The PhotoBook

January 5, 2012

James Clancy – Border Country

Copyright James Clancy 2011 Kehrer Verlag Heidelberg Berlin

My first impression is that Clancy’s narrative is a darker version of John Gossage’s early photobook The Pond. Similar to Gossage, Clancy is taking us on an imaginary journey, although somewhat grounded in the (non) reality of the photographs, using found landscapes rendered in black and white as metaphors for Clancy’s “emotional state”.

Clancy states in his Introduction, “that Border Country, both as a phrase and as a title for this series of photographs, is my name for an uneasy condition of heart and mind that periodically comes to possess me.” Perhaps an understatement, as this photobook is all about a melancholy moodiness that is pervasive throughout.

As an American, the term “Border Country” does not evoke the same uneasiness that might be associated by someone with knowledge of the border region between Scotland and England and all the historical turmoil that existed between the two countries in this region. Nevertheless, a border implies that there is something that meets and what is on one side might be different from the other. In the case of a border country, that meeting place can be relatively broad and it is in this wide place that Clancy takes us on a wandering journey.

Much like Gossage, Clancy introduces us to the concept of a journey with a number of photographs of a pathway that proceeds away from the viewer. On Clancy’s narrative journey, the pathway is indistinct and blocked with debris and fallen tree limbs, implying a difficult meandering. Instead of a pond as the mid-point destination, we are carried forth to an abandoned and decaying structure, with all past inhabitants long gone and only the barest traces and hints of their memories still lurking in the shadows.

Amidst the forlorn structure, Clancy has isolated decaying artifacts, an empty bottle, an electrical connection, a single shoe, bits and parts of a chair leg, part of a pitch fork and a tea-pot. We are in the midst of forgotteness, where even memory has abandoned all hope. Then the viewer is led to a half-opened door, a way out of this misery and the daylight of hope is visible once more. Eventually we pass by less and less of the debris of mankind and enter back into a pleasant wooded area, unlike the nasty thicket that was initially encountered.

The photobook as an object; a image-wrap Hardcover book, printed and bound in Germany, and the binding allows an almost lay-flat presentation, thus making the interior photographic plates very accessible. The book is a thin and what I would term a nice European size, just right for holding and reading. The Introduction text by Clancy is provided in both English and German and the book is without pagination or captions.

Award Note: James Clancy’s Border Country is a selected title of the Deutscher Fotobuchpreis award 2012.

January 4, 2012

Mauro Fiorese & Keith Carter – Dream of a Place of Dreams

Copyright Mauro Fiorese & Keith Carter 2008 Edizioni Siz

Collaborations are interesting situations that can be a bit unpredictable as to the results, but in this case for this commission by the Palace of Monaco, both Carter and Fiorese were previous collaborators in 2001 for their photobook Two Spirits. Thus, with these two creative spirits working together again, the odds were pretty good that the results would be interesting.

The subject of this book is the small Principality of Monaco located on the shores of the Mediterranean. Collaborations can become very complex and potentially blurring the ownership and sources of originality. In this case, each photographer created his own photographs, which are individually identified, and subsequently blended into a whole.

Both Carter and Fiorese work in a black and white medium, using a shallow depth of field, in conjunction with equipment that can also shift and bend the plane of focus. Although their techniques are similar, their individual style shines through in how each approaches their subjects, while yet complementing each others images with a unified appearance.

Carter remains steadfast in his softly rendered style, while Fiorese predominately works in a similar style but occasionally introduces hard edges with an expansive depth of field, bordering on a documentary style. When they investigate the same subject, such as the Bocce balls, harbor ships, or hotel interiors, below, provides a study of personalities. Fiorese, who is also one of the book’s designers, pairs these complementary photographs on facing pages enabling them to emotionally work off each other.

Together, Carter and Fiorese create a very dreamy and poetic narrative, although at times, just a slight bit off kilter. It is a photobook that you can get wander through and get lost in.

 As a book object, this is a hardcover book which was beautifully printed and bound in Verona Italy. An introduction is provided by H.S.H. Prince Albert II of Monaco and the book concludes with a List of Plates identifying which photograph is attributed to each photographer.

December 29, 2011

Hiroshi Watanabe – Ideology in Paradise

Copyright Hiroshi Watanabe 2008 published by Mado-sha Co. Ltd

With the recent the passing of Kim Jong II and the changes to the family leadership in North Korea, I am motivated by an opportunity to review an earlier photobook by Hiroshi Watanabe who was allowed “access” to travel and photograph within North Korea in 2007.

Hiroshi states, “What I heard about North Korea were all terrible stories – stories of people starving and dying on the streets, stories of people being abused and brutalized by the police and stories of the ignorance of the North Korean people resulting from the strict government media control….and I felt uncomfortable and unsettled about our views and perceptions of North Korea. I was puzzled and intrigued, and I wanted to take a personal journey and see the country and the lives of the North Korean people with my own eyes.”

Thus Watanabe seems set out to investigate the North Korean culture as a reality versus the political propaganda that is promulgated by many interested parties; North Korea, South Korea, Japan as well as U.S. depictions. In retrospect, I do not sense that we are provided any “information” that defines North Korea as much as this place provides a foil for Watanabe’s photographic interest and vision.

I found this photographic project to have similarities in composition and framing as his other projects, but dissimilar in that this was photographed in color and not in his signature black & white medium. The addition of color does little to improve the overall drabness of the built locations of North Korea.

Many of the photographs contain a sense of dullness, lacking a feeling of sparkle or shine, which might equally be a result of environmental conditions of the time of year that this project was photographed. The light seems to have a pervasive overcast feeling, seemingly to add to an undercurrent of gloom. The photographs which contain bare trees convey a supporting narrative of empty space and a lack of content. Even with the inclusion of blooming trees that should provide a sense of life and hope, there still is sense of flatness to the surrounding surfaces.

Watanabe has previously expressed his interest in collaborative photobooks, where there is an editorial and design team to play off of. As I understand, Watanabe still maintains a veto vote, thus I think the first book spread below is characteristic of his humor and subtle dialog. We see a photograph of a smiling young man who is caught in mid-salute while looking to the facing page and the photograph of painting of the Kim Jong II amongst is smiling constitutes, as though this is a little smirk and a node as to might be really true versus fiction. With most of Watanabe’s paired photographs, those that face each other do so for a reason in which one plus one creates a multitude. Nevertheless, and probably unsurprising, I also observe similarities in the layering of the subject’s content, which appear to be color versions of the photographs featured in his subsequent photobook Findings.

His portraits are also very similar in style to his later work, usually framed tight, varying between three-quarters to an isolation of just the head and shoulders. Watanabe utilizes a longer lens at maximum aperture to further isolate and draw the viewer’s attention to the facial features of his subjects. The shallow depth of field paired with his careful compositions provides soft pastel backgrounds that seem to engulf his subjects and provides a series of wonderful and sensitive portraits. It appears to me that Watanabe celebrates his subjects as real individuals, who exist irrespective of the swirling political culture.

What we see is potential evidence of what life and society may be like in North Korea, but also evident that this is mostly a result of an organized façade, as with any kind of overly supervised photography; the limitations to delve below the surface are substantial.

Lesley A. Martin summarizes this photobook very nicely; “The results, engaging, yet still mysterious, bring us one side of this closed-off place, introducing us to a vibrant, compelling set of individuals but still leave us to wonder.”

The book object; this is a hardcover book with dust jacket, with the square color photographs bordered by an ample white margin, usually the single photographs per page are paired through the book. The book has pagination, but lacks captions to provide any additional external contextual meaning.

A brief Afterword is provided by Watanabe with all text provided in English and Japanese. This photobook was recognized by Aperture and subsequently an introduction by Lesley A. Martin is provided on the inside of the illustrated dust jacket.


Mitch Epstein – American Power

Mitch Epstein 2009 copyright courtesy Steidl

I think one of the better photographed and designed photobooks to shed light on the complexities and the enormity of the environmental, economic, political and social issues of the production and consumption of energy is Mitch Epstein’s American Power, published in 2009 by Steidl.

In reading Edward Burtynsky’s Oil, a photographic project that investigates the same subject, the landscape is photographed on a grand scale, frequently using an aerial perspective that literally provides the reader with an “overview”. The trade-off between the grand “Ansel Adams scale” and a mid-range framing for me is that the subject becomes impersonal and thus a little more difficult to directly relate to the issues. Burtynsky has also included fewer individuals in his project, also reducing the personalization and increasing the abstraction of the issues.

Interestingly both Burtynsky’s Oil (Steidl, 2009) and Epstein’ American Power are large, thick massive books, which would seem to consume large amounts of energy to print, bind and transport. Perhaps it was Gerhard Steidl’s intent to create these large books to capture the reader’s attention about a large, pressing and important issue.

Another photobook that was also released in 2009 on a similar subject was Chris Jordan’s Running the Numbers (2009) using symbolic subjects and thus more abstract, such as looking at a scientific notation for water and being able to relate to a body of water or a glass of water. For me, it was Chris Jordan’s earlier photobook In Katrina’s Wake (2006) that in examining the after-effects of the hurricane Katrina, makes the environmental issues of the production and consumption of power more comprehensible and a wonderful predecessor to Epstein’s American Power. Unlike Epstein and Burtynsky, both of Jordan’s photobooks are of a more traditional (and reasonable) size and heft.

Epstein explores the production and consumption of energy and in a broad and expansive investigation similar to Burtynsky, but using a moderate scale, along with a little dark humor, that can connect with the reader. Similar to both Burtynsky and Jordan, Epstein effectively uses balanced compositions and saturated color to create some beautiful, although troubling, photographs to capture the viewer’s attention. This was a project that would span between 2003 to 2008 and take him and his photographic support team to almost half of the States in America, as well as dealing the political and legal issues of publicly photographing energy sites post 9/11. Epstein’s subjects included the production of coal, oil, natural gas, nuclear, hydroelectric, fuel cell, wind and solar.

The book as an object; linen and embossed hardcover with dust jacket and the color photographic plates are beautifully printed and are slightly larger than the original 8 x 10” photographs, thus loaded with wonderful details. There is one color plate per page spread, with a neat white margin around each photograph and the plate numbers with a title (place and date of the photograph) are on the facing page. The Afterword is by Epstein to provide more of a personal context to his concept and the execution of this project.

Note: Mitch Epstein won the third annual Prix Pictet photography prize with the publication of American Power, an award which recognizes work on the subject of sustainability.

December 22, 2011

Best PhotoBooks for 2011 – another Wonderful Year

Filed under: Photo Book NEWS, Photo Books — Tags: , , — Doug Stockdale @ 6:04 am

First, if you by chance you happen across this post looking for another list of “Best PhotoBooks of 2011,” you might not recall reading my “Best of 2010” photobook post, which can be found here. Essentially after compiling a “Best of” list in 2009, as expected of someone who reviews photobooks, I was less than satisfied with my own results. Although I do intently read a lot of photobooks, I don’t think that I really have an opportunity to see the breath and scope of all of the photobooks that were published in 2011. And for the most part, I found something of interest in about every book I either looked at or reviewed, although there were a few I found challenging or really entertaining, but all for personal reasons.

So to save you some time following the link to “Best PhotoBooks for 2010 – Hopi Style“, let me briefly recap: in the Hopi Nation tradition of their annual race, everyone could enter and there are no limitations to age or sex. The wonderful part was that all who finished, regarding of when, were equal winners.

As to other published “Best of 2011” lists, I probably find them as interesting as most others, wondering which photobooks I missed and need to try to track down. Of particular interest was the recent post by Marc Feustel (author of the wonderful Eyecurious blog) who compiled a little analysis of a multitude of “Best of 2011” lists, so probably a better place to check out if you like these things. What I found of interest from his evaluation was of the 37 photobooks that had been referenced the most often, I knew the titles of only half, had a chance to thumb through perhaps 10 and actually have four in my possession of the forty photobooks I acquired this year. Not a large amount of photobooks, eh. If Marc is correct, counting all of the various photobooks that ended up on someone’s “Best of” list, the total came to 139 different photobooks. Yikes, you can almost through a dart at a photobook catalog and hit someone’s “Best of”.

There are some lists, such as the “PhotoBook Top Sellers” which are going to exclusionary to those photobook which have large production runs in the multiple thousands and access to some large bookstores or other popular distribution channels, or popularist titles such as one #1  Simply Beautiful Photographs (published by National Geographic).

So during this past year, I have not changed my mind; for a photographer to have traveled the extra mile(s) to have your photographic project published this year, either self-published or with an established publisher, you have accomplished an awesome task. And in some way continued the development and on-going evolution of what we call a photobook. Some were brilliant, some were very thoughtful and challenging to understand, some were beautiful, some had endearing messages, some thought-provoking narratives and some were a great first effort. 

Congratulations to you all! (and this year, it means a nice pat on my own back as well)

Best regards for 2012, which I expect will probably be another interesting year.

December 16, 2011

Harvey Benge – All of the Places I’ve Ever Known

Copyright Harvey Benge 2010 – courtesy Kehrer Publishing

My first impression of Harvey Benge’s  photobook All of the Places I’ve ever Known was that this book is meant to be autobiographical.  It is also a statement of the obvious: that you cannot take a photograph of a place unless you have been to that place. Cheeky.

Benge has self-published numerous photobooks and in his usually style he provides his readers with a minimum of textual information to help the reader relate to his photographs. He is a bit of the minimalist in terms of providing some potential insight. You can make of what you want from his titles which usually has a healthy amount of ambiguity. In this book, he provides an interesting quotation from Longchen Rabjampa (1308 – 1364); “Since everything is but an apparition, Perfect in being what it is, Having nothing to do with good or bad, Acceptance or rejection, You might as well burst out laughing!” My take-away from this and many of Benge’s proliferate photobooks is that his photographs are a joyful observation of what “is” as a result of the powers of seeing and observing random urban serendipity.

What primarily seems to catch Benge’s discerning eye is color, especially finding the interesting interplay of hues and tonalities that can be found as he walks through the urban environment. As such, this photobook is a kinetic pin-wheel of colors. Although color is the primary found subject of his photographs, he isolates and frames his subjects with the sensibilities of graphic design; taking into account and layering such elements of line, mass, and shape.

He isolates and frames his subjects such that he will establish a primary color object, then introduce a secondary color object, such as a blue pipe rising in the midst of a verdant field, below. The secondary color object(s) balance or complement the composition, sometimes creating a jarring dissonance, as the red on red with yet an adjacent red, below, other times appears to be a quiet and meditative harmony, as the cool blue-gray panel with the two blue rectangles centered at the base of his pictorial framing, also below.

Although attracted to color, he reframes from hyping the color up in his photographs by increasing saturation of the hues, rather attempting to allow the “natural” and found compositions speak for themselves; “Perfect in being what it is”. Nevertheless Benge’s photographs have an interesting energy that seems to be intensified as a collective whole with the design and layout of this book. For my tastes, the sequencing of the color photographs in this photobook creates more of a slightly psychotic experience.

Benge is about framing and isolating what he has found. He moves in close, usually providing a tight framing, so that he fills the picture with color. Benge has also stylistically created a niche for his vertical photographs, as this is his predominate choice in pictorial framing and on occasion a horizontal composition will make an interlude, perhaps to create a little tension or provide a slight change of pace. In this book, all of the photographs are presented as verticals, although one is a horizontal composition but due to the ambiguity of the subject, appears acceptable as a vertical layout. Nice.

The photographs are single image on the right page per spread, with a classic white margin bordering the photograph. On the facing page is a plate number and at the end of the book is an image index, providing the city location and year photographed for each plate. The book design and photographic presentation is very spare and minimalistic.

As a book object the dark red color of the spine extends over into the image wrap cover and is a complementary color to the cover photograph, echoing the contents within.  This hardcover book and contents is beautifully printed in Germany consistent with the high standards I have grown to expect from Kehrer Verlag Heidlberg.


December 12, 2011

Claxton Projects – update

Filed under: Photo Book Discussions, Photo Book NEWS — Doug Stockdale @ 12:50 am

Just a brief update on Claxton Projects, a photobook review site run by the clever Tom Claxton. He has moved his photobook commentaries to a new site after the wonderful attributes (slide shows) that was initially provided by Tumblr were discontinued and probably stated best by Tom:

My main attraction with the Tumblr format was the slide-show facility and when they stopped offering this earlier in the year, it undermined why I was doing the blog and (I think), its effectiveness. So I decided to get a new site built and then I also wouldn’t be at the mercy of a platform provider (like Tumblr). The idea behind the website was that it mirrored the experience of going to a shelf, browsing books and then looking inside them (as closely as online can). I looked at doing videos, but a number of websites have moved over to providing these and I feel photographs of a layout are more considered and a pleasanter way to experience a photography book. I’m also looking into other ways of promoting great photography books online (outside of the new website), because ultimately I’m doing this to share my passion for photo books and encourage others to collect and enjoy!

Also, it seems that Tom has also been bitten by the photobook publishing bug, so he is in the early stages of a potential photobook project that we should look for in 2012, which he describes as: Its going to be a collection of Swedish studio portraits from the 1890’s and will be edited by Michael Lesy (Wisconsin Death Trip), and hopefully a gallery will be exhibiting the work at some point either at the end of 2012 or the beginning of 2013 (still to be finalised).

If all of that is not enough to mess with your head, he recently relocated to the US from London.

December 8, 2011

Eva Koleva Timothy – Lost in Learning

Copyright Eva Koleva Timothy 2010 courtesy of the photographer

What I often find when a book combines a large amount of text in conjunction with photographs, it seems that either the text or the photographs seems to dominate. In some cases there is delicate balance between the two, which I now have come to understand is much harder than it might first appear. With Eva Koleva Timothy’s self-published book, Lost in Learning, it appears to me that the beautiful black and white photographs support the written narrative.

The book was developed as a wife and husband partnership, with the photographs of Eva Koleva Timothy as the cornerstone of their narrative. The subject of the book is discovery and learning, drawing on inspiration from past creative giants; the composer Handel, the painter Michelangelo, the adventurer Christopher Columbus, the astronomer Galileo and the mathematician Isaac Newton. She draws inspiration of past explorers of the unknown frontier in an attempt to provide inspiration to future generations

Eva’s photographs play off, complement and enhance the text about the processes of learning and discovery. The photographs are very creatively composed, with seamless created collages, combining elements that create an interesting sub-plot. The photographs are conceptually well conceived and executed, creating interesting metaphors that complement the written narrative.

Timothy combines older text or devices associated with a person or period of discover in conjunction with a light focusing device; prism, glasses, magnifying glass. The devices isolate, refocus or illuminate one aspect of a document to bring forward a key aspect to complement the matching written narrative.

The use of various lens is an interesting motif in many of her photographs, that by means of a lens we built telescopes to explore far-away space that reaches out into the heavens, and microscopes to discover nearly invisible inner space to delve into the fabric of our lives. A glass prism is a type of lens that diffracts light into its many elemental hues.  Similarly, a lens is also a basic element of a camera lens, which today is very complex and composed of many shapes and sizes to construct a single camera lens

For me, it is the layout and the use of various type, especially the larger and silver overlay fonts commands my attention, thus the photographs, however clever and creative, take on a lesser role.

The foreword is by Ralph Windle, with an Introduction by Eva Timothy, and essays by Adam Timothy. The book design editor is Elizabeth Avedon.

This book has a cloth hardcover with Dust Jacket, and the black and white photographs are Duotone printing.

November 12, 2011

Bertil Nilsson – Undisclosed

Copyright Bertil Nilsson 2011 published by Canalside Books

When I attend a circus performance with my family, I find that I rapidly become very overwhelmed by the brilliant and dazzling colors of the performers clothes, sets and background, the high energy of the performances and the very intense lighting that commands my attention. The performances themselves are a series of blurs, of which it seems that the impossible is indeed possible, but I am unable to fathom how it is even possible that these feats can really be accomplished. Bertil Nilsson literally reveals the essence of these performers orchestrated movements in his first book Undisclosed: Images of the Contemporary Circus Artist.

This is a five-year project by Nilsson that has taken him to multiple (undisclosed) locations in Europe and North America. His subjects are circus performers, artists that have trained diligently to take them to the top of their game. It was his intent to photograph his subjects not within a circus performance site, but at more intimate and less theatric places. These are training locations for the circus performers to hone their performance skills. In so doing, it enabled Nilsson to study the performance of the actors and segment their movements into the components and elements to make visible the nearly invisible. Nilsson photographed his subjects in the nude, who are essentially disclosed, or maybe dis-clothed, as to further reveal the athletic tension that under-girds their movements. I find that Nilsson’s photographs of his subjects are an exotic blend of beauty, strength, grace and sensuality.

Nilsson chooses to vary his perspective, framing and exposure to create a complex and dynamic narrative which is illustrated in black & white. Reducing the color to a long tonal range of black & white further abstracts this project and seems to extend the flow of lines, extract textures, masses and other graphic shapes and forms. The framing of his subjects varies from a balanced (and static) centering within the frame to compositions where his subjects are falling out of the frame, their truncated bodies creating suspense and tension (and energy). Nilsson also varies the distance within the composition, sometimes to tight that his subjects appear to burst off the page, while in others, the mid-view distant establishes an external environmental context in which these performers train.

Predominately Nilsson chooses to suspend the animation of his subjects, halting them in mid-flight or at the apex of their move, thus allowing the viewer to see the nearly impossible. When his subjects are frozen in this manner, they take on a momentary sculptural form. I find equally fascinating the abstracted images that occur with the long duration exposure, in which his subject’s movements become a soft flowing blur and do not seem as static.

On occasion Nilsson will catch his subjects in a candid repose during a work-out, as they pause and momentarily relax in order to catch their breath or composure. Interweaving these photographs of the performers pausing also breaks up the intensity of the flow of images and provides a likewise rest for the reader, while further communicating the sheer intensity of his subject’s performance.

Daniele Finzi Pasca in the Foreword states the essence of this book very elegantly, “When a gesture is interrupted in mid-arc, it inner silence becomes audible. The body becomes landscape and nudity renders it more transparent, weightless and enigmatic.there is a great deal of silence, it is alike a metaphor for the intimacy of the body, which touches our hearts as it strains to represent its own ideal

As noted above, the Foreword is provided by Daniele Finzi Pasca, and the essay by Laura Noble with an acknowledgment by Bertil Nilsson. The Foreword and essay texts are provided in English and French.

Book object: the book is case-bound hardcover with an illustration print affixed to the front cover, printed and bound in the Netherlands. The black and white plates have been printed in duotone offset and the ink and paper combination appear to look as thought the images have been lacquered, providing a wonderful visual vibrancy of these interior photographs. The paper has a heavy hand, almost sensual to the touch. Page numbering is provided without captions, with information about the performers and locations provided in a back index. I perceived this book to be a very elegant object.

November 9, 2011

Libros de Fotografia

Filed under: Book Reviews, Photo Book NEWS, Photo Books — Tags: , , , — Doug Stockdale @ 11:53 pm

Libros de Fotografia – photobook commentary copyright Tomás de Teresa

I recent added Tomás de Teresa’s photobook commentary blog to my sidebar for future reference. This is the first photobook commentary blog that I have become aware of that the text is in Spanish. Tomás de Teresa resides in Spain and is one of those hardworking guys who attempts to balance a love of photography and photobooks with a day job.

Okay, so he also recently provided a nice commentary on my book Ciociaria, which did get my attention. I appreciate his good taste in selecting photobooks ;- D

Best regards, Douglas

Update: Ciociaria can now be found on YouTube, courtesy of Tomas who has recently uploaded a selection of photographs from my photobook in conjunction with a haunting Spanish guitar for background. So I have joined the growing ranks of photobooks that can now be found in a video format.

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