The PhotoBook Journal

December 3, 2018

MAGNUM China

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Magnum China, Edited by Colin Pantall and Zheng Ziyu

Published by Thames & Hudson, copyright 2018

Essays; Colin Pantal, Zheng Ziyu, and Jonathan Fenby

Text: English

Hardcover with dust jacket, 376 pages, 350+ photographs and illustrations, printed and bound by Pacom, South Korea

Notes: As a child raised on her American grandmother’s stories of moving to China in the early 1920s who then followed in those footsteps with a post-college English teaching job, to say this reviewer was eager to get her hands on a copy of MAGNUM China would be a major understatement. Having arrived just a few months prior to what became the Tiananmen Square demonstrations, I left abruptly on the first passenger flight out in early June 1989 and have not returned since.  China has remained, in my mind and in my dreams, an unresolved puzzle, left yet to be finished on the kitchen table, as if one got up to answer the phone and never came back. Thus I turn the pages of MAGNUM China with hopes of finding all the missing pieces

Like the country itself, the photobook MAGNUM China, is an impressive thing to behold, one that will demand revisiting time and time again in order to take in the full scope of its riches. Featuring the high caliber of imagery that one can reasonably expect for any Magnum publication, this 376 page book includes work of more than 25 of the world’s best photographers, spanning 80 years, from 1938 to 2017.

In fact, as is noted in the section featuring Robert Capa’s 1938 documentary work in Hankou, the language barriers and surveillance challenges he faced provided Capa the time to contemplate not only his own work as a photographer, but to develop the idea of a collective of photographers that would become Magnum. This became the premiere photo agency founded by Capa and Henri Cartier-Bresson, among others, in 1947. Thus the argument could be made that without China there might not have been a Magnum, and without Magnum, there would be a less historically significant and culturally influential record by which the world can understand China, and China can understand itself.

The introductory “conversation” between China based photo Editor and Curator Zheng Ziyu and the English writer and photographer Colin Pantall offers insight not only to the selection of images that follow, but also to the shifting perception of China. Once considered an exotic/closed off society rarely seen by Westerners, today’s understanding of China is a more nuanced portrayal in which Chinese photographers, writers, and historians have more authorship over their own story.

MAGNUM China is divided into four sections: A Time of War 1938-1949; The Mao Zedong Years 1950-1976; The Deng Xiaoping Years 1977-1992; and The Era of a Global Superpower 1993- present.  Each section begins with an informative multi-page introduction by Jonathan Fenby which provide context to the images that follow; a timeline of significant political and cultural events during that period, and a list of in country travels for the photographers, a sampling of whose work is then presented.

It is tempting to gorge on all the finely printed photographs in one sitting. However, like an all you can eat image buffet, a bit of pacing and restraint is advised. There is much to satisfy the hungry viewer’s appetite, such as the late 1940s work of Henri Cartier Bresson, the gorgeous color work of Eve Arnold’s sympathetic portraits of the late 1970s, and the confection of Martin Parr’s commissioned portraits of the nouveau riche of 21stCentury Hong Kong. However, it is well worth pausing between courses, to digest the work of each photographer, and read the text for an understanding of their unique relationships to this vast and complicated country. Learning when they first visited China, how often they went, what their impressions were, which publications (if any) they were shooting for, enriches one’s appreciation for the subjects these world class photographers chose (and did not choose) to focus on.

The first section “A Time of War” has the most limited range of work, just that of Robert Capa and Henri Cartier Bresson, due to difficulty of travel and access in the pre-communist era of the late 1930’s-40’s. Here you will see Capa’s work for LIFE magazine, depicting a China still battling Japanese invasion, and Cartier-Bresson’s late 1940’s documentation of the fall of the ruling Kuomintang and the subsequent victory of Mao Zedong’s invading army. Especially moving is the image of “A bewildered old man searching for his son…” as the new recruits are called up and marched off to a certain defeat. The worried man in his black hooded robe tugs on his long white beard, his shadow stretching out behind him to the young soldiers who smile in the background, both the old and new era unaware they will soon be obliviated by the advance of the Communists.

One of the joys of this book is the inclusion of layouts from magazines that first published these images. The reader is able to thus experience how Western audiences first saw what this historically closed society looked like.

The second section “China, 1950-1970” includes not only the fine work of Werner Bischof’s Hong Kong series of shanty towns and growing skyline from the early 1950s, the observation of humanity in Marc Riboud’s first trip to China in 1956 at the dawn of the Cultural Revolution, and the early years of China’s re-engagement with the outside world as shown in the 1973 photographs of Bruno Barbey, among others. Also included is ephemera such as Riboud’s press pass and Bischof’s wrinkled caption list for his series The End of the Road. One can feel the impact of the typewriter keys hitting the page before being sent off to the Magnum office in Paris, giving the viewer the sense of being not only in the midst of China’s momentous changes, but in the mind of the photographer as they documented them. Pity there was no way to include the short 16mm films shot by Swiss photographer Rene Burri, though his early work (his was a 30 year “love affair” with China) is nicely represented with his photographs of young pioneers marching in the snow, and dead lotus flowers reflected on a lake that evokes the modernist line drawings of Picasso.

Of particular interest to this reviewer are the photographs in the third section, “The Deng Xiaoping Years, 1977-1992” as they include glimpses of the China familiar to visitors of the post cultural revolution/pre Tiananmen era, a vast society on the cusp of great, though not always comfortable, change. Of equal interest is the inclusion (at last!) of the work of two female photographers, Inge Morath and Eve Arnold, hinting that it was not only China that was opening itself up, albeit ever so cautiously, to the outside world. Perhaps Magnum too was expanding itself to welcome new perspectives; however limited the opportunities, they were long overdue.

Inge Morath’s work from the late 1970s offers fresh, “optimistic” view of everyday life, be it the 6:30am bicycle commuters passing through the dappled light of a roadside tree, or soldiers seated on the mountainside carving of a laughing Buddha, or her husband Arthur Miller directing a 1983 production of his play Death of a Salesman.  Immediately following Ms. Morath’s black and white images comes the saturated tones of reds and greens in Eve Arnold’s well traveled portraits of communes, factory and domestic workers, and farmers on the plains of Mongolia. The text describes the difficulty that Arnold had in photographing common people not yet accustomed to the sight of an independent Western woman, but she “came out of the country with fresh, original and life affirming images” symbolizing the end of tragedies and “changed the way the world viewed China.”

In the early 1980s photographs of Patrick Zachmann, one can begin to feel the presence of the outsider’s gaze and China’s gradual courtship with long forbidden Western influence. Close up faces of average Chinese citizens smile with curiosity back at the camera, actors prepare for film-shoots, young couples waltz in private apartments, and somewhat disturbingly, a bare breasted prostitute sits on a rumpled bedspread, staring directly at the lens, or perhaps the man behind the camera. Subsequent images of modern Chinese culture flaunting their newly acquired bling carry the same troubling impact as this photograph. The prostitute, unlike the old man in Cartier-Bresson’s 1948 image of the old man searching for his son, seems very much aware of the bleakness of her position, and has resigned herself, like her country, to a reality in which the pursuit of money is the new game in town, and everyone is a potential whore.

Despite the quantity and caliber of photographers that covered the Tiananmen Square demonstrations and the brutal crackdown in which “hundreds, perhaps thousands” of peaceful demonstrators, a majority of which were idealistic University students, were killed, MAGNUM China offers surprisingly few pages devoted to this world event. Thankfully included is an image by photographer Abbas which shows the early student gatherings mourning the death of beloved Communist party official Hu Yaobang. For those who know that these gatherings were the start of what became the Tiananmen demonstrations in the weeks preceding the official state visit of Mikail Gorbachev, (thus the world press arrived in Beijing and broadcast an embarrassing political moment that highlighted internal power struggles), this image is an important inclusion in the Portfolio. (Full disclosure, this reviewer had the honor of meeting Abbas on the day this image was taken, and his comment “This feels just like Iran”, referencing the start of the Iranian revolution, sent chills down my spine). The significance of this gathering is not fully conveyed by the placement of Abbas’ image opposite Patrick Zachmann photo of a theatrical student writhing on the ground as she “performs the pain of the Chinese people”. Real people died, brutally, and it was well covered. The avoidance of those images is, to this viewer, the only disappointment of this otherwise magnificent book, and despite the inclusion of Stuart Franklin’s view of the famous “Tank Man” on the wide boulevard leading away from the bloodied square, causes one to reflect on the compromise that countries and cultural entities alike have made in order to continue to do business with and in the economic powerhouse that is now China.

However, in the final section “The Era of a Global Superpower, 1993-present” there are hints that it is not only the photographers (Ian Berry, Stuart Franklin, Jim Goldberg, Chris Steele Perkins, among others) who are conscious of the price China’s citizens have paid for its ascent to the top of the global ladder. So too the editors of MAGNUM China, in their choice of image sequence, make the subtle point that while some Chinese now enjoy luxuries such as fancy cars and amusement parks, others have lost their homes to the development of the Three Gorges Dam.

In a particularly moving series, Taiwanese photographer Chien-Chi Chang documents mental patients who are literally chained together, forcing a level of cooperation that may neither be sincere nor lasting. These haunting black and white images immediately follow Martin Parr’s bold color work focusing on rapacious consumption, which with all Parr’s work, are very strong on their own merit. But taken in as the editors intend, one senses that not everything about China’s great success has been without great cost. Chien-Chi Chang also documents North Korean defectors who must hide their identities from the authorities as well as the camera while traveling through mainland China en route to what they hope is freedom in South Korea. China may have many riches, as beautifully demonstrated throughout this book, but freedom is not yet one of them.

Highly recommend.

Enjoy!  Melanie Chapman

Editor’s note: This photobook was selected as one of the “Interesting Artist and Photographic Books for 2018” by The PhotoBook Journal editorial team.

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November 29, 2018

Interesting Artist and Photographic Books for 2018

As in years past TPBJ has been providing a short list of artistbooks and photobooks we have found to be very Interesting. These are books that we continue to return to in order to enjoy again. Our selection derives from books with intriguing photographic content, brilliant project concepts, excellent book designs that support the artist/photographer’s intent in conjunction with spot-on production qualities; and the books that are the most Interesting have a delightful combination of all of these creative, if not critical, elements.

For our editorial team’s selection we have limited ourselves to the artistbooks and photobooks that we received with time to really evaluate the book object in its entirety. I have readily admitted in the past we do not have access to every photobook that was published during the year, thus our list is not meant to be in any way inclusive. Our list is also not meant be the “Best” photobooks of 2018, but rather we have selected some of our more Interesting photobooks that might warrant your consideration and time.

Our list includes; Laia Abril, Julia Borissova, Simon Brugner, Seiichi Furuya, Tobias Kruse, Melissa Lazuka, Yehlin Lee, David Lynch, Ute & Werner Mahler, Nuno Moreira, Colin Pantall & Zheng Ziyu (Editors) & Antonio Perez Rio.

Some artist and photographers are list repeats and others have published their First book. One of these books is massive in breath, scale and size and some are petite poetic treasures. This list represents a truly internationals group of artists, photographers, designers, printers and publishers; Congratulations to all!

We have published commentaries for most of these books, which are linked-up below. It is our intent to finish publishing reviews for all of these artistbooks and photobooks shortly. We hope you enjoy these as much as we have.

In alphabetic order by last name:

 

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Laia Abril, On Abortion

 

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Julia Borissova, Let Me Fall Again

 

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Simon Brugner, The Arsenic Eaters

 

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Seiichi Furuya, Warum Dresden (Why Dresden) (review pending)

 

Tobias Kruse, Material

 

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Melissa Lazuka, Song of the Cicadas

 

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Yehlin Lee, Raw Soul

 

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David Lynch, Nudes

 

Ute and Werner Mahler, Kleinstadt (review pending)

 

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Nuno Moreira, She Looks Into Me

 

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Colin Pantall and Zheng Ziyu (Editors), Magnum China

 

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Antonio Perez Rio, Masterpieces – Obras Maestras (review pending)

 

Cheers!

The PhotoBook Journal Editorial team: Douglas Stockdale, Gerhard Clausing, Kristin Dittrich, Melanie Chapman, Dan Johns

 

May 17, 2017

Lighting donation – Dual Graphics

Filed under: Photo Book NEWS, Uncategorized — Tags: , — Doug Stockdale @ 2:53 am

Norman Strobe set-up for book photography

Photo Book Photography; Norman strobe set-up, April 2017 Copyright Douglas Stockdale

While I was working on the printing of my artist book Bluewater Shore with the printing team at Dual Graphics, they offered me an opportunity to tour their facility to observe how they provide front-to-back color management for their book printing processes. This led to the discussion about the back ground on their Fulton printing methodologies that resulted in my recent interview article about this amazing printing capability on the West coast.

While on the facility tour, we stopped at their photo studio to meet up with my buddy Scott Mathews whose the lead photographer for this operation. I would have to say that I am primarily a street/location photographer, not a trained or practicing studio photographer. Mathews studio lighting set up was very impressive and I stated that this is something I probably need to think about at some time for photographing photo book covers and interiors for The PhotoBook Journal. Mathews gave me a look and then stated that they had mothballed a long time ago a Normal lighting rig when they purchased their current studio lighting, would I be interested in a donation of an old studio lighting set up; Norman P2000 power pack and two Normal strobe heads. Wow, would I (although not exactly sure of what I was getting into as I have never worked with studio lights, but sort of frustrated with my current book photography process). Being a non-profit (or as I say, no-income/no-profit), I do not look a gift-horse in the mouth and appreciate all donations!

Dual Graphics also threw in a couple of Bogen light stands with this donation; sweet! So I received a quickie studio lighting lesson from Mathews about what I needed to do for my “new” studio set-up; buy a pair of inexpensive umbrella reflectors and NOT connect a digital camera directly to this old Norman power pack but purchase a pair of PocketWizard Plus wireless transmitters. Done and done.

So after a little bit of experimenting and some lighting coaching from Mathews, I think we are in business. The recent book photographs for the Barbara Peacock book review showing some nice improvements in our book photography process.

So a big thank you Dual Graphics for their support of this journal and we hope you enjoy the revised look!

Cheers!

Douglas

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January 30, 2017

Left Coast PhotoBook News: LA ART BOOK FAIR 2017

Filed under: Photo Book NEWS, Photo Books — Tags: , , — Doug Stockdale @ 5:12 am

LA Art Book Fair coming soon to the Left Coast!

February 24 – February 26, 2017
Preview: Thursday, February 23, 2017, 6–9 pm
Location: The Geffen Contemporary at MOCA:

The Geffen Contemporary is located at 152 North Central Avenue, Los Angeles, CA 90012

This is the fifth annual LA Art Book Fair (which I missed last year, darn), and best of all, its Free!

Printed Matter’s LA Art Book Fair is a unique event for artists’ books, catalogs, monographs, periodicals, and zines presented by more than 300 presses, antiquarians, artists, and independent publishers from over 20 countries. A very diverse collection of photographic and art books. If you have not been to this event before, it will blow your mind.

Focus: Photography
A curated cross-section of photo-based books and magazines, this year’s Focus: Photography has expanded, and includes: ARÖK (Lithuania), Goodbye Ranch (Arizona), SUPER LABO (Japan), Bemojake (UK), Remote Photobooks (New Zealand), The Heavy Collective (Australia). This should be interesting!

Slow Culture & Deadbeat Club (a SoCal group of film users) are proud to present “THE FOTOMAT”.  A pop-up installation in the Geffen courtyard paying homage to vintage drive-thru photo kiosks with actual 24 hour film developing services. Photographer friends will be guest clerks and sell exclusive prints to the fair.  Also available will be film & photography accessories, zines, photo books and other photo related ephemera.

As always, a fun and entertaining event and I hope to see you there and if you see us, don’t forget to give a big shout-out ;- )

Cheers!

January 29, 2017

Left coast photobook news: Ruscha at OCMA

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Every Building on the Sunset Strip copyright 1966 Ed Ruscha

Currently OCMA (Orange County Museum of Art) is exhibiting Pop Art Design and included are a few works by Ed Ruscha, but probably the most interesting to those who enjoy photobooks is a very long display of Ed Ruscha’s 1966 Every Building on the Sunset Strip.

This is a deadpan photographic project in which a 35mm motor-drive camera with a bulk feed was used to photograph all the adjacent buildings while driving up and then back again on Sunset Blvd. This street was commonly called the Sunset Strip, thus Ruscha’s resulting photobook plays a visual  pun of the street nickname by creating a long continuous strip of images. On the top of the pages is one side of the street and positioned below this in reverse is the other side of this street.

This photobook design was very innovative for its time with stiff covers and the interior was bound to display as an accordion (also known as Leporello or Concertinas) layout, which is to say each page was connected and continuous. A very long strip of photographic images. As a part of the Pop moment, his book was also meant to be a very inexpensive, which is apparent in the rough and uneven gluing of the accordion page binding.

My photographs of this exhibit were a grab shot and dose not do the Ruchas’s photobook enough justice, thus I recommend for you to go check it out and see the real thing!

The OCMA exhibition runs thru April 2nd, 2017.

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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, © 2016

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

Text:  English

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

Photobook Designer:  Katharina Stumpf, Kehrer Design Heidelberg

 

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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January 6, 2017

Young-hwan Choi – BABEL

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Copyright 2014 Young-hwan Choi

Photographer: Young-hwan Choi (born & resides in Seoul, South Korea)

Self-Published (South Korea)

Essays: Young-hwan Choi, Dong-sun Jin, Sang-yong Shim

Text: Korean & English

Stiffcover book with tipped in image, perfect binding, four-color lithography, printed by Photonet in South Korea

Photobook designer: Photonet, South Korea

Notes: Choi’s self-published photobook BABEL is a tall, thin collection of black and white photographs that investigate a towering urban landscape in which the vegetation is either attacking a structure or attempting to conceal it, as though a futile potential reclamation is in process.

This is a dark poetic and surreal allegory about the pursuit of happiness by means of accumulating power and wealth through the construction of tall looming structures, similar to the vain construction of the towers of Babel, is but a hollow chase. None of these structures has been able to truly reach heaven.

In writing about Choi’s photograph, Sang-young Shim states “the excessive deficiency of light, which often comes close to absence. Sometimes all light is extinguished except for the minimum required for perception. Even that is reflected light, with the light source nowhere to be seen. The main tones range between grey and black, but as the darkness advances to the extreme level, it often threaten the middle tones as well…the plant is a place that should be brighter, for sure. One should poke a hole through the sky cover in ash-colored clouds. The ominous grey that pressed down should be covered with brilliant colors. But the signs of dawn are too faint.”

I met Choi at Photo Independent last spring in Los Angeles and I was impressed with his photographic exhibit and his two self-published photobooks, this and his earlier REQUIEM (published in 2011).

I find BABAL’s visual narrative to be extremely relevant to the current global events, especially those occurring in the United States. Anyone who builds large and tall structures with their name bronzed in large letters across the front for all to see (hoping for admiration) is indeed pursuing a dark folly that was characteristic of Babel.

Best regards

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January 1, 2017

Daniel Alexander & Andrew Haslam – When War is Over

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Copyright 2016 Daniel Alexander & Andrew Haslam

Photographer: Daniel Alexander (born Edinburgh, Scotland, resides London, UK)

Publisher: Dewi Lewis Publishing (UK)

Essay: Daniel Alexander

Text: English

Hardcover book with embossed cover, inserts, multiple gatefolds, sewn binding, four-color lithography, printed in Italy

Photobook designer: Daniel Alexander

Notes: Towards the end of World War I in 1917, the United Kingdom made a decision to establish the Imperial War Graves Commission that currently tracks and maintains the burial of 1.7 million Commonwealth war dead from World War I and II in perpetuity. Daniel Alexander’s photobook When War is Over provides a documentary style investigation of this on-going process of memorialization.

Alexander and Haslam’s photographic project took on more meaning for me as I had recently completed a related photographic project documenting road-side memorials. In my investigation I was documenting what family and friends had erected as a personal memorial at the site of a tragic accident in an attempt to create a remembrance and deal with their personal grief. Similarly Alexander and Haslam investigate an organized process of remembrance for those who tragically passed while serving in the military with the government acting on the behalf of families who might not otherwise have a means or capacity to do so, such that those who passed were honored equally.

For me this photobook calls into the question of how we create a remembrance of those who we have known and loved, but who have now passed on. How do we maintain that memory and how that memory is passed on to later generations? Does a well maintained cemetery create this experience, or does it provide an associated remembrance as an example that is available to us all? Likewise this photobook, although not about someone specifically still elicits a poignant remembrance of my family members who were lost in military action during these wars as well as those who were in the war but have passed since, such as my own father who was in the American army during World War Two.

This photobook documents the various aspects of maintaining these burial sites, which engages administrators, quarry-men, stone cutters, and gardeners for the upkeep of 2,500 cemeteries, 21,000 other burial grounds and 200 memorials for the missing in 154 countries. I also find that this photobook is a sober narrative about the terrible price of war, but if so engaged, those valiantly involved will be remembered.

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December 30, 2016

Ara Oshagan – Mirror

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Copyright 2015 Ara Oshagan

Photographer: Ara Oshagan (born Beirut, Lebanon, resides Glendale, CA, USA)

Self-Published (USA)

Essay by Ara Oshagan

Music & Lyrics by Gor Mkhitarian

Text: English & Armenian

Hardcover exposed boards with tipped in image, sewn binding, four-color lithography, printed in China

Photobook designer: Ara Oshagan & Varoujan Hovakimyan

Notes: Ara Oshagan and his self-published photobook Mirror uses a documentary style to create a predominately black and white diary of the Gor Mkhitarian band but with an unusual twist; he incorporates some new technology that allows the viewer to scan the appropriate interior pages and link up the related music on their phone. Oshagan has incorporated the free Aurasma.app (available from Apple or Google) that after downloading and subsequently pointing the phone’s camera to the red icon pages of his book, the reader will be able to experience Mkhitarian’s band play the related music.

Oshagan states “Images mirror music. Music is a mirror of images. Darkness and light reflected in both. The diary’s very structure is a mirror; the lexicon of the pages that follow one another has a visual rhythm, an echo of the ebb and flow of music itself.”

Oshagan was present at Photo Book Independent last spring when I had an opportunity to meet him and discuss his photographs as well as the technology lurking in this book. I usually do not provide reviews of musical band documentaries, but this was really an intriguing collaboration of a nice physical photobook with the download of the related music, which I find more interesting that an iPad experience. I am guessing that once the reader downloads this app, that they should even be able to scan the photographs in this review and interact with the music. Cool.

Cheers

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