The PhotoBook Journal

September 15, 2016

Lisa Elmaleh – Everglades

lisa_elmaleh-everglades_cover

lisa_elmaleh-everglades_introduction

Copyright 2016 Lisa Elmaleh

Photographer: Lisa Elmaleh (b. Miami, FL & resides in West Virginia, USA)

Publisher: Zatara Press

Essays: Ann McCary Sullivan & Lisa Elmaleh

Text: English

Hardcover book with wrap around cover with interior pocket, Smyth-sewn binding, interior booklet saddle stiched, lithography, without captions or pagination, printed in Richmond, VA

Photobook designer: Andrew Fedynak and Lisa Elmaleh

This photobook, Everglades, by Lisa Elmaleh is a beautiful sonnet about the Florida Everglades and a testimony to her vision and patience. I had enough issues with a 4×5” camera with sheet film on dry land, least taking on the use of huge 8×10” camera (aptly named Fitzgerald Fitzwilliam Fitzgeorge) and the finicky wet collodion glass negative process while stomping around in a swamp. If you are not familiar with the wet collodion process, which dates back to 1851, it requires that the glass plate be prepared and exposed while still “wet” and immediately developed with acid on site after exposure to further complicate her photographic process even more.

Her landscapes photographs of the Everglades wilderness are lyrical and haunting. The resulting imperfections of the wet collodion process add a measure of serendipity and chance, while creating mysterious poetic images, from all that I am told, not unlike the complexity of the Everglades itself. Due to the limitations of her process, this body of work is not meant to be an exacting documentary style investigation of this massive location, but more attuned to capture the emotional essence of her experience.

The hardcover book has contemporary elements in the binding and inclusion of the introductory booklet while the photographs are sequenced and laid out in a classic style, each plate with ample white margins. The plates have an additional coating that provides a very nice sheen that adds to the visual quality of these beautiful black and white images. The Smyth sewn binding allows the book to almost lay flat upon opening that make this book a delightful experience to read.

The photographic titles and date of exposure is available on Lisa Elmaleh’s web site.

Cheers!

lisa_elmaleh-everglades_1

lisa_elmaleh-everglades_2

lisa_elmaleh-everglades_3

lisa_elmaleh-everglades_4

lisa_elmaleh-everglades_5

lisa_elmaleh-everglades_6

lisa_elmaleh-everglades_7

lisa_elmaleh-everglades_8

Advertisements

August 25, 2016

Rania Matar – L’Enfant-Femme

Rania_Matar- L_Enfant-Femme_cover

Copyright 2015 Rania Matar

Photographer: Rania Matar (b. Lebanon – resides Boston, MA, USA)

Publisher: Damiani (Italy)

Essays: Her Majesty Queen Noor of Jordan, Louis Lowry, Kristen Gresh

Text: English

Hardcover book with tipped in photo, sewn binding, four-color lithography, captions and pagination, Plates, printed by Grafiche Damiani in Italy

Photobook designer: Jesse Holborn, Design Holborn

Notes: This is Rania Matar’s third book, L’Enfant-Femme (French: The Child Woman) is a continuation of her previous feminine exploration, A Girl in Her Room, of young girls on the cusp of womanhood. Likewise, this is also a study of the similarities and subtle differences of two geographic regions and their associated cultures; Northeastern U.S.A. and Lebanon, places that Matar knows equally well.

Her young subjects have a direct gaze towards the photographer and her lens, thus a direct connection with the viewer. As pointed out in essay by Kristen Gresh, Matar’s analog photographic methods do not provide the immediacy of visual feedback that her subjects probably have become so accustomed to. We view their meditative gaze, not smiling as requested by Matar, but sometimes I can still detect the hint of a smile in the corner of their mouths or in stark contrast, a guarded, if not defiant stare.

Matar’s captions provide a minimum of information about her subjects; age at the time of the portrait, and the young girl’s first name, although to dispel some of the ambiguity about her subjects, the location of each photograph is provided in the concluding page of Plates. To further reveal that these young women are in a stage of rapid transition, the concluding section has a series of facing pages with her subjects at the age of when this project began in in 2011 and then close to its conclusion in 2015.

As elegantly stated by Her Majesty Queen Noor of Jordan “work that inspires the viewers to reassess their stereotypes of girls and women, particularly in the Middle East. In calling these boundary-building preconceptions into question, Matar brings emphasis instead to what is both unique and universal, and thus to what connects us all.”

Like many great photographers, this photobook also provides a glimpse into her latest on-going portrait project in which she is working that I expect will be published soon (hint: daughters and their mothers).

Rania Matar has been previously featured on The PhotoBook: A Girl in Her Room (2012) and Ordinary Lives (2009).

Cheers

Rania_Matar- L_Enfant-Femme_1

Rania_Matar- L_Enfant-Femme_2

Rania_Matar- L_Enfant-Femme_3

Rania_Matar- L_Enfant-Femme_4

Rania_Matar- L_Enfant-Femme_5

Rania_Matar- L_Enfant-Femme_6

Rania_Matar- L_Enfant-Femme_7

Rania_Matar- L_Enfant-Femme_8

Rania_Matar- L_Enfant-Femme_9

July 28, 2016

Christoph Lingg – By The World Forgot – Portraits of the Indigenous Peoples of Asia

Christoph_Lingg-by_the_World_forgot_cover

Copyright 2014 Christoph Lingg

Photographer: Christoph Lingg (b. Schoppernau – resides Vienna, Austria)

Publisher: Editions Aufbruch (Austria)

Essays: Christoph Lingg, Diana Vinding

Text: English, Deutsch

Hardcover book with wood veneer (8 options to choose from), sewn binding, four-color lithography (black and white images), pagination and geographical chapters, Reading List, printed in Czech Republic, covers produced and bound by Lingg in Vienna.

Photobook designer: Christoph Lingg

Notes: Over the past years, Christoph Lingg has been creating black and white portraits of the Indigenous People in the broadly defined geo-region of Asia, including Pakistan, Indonesia, Mongolia, Siberia, Myanmar, India and China. This is not an attempt to be fully inclusive investigation of the cultures of Kalasha, Dani, Buriad, Nenets, Palaung, Apatani, Yao and Hani to name a few that are featured in his book.

His subjects are frequently backed with a simple white cloth and I am reminded of the earlier on-location portraits of Irving Penn. It is a technique to isolate the subject from their environment and which focuses the viewers on the individual captured in front of the lens. Interspersed are environmental portraits in which his subjects are situated in their local cultural elements to provide more context about their living conditions.

Frequently the viewer is met by a weary gaze at or a slightly off-lens look that is telling about the economic and political conditions that could be considered characteristic of Indigenous people, a cultural sub-group within a larger population. Lingg may have only been among his subjects for a short time and due to language and custom barriers, probably not sufficient time to establish or develop a really deep and open relationship. Nevertheless the portraits are powerful and well presented in this hardcover book, although the decision to print on a warm matte paper creates a lower contrast image lacking deep blacks.

Christoph Lingg’s photobook, Shut Down, was previously featured on The PhotoBook.

Cheers

Christoph_Lingg-by_the_World_forgot_1

Christoph_Lingg-by_the_World_forgot_2

Christoph_Lingg-by_the_World_forgot_3

Christoph_Lingg-by_the_World_forgot_4

Christoph_Lingg-by_the_World_forgot_5

Christoph_Lingg-by_the_World_forgot_6

Christoph_Lingg-by_the_World_forgot_7

Christoph_Lingg-by_the_World_forgot_8

July 7, 2016

Susan S. Bank – Piercing the Darkness

Susan_Bank-Piercing_the_Darkness_cover

Copyright 2016 Susan S. Bank

Photographer: Susan S. Bank (b. Portsmouth, NH and resides in both Philadelphia, PA & Portsmouth, NH USA)

Publisher: Brilliant Press, Exton (PA)

Essays: Susan S. Bank, John T. Hill

Text: English

Hardcover book with dust jacket, sewn binding, four-color lithography, List of Plates, printed by Brilliant Press in USA

Photobook designer: Jesse Holborn

Notes: As I had stated in an earlier review, there will be a number of photobooks forthcoming about Cuba. Nevertheless, there are a few photographers, such as Susan S. Bank, who is investigating the island, people and subsequently the culture of Cuba for an extended period.

This is Bank’s second book about Cuba and for this poignant project she is focusing on the people of Havana. She has carefully chosen to photograph her subject utilizing analog black & white with her Leica to get up close and personal. She is an urban photographer who can capture the various Havana street activities as well as someone who appears to be able to gain trust and probe inside the cultural boundaries to observe life as it unfolds. All the while Bank steers clear of the potential Cuban clichés to dive beneath the veneer and focus on capturing quiet and intimate personal moments. This is a gritty photobook that connects with me and I feel provides a real sense of who the people are that reside in Havana. Recommended.

Cheers

Susan_Bank-Piercing_the_Darkness_1

Susan_Bank-Piercing_the_Darkness_2

Susan_Bank-Piercing_the_Darkness_3

Susan_Bank-Piercing_the_Darkness_4

Susan_Bank-Piercing_the_Darkness_5

Susan_Bank-Piercing_the_Darkness_6

Susan_Bank-Piercing_the_Darkness_7

Susan_Bank-Piercing_the_Darkness_8

July 1, 2016

Mara Dani – Almost Bari

Mara_Dani-Almost_Bari_cover

Copyright 2015 Mara Dani

Photographer: Mara Dani (born in Brindisi and resides in Bari, Italy)

Self-published

Essays: Gian Luigi Sylos Labini and Alessandro Crilillo

Text: Italian and English

Hardcover book with exposed boards and spine, belly band and elastic band closure, two-color offset printing with sewn binding, various papers, pagination and captions, printed by Presso Grafica & Stampa in Italy

Editor and designer: Alessandro Cirillo

Notes: This is a topological body of work, exploring one small region of Italy, which is a subject that also happens to be the city where Dani lives.

Dani’s urban landscape is a black and white photographic investigation using a documentary style of a city situated on the coast of the Mediterranean Sea. She pays attention to the diverse architectural diversity found here but appears to be critical of the post-modern style, with the spaces in between appearing sterile and devoid of individuals. Likewise, perhaps due to her black and white medium, the appearance of the structures are seemingly functional but cold, gray and monotonous. I am reminded of the New Topographic’s work of Robert Adams, Lewis Baltz and Nicholas Nixon.

One of my few objections is that the tight binding does not allow the book to lay flat, but I was not going to break the binding to ensure flat surfaces to re-photograph the interior pages. Thus, no book was harmed in the writing of this review!

This body of work by Dani further exemplifies why it is not necessary to travel far to create an engaging photographic project.

Cheers

Mara_Dani-Almost_Bari_1

Mara_Dani-Almost_Bari_2

Mara_Dani-Almost_Bari_3

Mara_Dani-Almost_Bari_4

Mara_Dani-Almost_Bari_5

Mara_Dani-Almost_Bari_6

June 23, 2016

Lorne Resnick – CUBA

Lorne_Resnick-CUBA_cover

Copyright 2015 Lorne Resnick

Photographer: Lorne Resnick  (born Toronto, Canada, resides Los Angeles, CA, USA)

Publisher: Insight Editions (USA)

Essays: Lorne Resnick, Brian Andreas, Pico Iyer, Gerry Badger

Text: English

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

Photobook designer: Leah Bloise

Notes: In conjunction with the opening of travel by the United States into Cuba, a Caribbean island which due to trade embargos has an economy and physical infrastructure that appears to be frozen in time, there is suddenly an overflow of photographic books that attempt to investigate this charming island.

Resnick is not a stranger to Cuba having started his 50 or more visits to Cuba in 1995. This thick monograph of lyrical photographs by a veteran street photographer using a documentary style has an interesting mix of color and black white photographs. His subjects are a mash up for portraits, landscape, details and social events. I have extensively worked as well as vacationed in the Caribbean, thus I find Resnick’s investigation appears to reveal similarities to but yet awkward differences with its Caribbean island cousins. In attempting to provide a wide view of Cuba, he occasional treads close to some potential Cuban clichés while yet infusing his book with humor, potency, intimacy and the exuberance portrayed by his subjects. Included is a nice book element with poetic text printed on translucent pages that intermittently layers his photographs.

Resnick also has a limited edition version of this book that includes a 60-song Cuban music collection. nice.

Cheers

Lorne_Resnick-CUBA_1

Lorne_Resnick-CUBA_2

Lorne_Resnick-CUBA_3

Lorne_Resnick-CUBA_4

Lorne_Resnick-CUBA_5

Lorne_Resnick-CUBA_6

Lorne_Resnick-CUBA_7

June 17, 2016

Sara Terry – Elvis in the Tree

Sara_Terry-Elvis_in_the_Tree_cover2

Copyright 2016 Sara Terry

Photographer: Sara Terry (b. Detroit and resides in Los Angeles, USA)

Self-Published: 10 (X) Editions

Text: English

Hardcover artist book (boards with hand stamp and hand inscription on cover) with elastic belly band, leporello interior design, pigment ink prints with clear corner stays, hand-printed, limited edition book of 10.

Photobook designer: Sara Terry

Notes: Sara Terry’s hand-made artist books in her 10 (X) series are a delight to hold and read. I have known Terry as the founder, artistic director and publisher of the Aftermath Project and her annual War is Half the Story stiff-cover books and that she received a Guggenheim Fellowship in 2012 to support the publication of artist book Forgiveness and Conflict: Lessons from Africa. These are all very serious documentary style projects. What I was not aware of was her wonderful 10 (X) Editions until we had adjacent tables at Photo Independent last month. I found out about the not-so-serious side of Sara Terry!

I also quickly found that Terry is very particular about her books when I inadvertently did not place the elastic belly-band back on this book in the right place. Likewise she pays careful attention to the design details and production of her books; they are very well constructed and reading is a fun and enjoyable experience, especially as the leporello design unfolds the interior prints in your hands. For Elvis in the Tree, Terry states “It’s about trees. It’s about visual puns. And yep, it IS about Elvis in the tree.”

A simple but yet elegant book object that is well executed. Recommended.

Cheers

Sara_Terry-Elvis_in_the_Tree_top_view

Sara_Terry-Elvis_in_the_Tree_1

Sara_Terry-Elvis_in_the_Tree_leporello_interior

Sara_Terry-Elvis_in_the_Tree_2

Sara_Terry-Elvis_in_the_Tree_3

June 10, 2016

Aline Smithson – Self & Others

Aline_Smithson-Self_&_Others_cover

 

Copyright 2015 Aline Smithson

Photographer: Aline Smithson (born & resides Los Angeles, CA, USA)

Publisher: Magenta Foundation (Canada)

Essays: Paula Tognarelli, Karen Sinsheimer & Aline Smithson (A.S.)

Text: English

Hardcover book, sewn binding, four-color lithography, printed in China

Photobook designer: Office of Gilbert Li

Notes:  This monograph is a wonderful mid-career touch-point (as I know that just about every artist is loath to have a “retrospective” published while still in the midst of developing new work) that chronologically encompasses her early black and white analog projects, then a period of hand-coloring silver gelatin prints and currently exploring portraiture with the color photographic medium.

She has learned to masterly fill the square frame with her subjects, frequently her family as well as family of friends and make excellent use of her training as a painter in creating the accompanying background sets. One can see the early influence of the ambiguous style of Keith Carter or the family in masks of Ralph Eugene Meatyard, evolving to when her vision becomes more uniquely her own with her hand-colored photographs and subsequent color portrait projects. Portrait as Autobiography is thus a very apt subtitle to Smithson’s book Self & Others, an on-going collection of portraits by the photographer.

The late Karen Sinsheimer states in the forward; “Smithson manages to explore and explicate larger questions and issues as she remains true to who she is. She does not flinch from unpleasant or painful memories, nor does she shy away from an honest assessment of her work. Smithson maintains a sense of humor as well as a humanity; her photographs reflect her kind nature. One never senses meanness nor voyeuristic “gotcha” moments. She is unafraid of trying new ideas as she is of failing; she simply learns from and analyzes the experience and stores it in her memory for future reference.”

Cheers!

Aline_Smithson-Self_&_Others_1

Aline_Smithson-Self_&_Others_2

Aline_Smithson-Self_&_Others_3

Aline_Smithson-Self_&_Others_4

Aline_Smithson-Self_&_Others_5

Aline_Smithson-Self_&_Others_6

Aline_Smithson-Self_&_Others_7

Aline_Smithson-Self_&_Others_8

June 3, 2016

Kurt Simonson – Northwoods Journals

Kurt_Simonson-Northwoods_Journals_cover

Copyright 2015 Kurt Simonson

Photographer: Kurt Simonson (born St Paul, MN, resides Long Beach CA, USA)

Publisher: Flash Powder Projects (USA)

Essay by George Slade, Poem by Franz Wright

Text: English

Hardcover book, sewn binding, multiple gate-folds, tipped-in tri-fold page, four-color lithography, printed by Bigger Dot in South Korea

Photobook designer: Kurt Simonson, David Bram, Jennifer Schwartz

Notes: Kurt Simonson’s Northwoods Journals was one of the immediate standouts while I was judging the Photo Independent Book Competition last month. Even now after the first impressions formed during the book judging process have faded, I find his body of photographs to appear both factual, in a documentary style, as well as mysterious, as to the potential content, creating an interesting, although at times dark narrative. I realize that Simonson’s ambiguous photographs allow me the room to fill in some spaces from my own Midwest upbringing, a personal layer that I can add onto to his story. I like when that happens.

The body of work opens with a photograph that might be his grandmother’s envelop and unopened letter, a sly node to the late Roland Barthes. Simonson follows with a playful twist to include a tipped-in tri-fold page with a photograph of a hand-written text that contains his own introduction, as a surrogate of his grandmother’s letter, which may also have been hand-written, similar again to Barther’s photograph of his mother; we don’t know. Nor does it really matter.

Playful, mysterious and a ample ambiguity that allows the reader to make the story their own. Nice.

Kurt_Simonson-Northwoods_Journals_1

Kurt_Simonson-Northwoods_Journals_2

Kurt_Simonson-Northwoods_Journals_3

Kurt_Simonson-Northwoods_Journals_4

Kurt_Simonson-Northwoods_Journals_5

Kurt_Simonson-Northwoods_Journals_6

Kurt_Simonson-Northwoods_Journals_7

Kurt_Simonson-Northwoods_Journals_8

Kurt_Simonson-Northwoods_Journals_9

April 22, 2016

Brad Temkin – Rooftop

Brad_Temkin_Rooftop_cover

Brad_Temkin_Rooftop_covers

Copyright 2015 Brad Temkin

Photographer: Brad Temkin  (born & resides Chicago, IL)

Publisher: Radius Books (USA)

Essays: John Rohrbach, Steven Peck, Roger Schickedantz

Text: English

Hardcover with glued boards and accompanying perfect-bond booklet (essay and list of plates), Lucite slipcase, sewn binding, four-color lithography, printed in Verona, Italy

Photobook designer: David Chickey and David Skolkin

Notes:

The rooftops of industrial buildings could well be one of the last frontiers for ecological exploration, usually a place that is a maintenance crew’s worst nightmare as a source for water leaks. This no-man’s landscape has more recently been envisioned as a potential location for huge panels for solar energy with an eye towards reducing electrical cost in conjunction with reducing the carbon footprint. Likewise, a relatively new concept for industry is the green roof, which Temkin has investigated in his book Rooftop. The concept is not entirely new as the top of many apartment complexes have for generations’ harbored gardens and other green sanctuaries.

Temkin has found these industrial oasis in the midst of heavy commerce and high rise commercial complexes, an otherwise sea of concrete, steel and glass. What is not apparent is that these green places are usually meant for popular use or even by those who inhabit the commercial space just below these beautiful vistas. Temkin has framed many of his images in a manner that makes the location ambiguous, even to the point of recognizing that the location is on top of commercial building. One poignant exception is the photograph that captures both the natural habitat on the roof and the stark contrast of the business personnel boxed inside the building below, attentive to their computer monitors and headsets. Nevertheless, Tempkin’s clearly seen photographs offers hope as to our industrial future.

Additional Footnote: I was part of the 2016 PhotoBook Competition jury during which we selected Tempkins’ photobook Rooftop as one of the three Best in Show.

Cheers

Brad_Temkin_Rooftop_1

Brad_Temkin_Rooftop_2

Brad_Temkin_Rooftop_3

Brad_Temkin_Rooftop_4

Brad_Temkin_Rooftop_5

Brad_Temkin_Rooftop_6

Brad_Temkin_Rooftop_7

Brad_Temkin_Rooftop_8

Brad_Temkin_Rooftop_9

« Newer PostsOlder Posts »

Blog at WordPress.com.