and glued binding, four-color off-set, printed by Artes Graficias Palermo (Spain)

Photobook designer: Brenda Moreno & Paolo Berra

Notes: Brenda Moreno’s photobook B to B is an interesting curiosity as it is a beguiling narrative. We can surmise that it’s an investigation of a family, maybe even hers, located at a place that includes horses and other small animals, both alive as well as inanimate. These are the basic elements that appear to interact and become intertwined with a few individuals and animals having an occasional cameo role.

The photographs are repeated, cut apart, collage and montaged, sewn back together and appear to be clumsily taped in place, perhaps similar to an unsophisticated family album that indirectly attempts to tell us a story. In the process the story line fades and becomes incomplete, if not incoherent, which I find to be a wonderful metaphor for the inaccuracies and false stories created by memory.

Moreno provides factual visual evidence and although a photograph may be worth a thousand words, her photographs provide only a few vague clues that requires us, the viewer, to fill in the blanks. In Moreno’s book there are a lot of blanks in conjunction with many intriguing hints, which like most curiosities will continue to draw you back.

Cheers

Douglas Stockdale

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September 13, 2017

Giles Duley – One Second of Light

Filed under: Book Publications, Book Reviews, Photo Book Discussions, Photo Books — Tags: , , — Gerhard Clausing @ 11:04 am

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Photographer:  Giles Duley (born and resides in London, UK)

Publisher:  Benway Publishing / EMERGENCY UK, London, © 2015

Essays:  Gino Strada, A.L. Kennedy, Melissa Fleming, Giles Duley; conversation with Giles Duley and Roger Tatley

Text:  English

Cloth-bound sewn hardcover; 172 pages, not numbered; four-color lithography, 117 images, numbered, captioned and with expanded background stories; list of organizations and charities; 28×21.5 cm, printed in the UK by Push, London

Photobook Designer:  Shaz Madani

 

Notes:

Here we are, sixteen years after 9/11, and the conflicts and “collateral” suffering are continuing. The longest war in the Middle East is being ramped up again, and an end to the violence is nowhere on the horizon. Only a few months ago I reviewed the strong contribution by Paula Bronstein, Afghanistan: Between Hope and Fear, a work that has been well received and admired, especially in regard to the courage and insights shown by her, depicting a society in which the role of women is still more limited.

Giles Duley is a superb storyteller of places and people in times of armed conflict and violence as well. He too has shown courage beyond all expectation, at tremendous personal cost. You may wish to see and hear his TED talk for inspiration. As a triple amputee he has become “a living example of what war does to people.” This pivotal event has intensified and focused his work even more, and he serves as a strong role model to others who have suffered a similar fate. A tremendous journey for a photographer that started out in the fashion and music industry! His goal has always been for his storytelling to have an impact on those who can change things, and I suspect also on the vast audience that elects those who make decisions affecting the lives of others.

As his work covers not only people in Afghanistan, but also in many other conflict-laden locales as well, this book is an effective collection of stories (from 2005 to 2015) of many individuals affected by a variety of strife in a variety of places: Angola, Bangladesh, Syria, South Sudan, Jordan, and the Ukraine, besides Afghanistan. Orphans, child soldiers, victims of acid attacks, war injuries, and the refugee crisis are just some of the problems to which his first-hand account introduces us. The captions that accompany the images are mini-capsule introductions to people’s lives, further expanded through additional information for each image in the back of the volume. As Melissa Fleming states in her introductory comments, “One Second of Light introduces us to the people hidden by numbers […] Through these images we form relationships. We find empathy and connect; we discover the displaced as fellow travellers […] ­­­­We share moments of the most mundane intimacy.” And as the excerpted pages below show, a split second to take the photograph that allows us to view each person’s life, adding up to perhaps one second of time for all the photographs in the volume, represent a lifetime to those affected. As Duley states, “For those caught in these stories, the time and their suffering is a constant.” And Duley delivers sensitive and respectful glimpses into their worlds. The spirit of these individuals and groups against all possible odds is the focus of the stories told here, certainly also in the small moments of humor and happiness shown under very difficult circumstances.

A powerful and touching volume, highly recommended for all who care about the future of our world, and are seeking solutions other than violence! As Giles Duley says, “We can all make a difference!” His latest work, I Can Only Tell You What My Eyes See: Photographs from the Refugee Crisis has been published this year.

Gerhard Clausing

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August 31, 2017

Algis Griskevicius – TADA

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Copyright 2016 Algis Griskevicius

Photographer: Algis Griskevicius (born & resides Vilnius (Lithuania))

Publisher: NoRoutine Books (Lithuania)

Essay: Leonidas Donskis

Text: Lithuanian and English

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Hardcover book, sewn and exposed tape binding, black & white lithography, glued insert booklet (saddle stitch), contact proof print, printed by UAB Druka, Klaipeda, Lithuania

Photobook designer: Gysis Skudzinskas

Notes: Algis Griskevicius includes in his artistic practice both paintings and photography, and his photobook TADA (THEN) is a series of photographs created between 1985 and 1995 as potential source material for his paintings. Some of the photographic prints have been altered to further refine Griskevicius’s visual concept for a painting, although from the essay by Donskis, the paintings may not have ever been completed. Thus the question Donskis raises; are these photographs works of art or unfinished works in progress, such as incomplete works by the paintings and sculptures of the early masters?

There is a rawness to the printed images, appearing unfinished and the additional marks adds to the mystery. When viewing Griskevicius’s paintings (not included in the book), there is evidence that some aspects, whether the composition, shapes or lines have made its way as a latent image. The worn photographs have a vernacular appearance, as though these were not intended to be “artistic” and indeed the raw recording of something of interest. The glued in booklet of 35mm black and white negative contract prints confirms Griskevicius’s interest in graphic shapes and lines as one of the constant themes that threads its way through the small images. This is an intriguing collection of thoughts that could be referenced as a potential source of imagination for the artist to draw on at a later date.

Cheers

Note: Recognized in a Lithuanian Book Completion as one of the Most Beautiful Lithuanian Books 2016 in the photo book category.

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August 24, 2017

Michael Lundgren – Matter

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Photographer: Michael Lundgren (born Denver, CO & resides in Phoenix, AZ, (USA)

Radius Books, Santa Fe, NM (USA) copyright 2016

Text: English

Hard cover, sewn binding, four-color lithography, Confluence poster, printed by Editoriale Bortolazzi-Stei, Verona (IT)

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above: inside back cover, taped spine (binding) of text block, back pocket, folded poster

Photobook designer: David Chickey, Michael Lundgren

Notes:

Matter, as defined in the dictionary: physical substance in general, as distinct from mind and spirit; (in physics) that which occupies space and possesses rest mass, especially as distinct from energy.

Michael Lundgren’s subjects are photographed in a variety of lighting conditions that define the subjects form (and mass) while also attempting to create enough ambiguity to create dissociation to un-moor you from your memory and associations as to what the subject might be. These various objects are encountered in the American Southwest and Mexican desert as well as in Spain.

I had the good fortune to meet up with Michael briefly at last year’s Medium Festival in San Diego. I had the misfortune of not being able to locate and bring with my copy of his earlier Transfigurations that was published in 2008, which was until recently hiding from me in my library stacks. There can be a downside in possessing toooo many photobooks.

Nevertheless I am going to defer to an intriguing interview in the British Journal of Photography earlier this year, which Lundgren states philosophically “The best description of magical realism is finding magic in the rational world. I’m not concerned with being an environmental photographer; I’m concerned with making images that make you feel something you can’t quite understand,” he continues. “There’s something that happens when you’re presented with what you can’t quite fathom. The agreements that I have in my mind in my world view are halted and they are interpreted. Within that interruption, there’s the possibility to see something that we didn’t know. I want to put you in a different world,” he says. “You can’t walk into this place and neither can you leave. You can only turn the page. These aren’t landscapes from real tradition: this is an isolating method. I’m interested in how flat photographs can exist almost as a three dimensional experience”

This exploration is a continuation of his earlier published book project, Transfigurations, an investigation that was completed in the black and white medium. In Matter he introduces the use of color to further examine and perhaps expand on the the potential symbolism of his subjects. This is indeed color except with a twist of magical realism; a dead green animal, a small pool of red liquid, a white inverted snake, a red mass with blacken tentacles or swirls of milky-brown dense clouds. These are various elements of matter that create questions and cause one to reconsider the natural world and one’s own expectations and understanding of reality. An intriguing and thought provoking, while yet visually poetic, investigation.

Lundgren was featured previously on The PhotoBook Journal; Transfigurations

Cheers

Douglas Stockdale

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August 15, 2017

CLAP! – Contemporary Latin American Photobooks

Filed under: Book Publications, Book Reviews, Photo Book Discussions, Photo Books — Tags: , — Doug Stockdale @ 1:45 pm

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Edited by Olga Yatskevich, Russet Lederman, Matthew Carson & Michael Lang

Published by 10 x 10 Photobooks (NY) copyright 2017

Text: English & Spanish (Español) & Portuguese

Stiff cover with folded dust jacket, sewn binding, four-color lithography, Index, List of Photographers and Editors, printed by SYL, Barcelona, Spain

Photobook designer: Richardo Baez

Notes:

This is another collective survey of photobooks by the 10 x 10 photobooks team, Editors Olga Yatskevich, Russet Lederman, Matthew Carson & Associate Editor Michael Lang, this time with a focus on what has been published in and by Latin America(s) between 2000 and 2016. These Latin photobooks were selected by 18 photobook specialist who study or follow the publications by photographers in this region. This survey is an interesting, broad and diverse teaser of publications by Latin photographers and photographic oriented artist. Likewise, the subject matter is equally broad, with many photobooks that might be termed having a strong Latin orientation.

CLAP! has a very creative design layout which unlike the earlier 10×10 American Photobooks I found be a challenge to determine what the true orientation of the referenced interior book spread, thus a bit confusing as to what the photobook may actually look like. The accompanying CLAP! Photobook Index of the book’s covers is a more traditional design and layout as well as a delight to cruise and speculate what might be lurking within the covers.

In our efforts for this journal to provide a broad discussion of international photobooks we have previously reviewed some of the photobooks found in CLAP!, thus we can help provide a little more in-depth examination of what is occurring in Latin America. Our book reviews include those by Alejandro Cartagena, Before the War and Carpoolers, Mariela Sancari, Moises and Guilherme Gerais, Intergalatico.

CLAP! provides wonderful evidence of the diversity and high energy going into the development of photobook by Latin photographers and this catalog provides ample opportunity to explore the many Latin photobook possibilities.

Previous 10×10 Photobook publications featured on TPBJ: 10 x 10 American Photobooks

If you found this review of interest, you may also want to check out America Latina Photographs: 1960 – 2013.

Cheers, Douglas Stockdale

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