The PhotoBook

March 26, 2017

Klaus Pichler and Clemens Marschall – Golden Days Before They End

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Photographer:  Klaus Pichler (Austrian, lives and works in Vienna)

Texts compiled and edited by Clemens Marschall

Translations (English Edition): Charlotte Maconochie and Clemens Marschall

Design: Roland Hörmann

Publisher:  Edition Patrick Frey, Zurich, Switzerland, 2016

Hardcover book, sewn binding; 250 unnumbered pages; 120 color photographs; German and English editions; including 100/96 pages of text, with quotes by owners and patrons, list of venues, and glossary; printed and bound in Austria; 29×23 cm

Copyright © 2016 – Photography: Klaus Pichler; Texts: Clemens Marschall; Publication: Edition Patrick Frey

Notes:

This work contains a pictorial portion of 120 color photographs by Klaus Pichler and four interspersed text portions totaling 96 pages (English edition) and 100 pages (German edition), bound in four segments within the picture sections. These text portions consist of a huge number of quotes (collected and edited by Clemens Marschall) that give fascinating insights into the lives of both the owners and the patrons of small Viennese bars that are the subject of the photographs, as well as a list of these 70 or so venues that the authors visited and depicted, a glossary of some of the choice phrases and terms from the quotes (how about “Baucherl” and “Strizzi” for starters!), and the customary publishing information. The German text portion is slightly larger because it includes an expanded glossary of choice local dialect and colloquial expressions. Wherever the images contain relevant language material, a translation is thoughtfully provided below the picture. An impressive collection of visual and textual data!

So here we have Vienna (not Hamburg as in the case of Anders Petersen’s Café Lehmitz), a documentation of not just one but many similar small bars, often on the brink of financial disaster and destined for a subsequent demise, and patrons that derive a “good time” both from the liquid refreshments consumed as well as from a shared coexistence marked by comfort and camaraderie. As for the photographic documentation, Pichler ably demonstrates the efficacy of color for this stark documentary work, where formerly monochrome images were the standard. Color is just fine for the impact that is required for this in-your-face dramatic presentation of people tableaus and “barscapes.” The horizontal format predominates. In 2013, Doug Stockdale reviewed a previous work by Klaus Pichler that also demonstrated his eye for the unusual.

A world that is not always so observable is shown here. These small bars are mostly very funky and idiosyncratic. Their customers are depicted in various stages of inebriation and sometimes acting out or clowning for the camera – they are being themselves and sharing their special world with us. In control of themselves or not, they do not seem to feel shame to show us their definition of togetherness and belonging. As outsiders looking in on them, we marvel at their narrowly defined bit of paradise. One of the intriguing tasks for the viewer is to imagine who said what, since the quotes articulated by owners and patrons, though attributed, are not assigned to any specific individuals depicted in the picture section, but they do allow us to study a variety of insider perspectives to complement the visual documentation.

I consider this comprehensive volume a most enjoyable new classic!

Gerhard Clausing

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March 18, 2017

Lorena Endara – Ė Arenas: Nariz

Filed under: Book Publications, Book Reviews, Photo Book Discussions, Photo Books — Tags: , — Gerhard Clausing @ 2:04 am

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Photographer and Designer: Lorena Endara.

Music composed, arranged, and produced by Eduardo Arenas.

Publisher:  Producciones Con Sal, Los Angeles, 2016

Stiff cover, saddle stitch binding; 32 unnumbered pages; 13 color photographs, accompanied by the corresponding song titles from the vinyl album that it accompanies; printed in Los Angeles, CA; 8.5×8.5 inches

Photography Copyright © 2016 by Lorena Endara

Notes:

A labor of love and creativity – this package of music and photography speaks of all that and more.

Eduardo Arenas, a talented composer and musician, plays a variety of instruments and sings, along with some support musicians, in a set of twelve songs that comprise this exciting innovative solo album, Ė Arenas – Nariz. The “in your face” themes reflect our time – ever searching and sometimes finding. The resulting “world fusion” music (using this term in a supportive, constructive way here) is most expressive, showing Anglo, Latin, and Brazilian influences, in the rhythms and in the lyrics as well. Outstanding sounds, a variety of unexpected pleasures, speak for the creativity of the artist. You can preview the music on this CD Baby page.

And, getting to our main focus here, his lady, Lorena Endara, worked hard during those six years as well, supporting the project, and was also inspired to create images that reflect the tenor of the musical pieces. And again, we report a distinct measure of success; instead of merely illustrating the content of the music and lyrics, the images are in themselves an interpretation of the emotional substance and context of what the music represents and engenders. In her images, she achieves a level of abstraction that allows the viewer/listener to dream and wonder. You will need to obtain the vinyl version (yay! resurgence of vinyl!) to appreciate the images, printed in a separate booklet that comes with the album; some of the double pages are reproduced below.

We are looking forward to further work from this talented team!

Gerhard Clausing

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March 15, 2017

Printing donations for Book design workshop

Filed under: Book Publications, Photo Book Discussions, Photo Book NEWS — Tags: , — Doug Stockdale @ 10:33 pm

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Courtesy of Dual Graphics & Peanut Press, 2017 photo by Douglas Stockdale

I have been asking around to various publishers and book printing companies for some commercial signatures to help illustrate some aspects of my pending Introduction to Photo Book Design workshop. A signature is somewhat foreign to photographers who have not been involved in commercial printing of a book; a printed sheet printed on a litho press which has multiple pages (images) that once folded and trimmed will become the interior pages of a photobook.

I am happy to announce that I have some really great signature donations from my friends at Dual Graphics (Brea, CA) and Peanut Press (David Carol and Ashly Stohl). These samples will really help illustrate my discussion regarding aspects of a commercially printed photobook; one-sided, two-sided signatures and what the resulting photobook (David Carol’s No Plan B, 2016 published by Peanut Press). Again, my sincere thanks to both Dual Graphics and Peanut Press!

Also some good news: there is still room for a couple more photographers and book makers to join me in what should be an interesting workshop: This will be held in conjunction with the Los Angeles Center for Photography (LACP), Introduction to Photo Book Design: two consecutive Saturdays (April 1st and 8th, 2017) at the LACP facilities in Los Angeles.

Cheers

 

March 13, 2017

Bronx Photo League – Jerome Ave

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Copyright 2016 Members of the Bronx Photo League

Photographers: Bronx Photo League (Bronx, NYC)

Publisher: Bronx Documentary Center Editions, Bronx, NY

Essays: Mike Kamber, Ed Murphy

Text: English & Spanish

Hardcover book, linen covers with tipped in image, sewn binding, 93 Black & white photographs, duo-tone printing with spot varnish, captions, member biographs, printed by Fort Orange Press, NY

Photobook designer: Bonnie Briant & Katie Khouri

Notes: Jerome Ave is an investigation of a community within the Bronx of New York by a group of young, budding photojournalist that have come together as the Bronx Photo League. Their purpose and intent is not all-together different from than that of the Photo League of the 1940’s; a collective of inspired photographers who want to learn their craft in conjunction with documenting the local environmental, economic and social changes that surround them.

This hard cover book is a result of one of their recent projects; attempting to document the pending changes to an area of the South Bronx. This is currently one of the city’s poorest regions, much of it situated under the elevated “4” train, a “gritty two-mile stretch of low-slung buildings where thousands of immigrants work in small stores, factories and car repair shops.”

Their focus is principally on the individuals who work and live in this small region to narrative this study, usually including some environmental context that provides clues to the working conditions, thus creating an indirect portrait of the South Bronx. It is evident to the reader that these photographers know their subjects very well by the close and tightly composed portraits, not a quick snap-shot from an impersonal distance.

The manual process of the photographic methods is also a nice metaphor for this project and their subjects who are predominantly providing manual labor to make a living. It appears that another consistent requirement for the photographers is to pay close attention to the framing of their images keeping in mind that there will be no cropping of the negative (a luxury that will come later in their photojournalistic lives).

One nice design aspect of this book that unifies this collective body of work together by the various photographers is the image/page layout; each photograph is framed by the negative’s exterior (yes, old school Tri-X film and manual processing). This design provides a consistency in the reading of the images that I think works very well to illustrate their project.

Cheers

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March 3, 2017

Carol Golemboski – Psychometry

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Copyright 2016 Carol Golemboski

Photographer: Carol Golemboski (b. Shreveport, Louisiana – resides outside Denver, CO)

Publisher: Flash Powder Projects

Essay: Shirley Jackson

Text: English

Hardcover book, embossed cover, duo-tone printing, Smyth sewn binding, captions, printed by EBS, Verona, Italy

Photobook designer: Jordan Swartz

Notes: Golemboski’s monograph of intricate manipulated photographs investigate nostalgia, loss and impermanence. The manipulated prints use an old school Black & White wet-print technique; a mask that is hand-scribe by the photographer to modify her photographic “reality” during the print making process. Her marks are a mash-up of careful delineated lines, scratches, letters, and drawings, which are similar to a digital layer mask in Photoshop. Frequently these masks are pin-registered to the printing paper to ensure precise line-up of the mask with the projected negative. A few of her intricate velum masks are included within the book in perfect alignment with the corresponding print. The effect is to lift the vale on the process that results in the final print. I find the velum’s layers as intriguing as the final print object.

Regarding the book’s title, Golemboski states “In Psychometry, arrangements of old objects in dilapidated spaces serve as metaphors for human emotions and psychological states. The term “psychometry” refers to the pseudo-science of “object reading,” a purported psychic ability to divine the history of objects through physical contact. The objects in these pictures seem haunted. They are designed to transcend their material nature and evoke the mysterious presence of past.”

Personally I have found myself  attempting “object reading” of artifacts of the past; a found photograph, family hand-me-down, or perhaps an old structure that I feel inclined to touch, as though my touch will reveal something of the object’s past. Subliminally I think Golemboski’s photographs connect with me in a similar fashion; that when gazing at her visual poems that I might actually connect with some essence just beyond my comprehension.

In turn, the viewers reading of these hand-altered photographs is as layered as the resulting images, some initially appear to be an easy read, such as Safe house, below, while others are a more complex and ambiguous. In some images the marks attempt to obscure the identity of the object or its external context while in others the marks appear to clarify, instill or attempt to add a layer of meaning. The juxtaposition of found objects with her subsequent inscribed marks creates very magical and beguiling works of photographic art.

Cheers

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February 25, 2017

John Loengard – Moment By Moment

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Photographer:  John Loengard (American, born and lives in New York City)

Publisher:  Thames & Hudson, New York, NY, 2016

Hardcover book with dust jacket, sewn binding; 152 numbered pages; 135 duotone photographs, titled and captioned; name and place index; printed in China; 10.1 x 12.9 inches

Essays:  Preface by John Loengard

Text:  English

Copyright © 2016 John Loengard

Notes:  John Loengard is a photojournalist with many decades of experience. As part of his distinguished career with Life magazine and beyond, he has photographed many notables and others along the way. Thus one will find among the 135 photographs in this volume some interesting shots of singers such as the Beatles (as shown on the dust jacket) and Judy Garland, of visual artists such as Georgia O’Keefe and Annie Leibovitz, of politicians such as Ronald Reagan and Jimmy Carter, and many others. The well-known are often shown in conjunction with less well-known individuals across various locations and times. All of the photographs are well-reproduced duotones, since Loengard considers black and white “often more convincing” than color. He sums up his approach to photography as follows: “The shutter opens briefly to let the camera marry reality to form. Their union gives the picture structure and defines the moment that lives on” (Preface).

Often Loengard captures the viewer’s attention with unusual viewpoints: he depicts the Beatles in a swimming pool, the writer Philip Roth looks away from the camera to answer the question of a visitor who is not shown, John Updike is presented in a very minimalistic fashion: his eyes look back at the viewer in the rear view mirror of a car – thus the unseen helps define that which is seen, and the less familiar casts a new light on the seemingly familiar. The captions for the images merely have the function of supplying a few words of background information, rather than to diminish the viewer’s capacity to get involved in the story told by each picture.

While one could consider this volume merely an excellent retrospective of a renowned photographer’s work, it is much more than that: it also is a compendium of many delightful surprises. Where this volume especially shines, in my opinion, is in the exquisite juxtaposition of images on double-page spreads. Below I have excerpted a few to whet your appetite; some of the intriguing combination principles, besides subject matter from different times and places, are: shapes, patterns, movements, scale, among others.

Gerhard Clausing

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February 9, 2017

Paula Bronstein – Afghanistan: Between Hope and Fear

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Copyright © 2016 Getty Images and Paula Bronstein

Photographer:  Paula Bronstein (American, lives in Bangkok, Thailand)

Publisher:  University of Texas Press, Austin, 2016

Essays:  Foreword by Kim Barker / “Afghan Women” by Christina Lamb / Afterword by Paula Bronstein

Text:  English

Hardcover cloth-bound book with 228 numbered pages, 114 color images with captions; sewn binding, printed in China. Louann Atkins Temple Women and Culture Series Book 42.

Notes:  Paula Bronstein is a courageous and committed photojournalist with a distinguished career. The cultural and political situation of a war-laden country is not easy to depict, and she does not shirk from a gutsy presentation that documents the Afghanistan situation from 2001 through 2015. In comparison to other book reviews I have done, this particular one has been a true emotional challenge. Paula Bronstein gets right to the heart of things; having received amazing access in difficult situations, she confronts the viewer with a very stark reality through stunning, in-your-face photographic documents, each of which is a story in itself, enhanced by situational details in the captions. The entire volume is a heart-wrenching documentation of America’s longest war. As she depicts a variety of problems, she also provides small glimpses of hope that point to possible solutions.

The volume is divided into three sections labeled “The Situation,” “The Casualties,” and “The Reality.” Besides the 114 color photographs comprising these three sections, there are also three essays: A foreword by Kim Barker deals with the photographer and the context. “Afghan Women” by Christina Lamb describes the background as well as the progress that they have made over the years. Paula Bronstein in an ‘Afterword’ (pp. 224-225) also describes some of the difficulties she faced in doing this work.

Subjects covered in this photographic journey include clashes between belief systems, cultural transitions under the influence of modernity, political and military strife, and the promise of educational opportunities for all, against a background of great turmoil. Both people’s fears and hopes are made relevant through the immediacy of the visual documents. Bronstein does her best to illuminate all the things that are often ignored or shoved aside, such as the byproducts of warfare euphemistically labeled “collateral damage” and the difficulties of oppression, be they cultural or religious: she shows the pain of it all, as well as some small joys and pleasures. As the sample double pages from the work shown below illustrate, military and political as well as social and medical challenges are included. Injuries depicted, both physical and mental, cry out for finding solutions to create a better world.

If ever there was a volume that shows the follies of strife and the need to make a huge effort to find peaceful solutions, this is the one. As I write this review, the press reports that the Afghan war killed 25% more children in 2016 than in 2015, as well as causing injuries to 23% more children than the previous year, affecting thousands of families (Los Angeles Times, February 7, 2017, p. A4), along with all of the equally lamentable adult casualties.

Gerhard Clausing

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February 7, 2017

Barbara Kyne – A Crack In The World

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Copyright 2016 Barbara Kyne

Photographer: Barbara Kyne (b. Hoboken, New Jersey – resides. Oakland, CA)

Publisher: Daylight Books (USA)

Essays: Barbara Kyne, Susan Griffin, Jasmine Moorhead

Text: English

Hardcover book with dust jacket, sewn binding, four-color lithography, Index, printed in China

Photobook designer: Ursula Damm

Notes: Barbara Kyne and her partner Fran Lowe have property in Mariposa, located east of the San Francisco bay in the foothills of the Sierra Mountains. The land is a bit rough and tumble, which is to say a little on the wild side. Although her book appears to be an abstraction of the natural landscape, Kyne is seeking to go beyond the apparent and investigate an aspect of nature that we do not usually think may be occurring; how does nature view itself?

In nature we take for granted that there is an active interplay between the wildlife animals, birds and other crawly creatures, but we have not been taught or made aware that perhaps the trees and vegetation may actively communicating among themselves. Kyne has tapped into the writings and scientific investigations that gives credence that plants and trees are in a sense actively communicating with each other. Thus raising the question; if plants and trees can perceive, what might they comprehend and what could that vision look like?

In discussing this book, she stated “And my work is about reality. Reality and time. I’m just looking at reality from what I imagine is the perception of another species. I’m attempting to expand our perception of reality and let go of or at least loosen the grip of our human-centric perception.”

Her photographs are abstract and very lyrical as I find Kyne’s hypothesis and subsequent investigating to be very intriguing and visually beautiful.

Other photobooks by Barbara Kyne reviewed on The Photobook: Gerhard Clausing’s review of By Fire

Cheers

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January 17, 2017

Nancy Baron – Palm Springs > The Good Life Goes On

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Photographer:  Nancy Baron (born in Illinois, residing in California, USA)

Publisher:  Kehrer Verlag, Heidelberg, Germany

Published October 2016. Hardcover book with 120 pages; 63 numbered and titled color photographs; sewn binding, printed and bound in Germany. 22.5 x 22.5 cm.

Essays:  Foreword by Alexa Dilworth; statements by Matthew Weiner and Nancy Baron; quotations by Martha Stewart and Hugh Kaptur

Text:  English

Photobook designer:  Kehrer Design Heidelberg – Katharina Stumpf

Copyright  © 2016 Nancy Baron and Kehrer Verlag

Notes:  Palm Springs has been a geographical and cultural mecca (not only for Southern Californians) since the early twentieth century, a place where a variety of endeavors have had the freedom to unfold. Especially in our time, both celebrities and others consider this desert city a notable attraction, an informed center of cultural activities of all kinds, most notably several film and art festivals, a summer photo festival, an excellent Museum of Art, and many more, also in association with its eight sister communities in the Coachella Valley. The dry air supplies a healthy environment for outdoor activities much of the year as well.

Mid-century modern is the architectural style that makes many of the private residences in Palm Springs especially appealing. Some fifty years later, one marvels at the manner and style that seem to seamlessly integrate residential buildings into the desert environment with its seasonal challenges in temperatures, and at the “good life” it supports. Nancy Baron excels as an observer who lets us look over her shoulder to see the marvels which this impactful town presents. It is almost as if time has stood still: In an era of world turmoil the serenity of the desert and its structures forming an enclave for residents serve as the basis for this second volume of Palm Springs photographs by Nancy Baron. (The first volume was previously featured on The PhotoBook by Douglas Stockdale.)

The volume is designed with a square format, as are almost all of the photographs; square compositions have a satisfying feeling of completion when well done, as is the case here. This is in line with the feeling of serenity of the “good life” depicted here. The colors are bright, a series of portraits of the environment and its inhabitants to match the bright desert sun. The emphasis is on the structures in their surroundings; the occupants and owners and their possessions seem part of an ever-changing context that is subject to some cultural influences and interpretations, as well as to a great deal of nostalgia. The volume is well thought out and is pleasant to view and read. The writers of the essays share some personal impressions and experiences regarding this unique town. Nancy Baron shows a special knack for portraying the special characteristics of places along with their cultural phenomena. We are looking forward to her future projects!

Gerhard Clausing

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January 13, 2017

David Carol – No Plan B

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Copyright 2016 David Carol

Photographer: David Carol (born and resides NYC, NY)

Publisher: Peanut Press (Los Angeles, CA)

Essays: David Carol Introduction, Afterword by Jason Eskenazi

Text: English

Hardcover book with debossed cover, sewn binding, duotone printing with slight varnish, captions, printed by Meridian Printing in RI

Photobook designer: Ashly Stohl

Notes: This monograph of David Carol’s photographs recaps twenty-three years of candid and ironic black and white street photography and is a visual testament to his love of this medium. He has been fortunate to have a career as working photographer, but these are his personal out-takes of situations that momentarily captured his wild imagination. These mini-narratives speak to the power of always having a camera available and constantly looking for the possibilities, open to what might unexpectedly come by your way.

His photographs range from the subtle reflection in a window that juxtapositions oil wells with wedding dresses, the surreal image of an oversized white gorilla sitting in front of a suburban home, humorous photographs of his son doing funny kid’s stuff, to the poignant  self-portrait of his cast shadow on the snow holding his symbolic son’s hand. Who has not found themselves trying to talk to someone and something is blocking their face, but Carol recognized this humorous situation and captured it.

Carol seizes upon the opportunity to create humorous antidotes about mankind and as he states “My job is to find stuff and report back”. Which he is doing quite well and he has no plans to do otherwise.

Other photobooks by David Carol featured on The PhotoBook: All of My Lies are True

Cheers

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