The PhotoBook

March 27, 2015

Matej Sitar – Morning Sun

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Copyright 2014 Matej Sitar, published by Angry Bat, Ljubljana

Admittedly, this photobook review for Matej Sitar’s Morning Sun has been very slowly developing and for all of the right reasons. There are photobooks I have received which are over the top and very obvious as to subject, concept and content. Some of these are really good, some not, as to be so obvious as to leave me wondering why it was even published, a waste of perfectly good paper. The later do not warrant a review; my time is too precious, thus the reason that I am usually very positive about the photobooks that I write about, the others are usually donated to a library or good cause. (It is very difficult for me to put any book in the rubbish bin, no matter how awful it appears)

Morning Sun is a book that immediately connects with me, but it has been hard for me to put into words as to why. The book’s title is a fun play on words, as the subject of this book is his wife who is pregnant, as well as bit autobiographical, awaiting the arrival of their son. So each morning the sun arises to a new day, new events, and a new life.

As a father with two children, I get what it was like facing the unknown challenges and yet excited with anticipation for the first child. For guys, no matter how much we think that we are prepared, the first child is fun, exciting yet a mystery and an enigma and can be overwhelming. We are just not prepared for all about what is to occur, but I think we really do the best we can to prepare.

This is what I believe Sitar is exploring with this book; to be a guy who is soon to be a dad, attempting to understand the changes occurring on this nine month pathway to fatherhood.

I found this photobook subtle as to the subject, sequencing and layout. It is one that I experience in a non-verbal way, thus has been difficult to find the right words to provide meaning.  This is a personal and intimate body of work; a poetic sonnet rather that a narrative.

It contains an interesting mix of portraits and landscapes. The landscapes are mid-distance and also intimate exploring phases of life. The metaphoric photographs are introspective; changes, new life, attempting to anticipate what might soon be, while being open to the changes occurring now, external/internal,

Morning Sun was selected as one of my more interesting photobooks for 2014.

This is a hardcover book with linen covers and tipped in photograph on the front cover with embossed title. The printing is four color offset on 150 gm paper with a sewn binding.

Matej Sitar photobook previously reviewed on the photobook: America, My Way & America, My Way (Collectors Edition)

Cheers!

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March 14, 2015

Alec Soth & Brad Zellar – Michigan

Filed under: Uncategorized — Doug Stockdale @ 5:28 am

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Copyright the artists 2012, LBM Dispatch #3: Michigan, published by Little Brown Mushroom

A couple of years ago at the LA Art Book Fair I acquired LBM Dispatch issue #3; Michigan, published by Little Brown Mushroom (aka LBM), an unusual zine that is the brain-child of Alec Soth (photographer) and Brad Zellar (writer). I had not really planned on reviewing it. Since I recently acquired a copy of Alec Soth’s Songbook (published by MACK; 2014) which incorporates images previously published in the various LBM Dispatches, I thought it might relevant to briefly discuss Dispatch #3 to provide a little more context to Soth’s Songbook.

First to be up front I may have a bias for a photobook about the state of Michigan as I spent too many years of my youth growing up in this state. Some good memories, others not, but to say that I left with my family very shortly after I graduated from college and we have now lived for many, many years in Southern California.  We still have a lot of my wife’s family in Michigan, so we do return, but not too regularly, and over the many years, we have visited much of this State.

As collaboration, the LBM Dispatch zine is an interactive photo-journalistic creation by a pair of guys who seem to enjoy each other’s company while doing road trips across the country.  It is a combination of Black & White photographs, captions and various quotes relevant to the State sprinkled thru out. It does make for a snappy read, not really a newspaper per se, but also not a hard edge, searing recreation of Robert Frank’s The Americans either, although there are some gritty elements present. Maybe this zine is more in spirit and trying to connect with the WPA photographic work of the 1930’s.

As Zellar states “We do not pretend to be real journalist, and though we don’t have a clear agenda when we set out, we do try to shape the narrative and round out themes that develop as we explore the places we visit.”

They came, they saw and this is some of what they saw and heard and what it made us think about. Interesting.

As a photobook zine, this has a softcover similar to a broad sheet, the entire publication is printed on the same weight paper, lightly scored gutter and folded, but not bound; loose. The paper has a slightly heavy hand, a slight off-white color and is not recycled newsprint as are most newspapers. Even with the high quality paper, the black and white images are printed a lower contrast with weak blacks, again frequently as with many newspapers which attempt to save a little money, going lighter with the black ink on the presses.

Cheers,

Btw, the Michigan Dispatch #3 is now Sold Out

Cheers!

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February 12, 2015

Carolyn Drake – Wild Pigeon

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Copyright Carolyn Drake 2014, self-published

This photobook by Carolyn Drake (b. 1971 Los Angeles, CA and currently resides in Mississippi) incorporates an allegory story of the same name, Wild Pigeon, written by Nurmuhemmet Yasin who is a Uyghur author. The Yasin story narrates the Uyghur experience in this remote region of Western China (XinJiang Uyghur Autonomous Region). Like much of China the Western region has been undergoing extensive changes to “modernize” the country, with huge scale dismantling of the pre-existing structures.

This dismantling and rebuilding process was very evident to me while visiting Eastern China six years ago and from what I learned, the “modernization” process was occurring simultaneously across this huge nation. The Chinese reaction to this modernization process is extremely mixed. In the Western region of the Uyghur, it takes on another layered meaning, as the Uyghur besides being physically different as compared to the Han Chinese are also predominantly Muslim. The underlying conflict is palpable in her narrative.

Drake’s resulting photobook is an interesting mix of photography; her photographs, found photographs, photographs that have been altered by her subjects within a meandering text from Yasin’s story. The sequencing of the photographs are pared to reveal the region’s contradictions; a fully concealed women across the book’s gutter from the photograph of unabashed men bathing, a lush oasis resplendent with amusement water-toys facing a photograph of an arid and dry desert landscape, a woman who sits in a pose that appears to be in prayer which is across and facing a man who leans over his motorcycle’s handlebars, fingers intertwined and illuminated by the evening light, as might be coming of a lion on the prowl, and whose gaze is directed across the page back at the girl on the opposing spread. The pairing of her photographs creates a subtle tension that runs through out this book.

Drake in an attempt to help facilitate communication and bridge cultures provided opportunities for her subjects to creatively interact with her photographic prints. They in turn created personal and layered messages by means of drawings, text and collages, of which the ensuring results remind me of Jim Goldberg’s photobook  Open See.

Her narrative is perhaps similar to the story line in the novel Animal Farm written by George Orwell; that in modern China, not all equals are in fact equal.

The hardcover book has sections of irregular sized pages and continuously shifting photographic image orientations (horizontal and vertical images) and includes a smaller stiff-cover booklet, sewn binding, that is glued to the inside of the back cover. The Wild Pigeon story is by Nurmuhemmet Yasin and translated into English by Dr. Dolkun Kamberi and interspersed throughout the book, with an Afterword by Drake.

As in her pervious self-published photobook, Two Rivers, she has teamed up with the talented Dutch photobook designer Sybern (-SYB-) Kuiper as her collaborator. Carolyn Drake’s Two Rivers was previously reviewed on the The Photobook and was selected as one of my Interesting Photobooks for 2013 that was published in the annual photo-eye Best Photobooks listings.

Cheers!

Note: Carolyn Drake states that Yasin, the author of this story, was imprisoned ten years ago for “inciting separation” (subversive or ideologically corrupting) in the publication of Wild Pigeon and currently his fate is unknown.

Cheers

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January 27, 2015

Printed Matter’s 2015 LA Art Book Fair

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Printed Matter’s (2015) LA Art Book Fair

This coming weekend on the Left Coast is what is becoming an annual event; Printed Matter’s LA Art Book Fair which will take place again at the Geffen Contemporary at MOCA.

As I have written about the past (2014) LA Art Book Fairs taking place at MOCA, this building is a maze of rooms, small hidden rooms, medium size display areas and a huge room usually reserved for the Zine world. A ton of books, magazines, zines that are new and old (“collectibles”) that can overwhelm the senses. Fortunately the food trucks out the front doors can provide sustenance to help you endure. In past years there was a section reserved for photobooks up on the mezzanine, but guessing there will be spot somewhere.

Schedule:

Preview Thursday 29th January, 6-9pm
Friday January 30th, 12–7pm
Saturday January 31st, 11-7pm
Sunday February 1st, 11-6pm

Also nice about this event: FREE Admission!

Cheers!

January 16, 2015

Michelle Frankfurter – Destino

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Copyright Michelle Frankfurter 2014 published by FotoEvidence

This is my first review of the photobook series published by Svetlana Bachevonaova and FotoEvidence, which is a non-profit organization that focuses on the global issues of Social Justice.

Michelle Frankfurter (b. April 1961, Jerusalem, Israel – living in the US since 1967 and currently resides near Washington DC) is using a classic black and white photographic medium (film) in a documentary style to investigate the illegal influx into southern United States. Frankfurter sequences her photographs to allow us to follow the progress of a journey, laden with boredom and interspersed with moments of sheer terror, from Central America to the various Mexican borders of the United States.

Her subjects, single individuals to entire multi-generational families, have meager economic means thus they leverage the available Central America commercial transportation infrastructure, primary riding atop freight trains. To further understand what lengths these individuals were willing to undertake, Frankfurter similarly hopped onto one of these same freight trains to ride alongside her subjects. In so doing she shared a part of their perilous journey while enduring the same risks and become an insider, not a casual and emotionally distant observer.

Since I live in Southern California I interact on an almost daily basis with Latinos, and many due to their difficultly with English are most likely a product, directly or indirectly, of a similar journey. In discussions with them about their heritage, they will eventually open up to the circumstances of their arrival and current situation. For those who are “undocumented”, the Politically Correct term for illegal, their lives which although are much better now than where they originated is still fraught with great danger. Nevertheless the enormous efforts and risks undertaken to arrive in the United States are seldom discussed and for the most part unknown to me and most others who live here. Usually discussed in the local news are the events around a terribly failed attempt at a border crossing, perhaps a family who has passed away attempting the trek through the arid desert that lurks in the midst of the U.S. and Mexico borders.

The photographs are very sensitively composed with her subjects photographed from a close and intimate distance. These portraits are intermingled with the passing landscape photographs, slightly larger in scope and providing a context to her subject’s journey. As an example the photobook’s cover image is a subtle story. The man in the right side within the frame has his eyes focused slightly to his right. Then I realize that he is not shifting his gaze away from the photographer, but to whom is probably his family, a woman and small child who are covered with a black plastic cover to protect them from the natural elements on top of the freight car. This photograph provides a poignant narrative as to what this man is actually risking, not just himself, but his entire family. The photograph also asks the reader to consider the uneasy question as why would someone take such a huge risk? These are the unanswered questions that Frankfurter elegantly raises throughout this photobook.

The resulting openness of her subjects comes through in her photographs, perhaps as Frankfurter shares in her introduction, she and her family are also immigrants into the United States, be by much different circumstances. I found that her visual narrative reminds me of the Freedom Train, the illegal movement of the African-Americans preceding the United States Civil War in the 1860’s, a much earlier era of the American history, pursuing similar dreams of freedom.

Her black and white photographs alternate between a full bleed images to a classic border with paper white margins. The images alternate between a single photograph on a double page spread, which provides singular emphasis, to pairs of photographs facing across the book’s gutter. Most of the paired images one image is full frame while the facing image is smaller encircled with large white paper margins, which creates an interesting interaction between the two photographs.

As a book object, this is an Image-wrap hardcover book, while the interior Black & White photographs beautiful printed and bound by the printer in Istanbul, Turkey. The Forward text is provided by Susan Terrio with an Introduction by Frankfurter and the book design is by Mark Weinberg. The photobook includes pagination and the captions are summarized within the end notes as well as an extensive listing of the backers for this publication. This is a book that I also selected for my blog as an Interesting Photobook for 2014.

Cheers!

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January 11, 2015

Julia Borissova – Running to the Edge

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Copyright Julia Borissova 2014, self-published (with Limited Edition slip cover)

I am intrigued by Julia Borissova’ s (b. Tallinn, Estonia and lives in St. Petersburg, Russia) recent concept that led to her self-published photobook Running to the Edge, with the way that history and memory is perceived through images. Using found Black & White photographs, some dating back to the Russian Revolution, over which she juxtaposes a collage of objects, flowers and petals that anchor these images to the present. She attempts to create a visual analogy of the idea of memory slipping away over time with the archival photographs married with the fragile flowers, which the reader knows will decay all too quickly.

Borissova states “I saw a diary of 1917-20’s in an antique shop and I could not but buy it. I realized that this diary gives me a chance to show another layer of time to which I refer in my projects, to show it not like a text, as some additional information, but rather through the beauty of the script, through the sense of a touching hand that wrote these letters almost 100 years ago. Besides, this diary was made in a wooden cover with a painted bird on it. And it all together just captivated me.”

“Since the book contains texts in Russian, I decided to make a translation into English, by placing it on a separate insert, so as not to distort the impression of the book as of the found object. I wanted the color of the paper for the insert to be in contrast with the main book block, but at the same time, it should be understood that it is an integral part of the book, so I chose the designer paper to match the cover.”

The resulting photographs are whimsical, humorous while yet having an undercurrent of melancholy. A young girl’s eyes have become over-sized pink flowers, signifying the wide-eyed amazement of youth and the pink color almost universal of young girls. In another image, a young child is wearing a flower and petals while an older man adjacent to the child has a disturbing brown stem covering his eyes which metaphorically would block his vision. In yet another, a young woman lies prone on the ground, her apparel is now a layer of red petals in stark contrast to the original black and white photograph. Borissova creates beautiful new contexts with her collages and offers few clues as to their meaning, of which fully captivates me.

This book and the concept to alter found photographs have really touched me and it resonates with my parallel interest investigating the various aspects of memory and the attempts to preserve it. That in conjunction with a brilliant design and beautiful construction made this photobook an easy choice for Interesting Photobook of 2014, both for my blog and my selection for Emaho magazine.

As a book object, the hardcover book has an embossed cover and an overall elegant feel created by a careful selection of the interior papers and is accompanied by two inserts, one of which is the English translation of the hand written text, the other is an introduction by Borissova. The hand written text is not in English, assuming Russian, and the ensuing marks on the paper are as abstract as the photographs.  Borissova incorporates tracing paper as a means to signify a break between the beginning of the first and second sections of this photobook. Borissova has indeed ““attach(ed) importance to every detail and there can’t be any minor things.”

Cheers

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January 7, 2015

Kate Nolan – Neither

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Copyright Kate Nolan 2014, self-published

Neither is a three year project by Kate Nolan (b. 1979 Dublin, Ireland, where she currently resides) that takes place in Kalingrad, formerly called Königsberg (German), a seaport city and the administrative center of Kaliningrad Oblast, the Russian exclave between Poland and Lithuania on the Baltic Sea. This place was formed following World War II with the displacement of the native Germans with those who relocated from the interior regions of Russia. What results is a multi-dimensional photobook that is a mashup of written narratives and visual poetry that attempts to investigate feminist identity in the context of a memory of an ambiguous place.

Nolan’s photographs the women of Kalingrad, a mix of portraits, those who directly confront the photographer, thus the viewer, and those who look pensively away. Inter-woven are urban landscapes of a place that shift from the lyrical, a beautiful tree in colorful bloom, to terrifying landscape, a field ablaze in flames. The latter photograph (below) is adjacent to and faces a photograph of a women with a child playing on a ride, while a child faces away unaware of the “approaching” danger.

The smaller stiff-cover booklet contains narratives and is bisected by the larger stiff-cover book containing the full bleed photographs with a floating and separate narrative as a physical sub-text. The front booklet acts as a Forward with hand-written short stories to describe current conditions .The book’s Afterward, formed by the other half of the smaller booklet, contains stories that describe events occurring in 1946 during the formation of Kalingrad, written by the women who were involved in this transition.

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Her photographs are printed full bleed, so the photographs are physically joined at the seamless gutter, one photograph slamming into the other, creating interesting diptychs, that can be read singularly or as a panoramic whole.

This project appears autobiographical as Nolan is investigating the subject of the identity of young women within society with perhaps some similarities to her own circumstances.

As a book object, this is a crazy and complex design with a lot of moving parts that include three distinct sections; one smaller stiff-cover book that is bisected by the larger stiff-cover volume, held together by a sewn binding and a clear poly band. Within the larger volume is another narrative on separate pages, essentially a mini-booklet within a book and can be read independent of the pages above.

Due to the design and sewn binding of the larger volume, the interior narrative pages slightly brush and physically interact with the photographic pages, creating a subtle tension between the two. The book is a lay-flat book design that makes it a joy to read.

This photobook was designed and developed in collaboration with the creative Dutch photobook designer -SYB- (Sybren Kuiper). The publication of her book was supported by a successful Indiegogo fund raising campaign and I have selected this photobook as one of the Interesting Photobooks for 2014.

Cheers

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December 26, 2014

Alejandro Cartagena – Carpoolers

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Copyright Alejandro Cartagena 2014, self-published

“Carpooling” is an American, maybe Southern Californian, term for an occasion when multiple individuals ride in the same vehicle to the same destination. On the freeways of California the need to increase the quantity of carpoolers in order to relive the increasing congestion has raised the process and infrastructure of carpooling to an art form. Alejandro Cartagena (b. April 1977 Santo Domingo, Dominican Republic, now lives in Monterrey, Mexico) became aware of the American phoneme of carpools and diamond lanes on a visit to Southern California and riding on those congested freeways must have been an amazing experience compared to the highways of his home in Monterrey. Nevertheless this southern California experience created the seed of a conceptual idea that would play out later in Monterrey.

The actual process of carpooling is a well-known practice outside of America, where vehicles can be rare, expensive to own as well as operate. Upon first seeing a family of five on an electric scooter in China a few years back was a bit of a cultural shock which quickly wore off when this sight became a common occurrence. Likewise, Cartagena observed how pick-up truck loads of workers were routinely traversing from dense urban sites to new housing and construction areas on the expanding outskirts of the Monterrey region. The carpooling of the Monterrey workers was an economic necessity for the reasons stated above; trucks are both expensive to own and operate and there are few reasonable alternatives to travel to these new construction sites.

Cartagena found a high advantage point, a pedestrian overpass, to create this topology project; a study in carpooling, in which he could look almost straight down into the passing vehicles. The resulting layout of these vehicles take on abstract shapes, a visual mapping that we do not frequently observe, and further reinforcing the topological nature of his project.

There exists both a sameness of his subjects; similar models of the pick-up trucks, organizational layout of the front hood, cab and the back bed of the truck, the differences in the paint and condition, the open bed in which there is a mash-up of workers, equipment and tools; that varied over time and season. It is evident that he became known for making this series of photographs with many of his subjects gazing back at the photographer and thus connecting also with the reader. Many of these photographs are humorous; worker stretched out sleeping during their trip, gazing up and interacting with the photographer, and others showing a bit of concern. His subjects frequently appear cold and huddled together to protect themselves from the windy, chilling ride.

The subtext is an investigation into identity and culture. There are the economic differences between the poorer construction workers providing the labor to the unseen nicer homes and estates of the upper class. Even within the photographs there is an economic narrative; the “first class” ride; which is inside the protected cab along with the driver, and the “economy coach” section, in the open and unprotected back bed of the truck.

To further understand his subjects, Cartagena took a similar ride in the back bed of a truck to see what his subjects were experiencing. Evident was the expansive blue sky marked by the occasional objects that were seen from this prone perspective; overpasses, signage, etc. Cartagena then intertwined these alternative viewpoint photographs to help break up the flow and cadence of his book that in turn provides more tension and dynamics to what could become a very static and repetitive sequencing.

The book layout provides one top view of a pick-up truck one each of the facing pages inviting the reader to provide comparison and take note of the subtle differences between them. The differences over time, who they are and where they are from, as well as where they are going and what are they going to do when they arrive. The interior of the truck bed provides some clues; equipment, tools, and the clothing of his subjects.

As a book object, the hard covers are constructed from raw boards, printed and die cut to reveal an interior pick-up truck that is the subject of the cover’s line drawing; creating an interesting three dimensional visualization. The heavy cover boards provides some heft and protection for the photobook and the color printing by a Mexico City press and bindery is nicely finished. The insightful Afterword essay was provided by Jessica S. McDonald.

Cheers!

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December 23, 2014

Laura Curran – Lots of Cake!

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Copyright Laura Curran, 2014 self published/After Image Publishing

From the moment that I first saw the photographs from Laura Curran’s photobook Lots of Cake!, her project resonated with me. The project was made all the more delightful in the layout and design of this photobook object.

Curran uses a documentary style to investigate her family, with her mother as the focal point of this introspective study. She focuses in on small details to identify for the reader the various talismans for this family’s memory.

She includes a series of four hand-written family recipes printed on a semi-translucent sheet of vellum and sequenced in conjunction with photographs of what the resulting recipe may create, an interesting layering of this narrative. The recipe for the Easter Bunny Cake (aka Easter Carrot Cake) faces a page with a photograph of two bunny shaped cakes on top of a table with English china. In turn, this translucent page provides a hint of the photograph on the following page, of someone, whom we might guess is her mother, sitting at a table perhaps eating the ears of one of these wonderful Bunny Cakes.

As the photographs sequence through the book, her subjects appear to be more and more involved in the celebration, holding up glasses for a toast, sitting a bit askew on a chair and other hints of evidence that a good times are occurring. Likewise, the first recipe appears orderly and clean, but subsequent recipes appear more and more distressed.  The final Chowder Recipe is almost illegible due to something liquid falling on the recipe and creating a large lake of ink. As an autobiographical narrative, this hints that sometimes her family and events become similarly messed up.

I find a subtle undercurrent of humor in her photobook, perhaps of my own making as I recall the times when my great aunts, also of Irish descent, would get together in the kitchen to cook, gossip, laugh and tell family stories while preparing some delicious meals. The photograph of the broken egg on the floor with the two pair of legs & feet in the background is wonderful, full of suspense as to what might occur next; a torrent of laughing or some evil eye followed by quick scurrying to clean up this little mishap. In our family it was going to be the former, hearty laughing which was always a good reason to begin to recounting the endless other funny stories of similar past events.

There is more than enough ambiguity to allow the reader to relate to their own family history and memories that for me always seem to be linked to the preparation and consumption of meals.

As a book object, this is a little more complex stiff-cover book that is perfect bound (nice to hold and read, but terrible to lay out for display or photograph), includes two gatefolds and four recipes printed on velum. This photobook is printed in four color, with ample white margins, but no captions. The layout of the photographs on each page appears to be in a random position located on a different part of each subsequent page. This image layout provides a bit of dynamics implying that even when the events could seem routine, such as baking a cake, serendipity can create some unanticipated, if not dynamic, results. The introduction is provided by Curran.

Cheers!

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December 19, 2014

Interesting Photobooks for 2014

My interesting Photobooks of 2014

For those who follow my posts already know that I am a strong believer that anyone who has the endurance, determination and guts to publish their photobook deserves a strong pat on the back. You are all winners! The following photobooks have that little something extra, which may be exceeding hard to define or explain, but these photographers, usually in cahoots with a great (if not brilliant) book designer and backed by a diligent printer and bindary team, stand out.

Enjoy!

Laia Abril – The Epilogue, published by Dewi Lewis Publishing (Also selected for my list published in Emaho magazine)

Roger Ballen – Asylum Of The Birds, Thames & Hudson

Julia Borissova – Running to the Edge, Self-published (Also selected for my list published in Emaho magazine)

Jan Brykczynski – Boiko, self-published

Alejandro Cartagena – Carpoolers, self-published

Laura Curran – Lots of Cake!, self-published

Carolyn Drake – Wild Pigeon, self-published

Michelle Frankfurter – Destino, published by FotoEvidence

Robin Maddock – III, published by Trolley Books

Paula McCartney – A Field Guide to Snow and Ice, published by Silas Finch (Also selected for my list published in Emaho magazine)

Kate Nolan – Neither, self-published (Also selected for my list published in Emaho magazine)

Bryan Schutmaat & Ashlyn Davis – Islands of the Blest, published by Silas Finch

Matej Sitar – Morning Sun, self-published (his imprint)

Gytis Skudzinskas – Albumas, published by Nerutina

Ed Templeton – Random & Pointless, Deadbeat Club Press (#19) (Also selected for my list published in Emaho magazine)

Hiroshi Watanabe – The Day the Dam Collapses, published by Daylight Books & Tosei-sha Publishing, Ltd, 2014 (as a note about potential conflicts, I was the Text Editor for Watanabe’s book)

This list of photobooks as I hope you noted are in alphabetical order by last name, so please do not read into whose name/photobook is first or last. Not all of these photobooks have been reviewed yet, but I should have the missing reviews published soon ;- )

Thanks to all of you for your on-going support this past year and I am eagerly looking forward to the creative endeavors or 2015.

Cheers!!

The photobook covers are as follows:

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Laia AbrilThe Epilogue

Roger_Ballen-Asylum_Of_The_Birds_cover

Roger Ballen – Asylum Of The Birds

Julia_Borissova-Running_to_the_Edge_book_cover_n_slip_cover

Julia BorissovaRunning to the Edge

Jan_Brykczynski-Boiko_cover

Jan Brykczynski – Boiko

Alejandro_Cartagena-Carpoolers_cover

Alejandro Cartagena – Carpoolers

Laura_Curran-Lots_of_Cake!_cover

Laura Curran – Lots of Cake!

Carolyn_Drake–Wild_Pigeon_cover

Carolyn Drake – Wild Pigeon

Michelle_Frankfurter-Destino_cover

Michelle Frankfurter – Destino

Robin_Maddock-III_cover

Robin Maddock – III

Paula_McCartney-A_Field_Guide_to_Snow_and_Ice_cover

Paula McCartneyA Guide to Snow and Ice

Kate_Nolan_Neither_cover

Kate Nolan – Neither

Bryan_Schutmaat_&_Ashlyn_Davis-Islands_of_the_Blest_cover

Bryan Schutmaat & Ashlyn Davis – Islands of the Blest

Matej_Sitar-Morning_Sun_cover

Matej Sitar – Morning Sun

Gytis_Skudzinskas-Albumas_cover

Gytis Skudzinskas – Albumas

Ed_Templeton-Random_&_Pointless_cover

Ed Templeton – Random & Pointless, Deadbeat Club Press (#19)

Hiroshi_Watanabe-The_Day_The_Dam_Collapses_cover

Hiroshi Watanabe – The Day the Dam Collapses, published by Daylight Books & Tosei-sha Publishing, Ltd, 2014

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