Sustaining Your Practice

ASSIGNMENT FOUR: PUBLICATION DRAFT

/ niki / Leave a comment

PREPARATION FOR BOOK PRINTING. 

  • I have researched photo books: see blog post

I have researched the making of photobooks: https://nkssite6.photo.blog/category/sustaining-your-practice/assignments/a4-syp/a4-syp-photo-book-research-colberg/

https://nkssite6.photo.blog/category/sustaining-your-practice/assignments/a4-syp/a4-syp-further-photobook-theory-research/

Having taken advice for many photographers on best companies for self-publishing and have narrowed it down to Exwhyzed and Mixam, and have invested time researching what they offer.

A SUMMARY OF MY NOTES ON EXWHYZED PRINTER :

From their intro video for zines

Binding up to 40 sheets:

  • wire/saddle/stapling stitching:
  • a sheet will be 4 pages (4 page cover). Need multiples of 4 pages for this zine.
  • Self-cover is same paper throughout.
  • Can have a 4 page cover which is stiffer/thicker but cover does bounce up
  • A4 16 pages is neat
  • Perfect binding: glued cover is continuous spread with a hinge which should open flat

40 pages (includes 4 page cover) is a 3ml spine can’t do for less than 40 pages total, need 170g for cover.

Cover:

  • Laminate front cover if go for 170g or thicker to stops spine cracking.
  • Matt (though feels professional does scuff) or gloss (pops the colour ü) or soft touch (looks professional).
  • Recommend flat colour 160g for thinner zine or uncoated 300g for thicker zine but matt laminated

Size:

  • up to A4, 297 x 210mm, but suggests between A4/5 is a nice size.
  • Bespoke sizes stand out from other books
  • keep text 10/12ml away from edge 6/8ml lost on into spine

   Paper types (house types)

  • Uncoated (no shine, white), silk (good middle ground, colours jump, slight sheen, smooth), gloss (shine), & evolution uncoated (off white, soaks up ink, not good for dark prints and colour reproduction) 100g (170g max for pages) to 350g chunky cover (300 best max).
  • Blk/wht recommend only uncoated or silk
  •   Page numbers sugested  5/6pt nice and small

HARDBACK BOOKS

Case binding

  • Hardbacks are little larger (V perfect bound softback as cover overhangs)
  • Inside the front/back cover overhangs the hard cover by 17mm, though majority is covered by the end paper glued to cover case. So will need extra 17mm round the edges.
  • Can have content on all 3 pages of the end pages.
  • The first text page is actually glued to the end papers not the bookcase, so lose 5mm of the first text page therefore content should be at least 10/15mm away from the spine, ideally 20mm so the page doesn’t have to be pressed down to be read.
  • 28 minimum pages for a hardback ideally 32. Or not enough surface area for gluing – this gives 3 mm spine.

Covers:

End papers:

  • can be shiny paper from colour plan, and the edges also takes the colour
  • Printing the colour on the end page is considerably cheaper– means can have any colour, though do see white edge (from the side).

Inside pages

  • silk ideal for my colours
  • Standard paperweights: 115 gsm uncoated, 120 evolution uncoated recycled, or 130 silk. Premium Upgrades: 160g evolution uncoated (recycled sucks in ink), 170 house uncoated to 170 silk makes it easier to glue with small number of pages. 12ml border ideal or full bleed (but do lose some image in the centre fold)
  • Captions suggest 7/8 pt
  • Stop 15/20 mm short of spine so pages don’t have to be pressed down. Later they said for my 9mm spine it would only be a 2/3mm loss

If an A4 Landscape photography book, though suggest bespoke sizes say 260 x210 better

  • 15/18ml round edges(might be too large for me)
  • 130 silk paper silk is safest for colour reproduction
  • They send me 1 page at least to check how images print – allow extra week if checking prints, hardback takes 1 week normally and linen an extra week foiling another – so 2/3 weeks for hardback line/foil book.
  • Apart from full bleed keep the others the same place margin
  • up to A5 is one set of prices, including any bespoke size, no extra for bespoke prices. The same goes for A4.
  • 8 X 10 good landscape photography size bespoke from A4 or A5 makes the readers eye work harder.

Lithoprint is used only for longer print runs.

  • I like the size of Lucy Roses ‘no words left’ book?, which is slightly bigger than A5 landscape, but having measured it out, though cheaper A5 is too small for my images.
  • I definitely don’t like more than one image on a page
  • For preview they offer a print preview PDF for proof reading prior to printing/payment.
  • I must ask how to avoid getting the end pages the wrong size like ode to Hackney in their video example.

Tips:

  • Images: Might need to boost contrast for printing in photoshop
  • More white space round text is better

I asked XYZ for a quote based on:

  • Hardback photobook
  • Size: Landscape 210 x 262.5mm   or could be 210x 260 want to achieve near to 5:4 ratio
  • Case bound-glued
  • Cover: printed 170 silk laminated hardback gloss – Also give alternative quote for if a colourplan cover with foil for text title
  • Printed end pages silk 170g
  • 32 pages 170g silk
  • 1 or 2 copies only

Their quote was:

210 x 263mm Landscape Casebound Books – I then realised I should increase this width to possibly 210 x 279 to allow for (15mm loss into spine on full bleed images. (A4 is 297×210)

  • Cover onto 170gsm Silk FSC Certified
  • Wrapped over greyboard case
  • Gloss Lamination to outer
  • 2x 4pp End Papers printed onto 170gsm Uncoated FSC Certified
  • 32 inside pages onto 170gsm Silk FSC Certified  (9mm spine)
  • Printed in full colour throughout
  • Trimmed, collated and case bound

Copies:

1 = £226 2 = £238 5 = £256 sweet spot 10 = £280

My questions:

  • 5:4 =210 x 263 so Quote: 210 x 279 would give 15cm to lose in the spine and allows for 2 ‘parts’ images to go side by side at 5:7 ratio and approc 25mm for spine . They replied that 2/3mm is enough for my 9mm spine so I may make a 210x 266mm book.
  • Method of printing and printer? Indigo same as Mixam
  • Gutter sizes no print zones? What about full bleed? They sent advice on how to do.
  • Note to self: Have to use affinity or indesign software

The information that I gleaned from Exwhyzed, was helpful and enabled me to do a comparison of what they offer. I sent for their paper samples.

MIXAM PRINTER summary of notes:

I was alerted by a photography photobook maker to them and investigated. I sent for their paper samples.

I want to make a draft version of the book to test the layout initially and they appear cheaper than Exwhyzed.

Mixam offers:

  • A print preview file which would be eventually sent to the printers – downloadable
  • A sharable by link flipbook

This would work for sharing with peers and tutor.

Mixam also will only do a hardback case bound/glued for the 28 pages minimum with 200g paper. Though for 32 pages I could have 170g silk the same as ‘XYZ’.

They only seem to offer certain sizes, not bespoke. I would like something close to A4 but preferably with a near to a 5:4 ratio:

  • A4 = 210 x 297mm
  • 210 x 210mm square – I considered but decided its too small
  • ‘Letter’, 216 x 279mm is a good possibility– the ratio is close to 5:4 (which on 216mm length would be 270mm width and I will possibly lose 15/20mm in the spine, so 279 is a good size for 5:4 photos and full bleed. This width may allow me too much near the spine for a 5:4 full bleed and I may have a white space?
  • Quote is for £56.50 print on demand extra copies £11.50, or order a multiple to save  postage. And need to register for on demand if needed
  • Q: Do I need to add 4 more pages for the quote/template or is that adjusted already by me adding a cover? A: They add them, I would order 32 pages.
  • Q: How deep will the spine be? This is shown after added to cart – It’s 9mm
  • Q: Can you have a page printed to check the colour? No This is a flaw though If went Mixam can afford to print 1 for use even if adjust again for final copies but cost wise then need to stick with Mixam
  • Q: Do they have any video files on how to do? See how to start a book/order
  • Q: If add head and tail band is it just aesthetic? Yes
  •      Printed on Indigo 7800 digital
  • Do need software for best results. See how to start an order
  • The process: Upload – then payment – confirm or cancel then have flip book available and proof pdf can download

Other considerations:

  • which preview would be best for a portfolio review or will I get the book printed fast enough for initial artist talks?
  • Might need to brighten for paper printing – I have done that on my images for print.

DECISIONS:

  • My book will be hard back (essential for taking to the woods for my artist talks), 32 pages.
  • Either 216 x 279mm, which allows 9mm extra on the width over a 5:4 ratio (Mixam) or 210 x 266 mm, which is 3mm over a 5:4 ratio (exwhyzed) depending on the answers to queries that I have out, and my budget decisions. Exwhyzed say2/3 mm only will get lost in my spine so I may have too much spare in the mixam letter size?
  • I would prefer a linen cover foil embossed but the cost is extremely prohibitive so I will go for a print gloss cover.

Print company comparisons:

MixamExwhyzed
Hard cover 
Matt laminated
2 x End papers (quality unknown)
Stone colour (natural)32 inside pages
Silk 170gsm pages
9mm spine
Printed in full colour
Casebound
Head and tail band (aesthetic)
32 pages		Cover onto 170gsm Silk FSC Certified Wrapped over grey board case
Gloss Lamination to outer
2x 4pp End Papers printed onto 170gsm Uncoated FSC Certified
32 inside pages onto 170gsm Silk FSC Certified  (9mm spine)
Printed in full colour throughout
Trimmed, collated and case bound 
32 pages  
Quote: £56.50 one copy +£11.50 extra copiesQuote: 1 = £226, 2 = £238, 5 = £256

The price differential is huge.

Quality differences: Mixam is a matt laminated cover Exwhyzed gloss

Process differences: Exwhyzed will send proof pages for colour checking – however at Mixam prices I could afford to adjust and order another and still save approximately £150

I am currently evaluating the quality and availability of their support services as I will be using affinity for the first time

Blurb

I decided to use Blurb to make a maquette for review in the meantime, as its cheaper and timely – though the quality is not what I want for my end product. It will also give me a pdf preview that I can share for feedback.

I can’t get the exact dimensions of my final book, above, but it will be near enough for my draft.

The draft book is their standard landscape size of 200 x 250mm, 5:4 ratio so I will get a little loss in the spine.

I will use the nearest materials that I can get to my final choices:

Hard cover, 20 x 25 mm 32 pages on mohawk proPhoto pearl 140gsm (semi-gloss) , casebound, endpages? Cost £35

End pages will not be ideal as to make a budget maquette I must take their default standard mid-grey, unless the upgrade to white is very low.  Also the have a logo page as a separate sheet added as the very last page/sheet in the book, which can be white (as a maquette I am not paying 25%  to remove this)

I made various mock ups to support my decisions:

  • A: A4 size
  • B: Mixam letter size 279 x 216mm
  • C: Exwhyzed bespoke size 279 x 210mm
  • D: blurb 200 x 250mm
  • E: Mixam 210x 210 mm
Mock up for 266mm width with footnote images v2Download

This mock up to establish the size the footnote images would actually be if on a book 266mm wide and 4 across a 2 page spread.

ASSIGNMENT FOUR: PUBLICATION DRAFT

/ niki / Leave a comment

PHOTO BOOK RESEARCH

RESEARCH

I have visited several book fairs, most recently Ffoton in Cardiff and BOP in Bristol. I have a good collection of photo books of course and keep up to date with those published and online reviews.

My latter period of research into photobooks coincided with my research on my A3 enquiry into printers v publishers.

I am concerned in this research how the a subject of a photobook relates to its physical  item, rather than reviewing books for their art/text content. I have sought some books of a landscape/equivalent subject matter and some that I like the aesthetics of. I have  looked at the images have been assembled, how rhythm and tempo are achieved, and interest is maintained .

My inspiration:

Jem south Four winters (2021): hardback, 300×230, 124 pages, linen cover, embossed title.

This is a ‘clean’ read. The images are all aligned and are mostly on the right pages. He uses white pages with titles to separate elements of the book. There are no page numbers and no image titles or captions. The colour images work well on this silk paper.

Southam, J. (2021) Four Winters. Stanley Barker. Scotland.

Jeffrey Conley. The shadow’s veil (2024). Hardback, 104 pages, 305mm x 355mm, linen cover. The book is a collection of observations about the unfolding of days. It is black and white, and again fairly ‘clean’. The images align on pages except for some full bleeds. I particularly like space around the smaller images, it seems to bring attention to them.

Ross, E. (2024) The Shadow’s Veil. At: https://biblioscapes.com/library/the-shadows-veil (Accessed 13/08/2024).

The Land is Yellow, the Sky is Blue. (2023) Marc Wilson. Self-Published. Softback, 108 pages, 200mm x 250mm

‘Is based around a small village in central Ukraine. It and text combines photographs with text written in the shadow of the current war. It has dark end pages printed on in white. Images are a variety of sizes, generally aligned on the right pages apart from those that spread across 2 pages. Some of the images have too much white space around them.

Ross, E. (2024) The Land is Yellow, the Sky is Blue. At: https://biblioscapes.com/library/the-land-is-yellow-the-sky-is-blue-1 (Accessed  13/08/2024).

Roots & Bonds (2022). Regina Anzenberger. 112 + 16 (addendum) pages.

This is a beautiful book with a hard cover and American dust jacket, thread binding. Inside Paper: Munken Lynx 150 gr Cover Paper: Arctic Volume White 130 gr. Cover: 2 mm cupboard + 300 gr. grey carton. Book Cloth. It however signed and expensive so the materials used can be justified. The fact that she is a fine art photographer shines through.

Extensions of photographs with hand drawing, mash-up of the representational and the non-representational. Pace and sequencing of this photobook is varied and engaging, so the reader doesn’t know what the following page spread will reveal – Single images, paired images of the same subject, montage of print and objects, full page bleeds or a photographic image spanning the the two pages with a classic white border. The book is Smyth sewn, which is good for a double page spread where none of the photographic content is lost in the middle gutter.

I like the variety of alignment and sizing of the images, though I don’t like it where two are on facing pages. She does use 4 smaller images on a two page spread as I intend to.

And see the third in her series that continues her investigation of a riverside park in Vienna: Root & Waltz, (2023).

Roots & Bonds (signed + extra booklet) (s.d.) At: https://www.anzenbergergallery-bookshop.com/book/3011/roots_&_bonds_(signed_+_extra_booklet_-_preorder)-regina_anzenberger (Accessed  13/08/2024).

Root & Waltz, Regina Anzenberger (2023). Self-Published (AnzenbergerEdition), Hard cover with (American) dust jacket over boards, thread binding (Smyth sewn), signed and numbered edition of 350 copies.

Stockdale, D. (2023) Regina Anzenberger – Roots & Waltz. At: https://photobookjournal.com/2023/11/11/regina-anzenberger-roots-waltz/ (Accessed  13/08/2024).

Brydon. A  (2023). As We Wander. Another Place Press. Scotland – Softcover, 40 pages,150m x 200mm

Printed image on cover, black and white landscape images, varied image size and placement. I love the work of Brydon and his colleagues who work with the inside the outside collective. Again, this book appears ‘clean’. No page numbers, no captions. The black and white images work well on what looks like uncoated paper. There is something about the variety of image placement that sits well with me; images are aligned except where they spread across 2 pages or are full bleed. Unusually I don’t object to there being at time 2 images on a double page here.

Ross, E. (2024) As We Wander. At: https://biblioscapes.com/library/as-we-wander (Accessed 13/08/2024).

Passage. Guy Dickinson (2022). Publisher Another Place Press, 245mm x 200mm.

Another contributor to the inside the outside collective, Dickinson’s photography attracts me. This is a softback and in black and white but it’s simplicity attracts me. The images are either full bleed or for the first part of the book have a white space around the images up from the bottom of the page. This irregularity in placement draws you to them.

Ross, E. (2022) Passage At: https://biblioscapes.com/library/passage (Accessed 13/08/2024).

Cubby’s Tarn. Joseph Wright (2017). Publisher JW editions (himself), Edition Size 500, 240 x 325 mm, Approximately 80 Pages. Hardcover.

Another contributor to inside the outside collective whose work I admire. This book I own a copy of, its most things that I love. Linen foil embossed cover. Natural brown paper end papers and section separators -simple white pages otherwise, with images variously placed and sized.

Ross, E. (2020) Cubby’s Tarn. At: https://biblioscapes.com/library/cubbys-tarn (Accessed 13/08/2024).

Nicki Gwynn-Jones (2018) Self-Published, 305mm x 240mm, 96 Pages, Hardcover.

An example of a larger landscape book, which I’m not keen on though it does accommodate 2/3 images easily side by side on a page. I don’t like the printing on the inside back cover, it makes the whole book look poor quality and self-printed.

Ross, E. (2023) In The Dreamtime. At: https://biblioscapes.com/library/in-the-dreamtime (Accessed  13/08/2024).

Hidden Layers of Perception. Alexandra Wesche (2022). Self-Published, Edition Size 25, 210mm x 210mm, 40 Pages, Softcover.

The images are multiple exposure photographs taken in a forest. I am amazed this is self-published. The design and papers are exquisite., she has even been able to use some transparent overlays. I’d have thought it handmade except that it is an edition of 25 copies. I love the cut-out cover, and some variety of image size. No page numbers or captions and minimal text.

Ross, E. (2022) Hidden Layers of Perception. At: https://biblioscapes.com/library/hidden-layers-of-perception (Accessed  13/08/2024).

In The Offing. Fiona McCowan (2022). Self-Published, 210mm x 210mm, 52 Pages, Softcover.

Once again I am drawn to a square book. The printed cover this time looks classy. Images of the sea and its horizon are aligned on the pages and either facing or on the right page. The text is bottom left on facing page and section pages have text to the right and not too large.

Ross, E. (2023) In The Offing. At: https://biblioscapes.com/library/in-the-offing (Accessed 13/08/2024).

Meadow Nicholas Pollack (2023) Hardcover book, Offset printing, 112 pages; printed in Italy by Trento,Paper: gardamatt art 150g/m, 10.25 x 8.25 inches.  

His book of images of places and portraits are mostly aligned, no page numbers or captions.

Stockdale, D.  (2023) Nicholas Pollack – Meadow. At: https://photobookjournal.com/2023/10/16/nicholas-pollack-meadow/ (Accessed 13/08/2024).

Blue Violet. Cig Harvey (2021). Publisher Monacelli Press, 231mm x 288mm, 208 Pages, Hardcover.

I visited this book as Cig Harvey’s ‘You an orchestra you a bomb’ is my favourite photobook that I own – more on this to come. 

Blue violet has a printed cover, the whole book is an assault by colour on your senses, just as the above book. The silk paper does pop the colour. I should consider printing my end pages/section pages in a strong colour (Tabacco?) and printing text in a lighter colour? Just a thought.

‘You an orchestra you a bomb’ (2017) Schilt Publishing;  144 pages, ‎ 230 x 23 mm.

Is again a colour assault on the senses, with a lovely linen cover in a vibrant yellow. Again with deep coloured pages every so often and printed on lustre paper.

Harvey, C. (2017) You an orchestra you A bomb. Amsterdam, Netherlands: Schilt Publishing b.v.

Ross, E. (2022) Blue Violet. At: https://biblioscapes.com/library/blue-violet (Accessed 13/08/2024).

My takeaways – what I like:

  • I could use a square book and take my full bleed images across the page into the other page, but 210 x 210 (exwhyzed the maximum size I can afford) is too small to take my footnotes side by side and be able to read the definitions, and Mixam 300x 300mm (the next size up is too large). I also want to accommodate effectively my 5:4 ratio images.
  • Linen embossed cover, but that’s out of my budget.
  • Natural paper end pages and section breaks (can Exwhyzed do?) or deep vibrant colour
  • White pages
  • Regular alignment of images with only a few breaks
  • ‘clean pages’ no page numbers or captions
  • Space around non bleed pages
  • Silk paper
  • 1 image only per double page – apart from the footnotes which are a different enitiy.
  • Consider placing the medium sized main images up from the bottom – not even
  • Text fairly small

I need some irregularity to make the eye work, I know that deviating from an A4 or A5 format does make the eye work and engage you. I need to ensure that the pace and sequencing of this photobook is varied and engaging.

ASSIGNMENT FOUR: PUBLICATION DRAFT

/ niki / Leave a comment

Further research on photobooks

Are you ready to publish a photobook? Chris Pichler in conversation with Lens Culture

Chris Pichler is the founder and publisher of Nazraeli Press (California). He says that it’s important to work out why there is a need to publish this particular group of photographs, he says its important to be honest:

  • Was it intended for the “book form” rather than being a sequence of images in an exhibition? Yes I always intended the work for a book not an exhibition.
  • Is it fed by a desire to see your name on the front cover? No I’d be happy to do it anonymously, as long as I could share the story.

Pichler says that he looks for material that gives him a eureka moment, seeing something he’d not seen before.

Reference:

Nazraeli Press and LensCulture (s.d.) Are You Ready to Publish a Photobook? – In conversation with Chris Pichler, Nazraeli Press. At: https://www.lensculture.com/articles/nazraeli-press-are-you-ready-to-publish-a-photobook (Accessed  13/08/2024).

The best and worst of times talking photobooks with aperture lesley Martin

Lesley talks against the background of an explosion in the photobook medium. She says the bar for book making is high now, and lots of creativity from indie and self publishing.

Asked what advice she gives most often give to aspiring photobook makers?

  • Assess why you want to make a book: to bring together my images and poetry in a form that can be shared sensitively
  • ask yourself about the concept behind your project and book—what is it really about? Community – my experience and a model for inclusive and harmonious community
  • Who is your audience? Myself, some local people and those from communities outside my locality
  • Identify what you like in a book…Look carefully and try to figure out how the books you like were put together/designed. I have done this in my research

She says making your own book is slightly different to publishing a book – you might want to just  make a dummy; make a small private edition; play around with the form.

Lesley looks for photobooks that is thoughtful and pushes boundaries- work that makes you want to look and look again.

Reference:

Aperture Foundation and LensCulture (s.d.) The Best and Worst of Times: Talking Photobooks With Aperture’s Lesley Martin – Interview with Lesley Martin, Aperture’s Creative Director. At: https://www.lensculture.com/articles/aperture-foundation-the-best-and-worst-of-times-talking-photobooks-with-aperture-s-lesley-martin (Accessed 13/08/2024).

Have something to say 30 years of photobooks with Dewi Lewis

This interview is primarily aimed at street photographer’s publishing. He was asked, “Has the photobook become a fetish? How can young photographers avoid this trap for their early-career publications? Dewi replies that the book should always be about content, about what the photographer has to say or show. Design is critical, but only to make work more accessible, and understandable. He believes function comes before form.

He says that photography like other arts should address external things and have a relationship with the world. Dewi suggests that some emerging photographer would be better to focus on getting new work out rather than trying to get published. If you are making a book you should ask

  • Why do you want a book? Is it the best way forward?
  • Do you really have something to say? Yes and others have told me so and that this is a global issue
  • Does it bring the work together coherently? That is my aim during the editing and refining process
  • Who is the audience and what is the best way of reaching that audience?
  • What from should the book take?

He also says that there is a great need to be honest, and also self-critical and aware.

My learning – Ask myself at every stage:

  • Why the book form? Why am I making it?
  • Do I really have something to say?
  • What is it essentially about?
  • Who is the audience?

Reference

Lewis, D. and LensCulture (s.d.) Have Something to Say: 30 Years of Photobooks with Dewi Lewis – An interview with publisher Dewi Lewis |. At: https://www.lensculture.com/articles/dewi-lewis-have-something-to-say-30-years-of-photobooks-with-dewi-lewis (Accessed  13/08/2024).

ASSIGNMENT FOUR: PUBLICATION DRAFT

/ niki / Leave a comment

Understanding photobooks – Colberg, J. (2016)

This source increased my understanding of photobooks and gave me lots of good advice. These are my notes:

A photo book is its own unique medium, a book that is viewed because of the images inside it. The photographs should carry a book’s message, ant text is subordinate.

Main differences between an exhibition and a photobook:

  • Exhibitions operate in a specific place, has a limited lifespan, viewers enter to view the images, usually in a clinical space.
  • The exhibition is constructed around the space someone can cover walking.
  • Exhibition images can be larger and be viewed from further away.
  • More control over with an exhibition on how it’s viewed than a book
  • Photo book has no shelf life
  • Photobook is an intimate object, viewed individually as and when wanted
  • Photobooks live in the space between a person’s hands and eyes
  • Photobooks go out into the world, they are a ‘photographers ambassadors’ (Colberg, 2016:26)
  • Photobooks can be viewed over and over again

A photo book as an object:

They have a physicality, is to be handled, the size, the weight, affects how you hold it.

  • The end pages, page paper, have an effect on your experience – makes it feel cheap/expensive
  • Is the printing good quality?images true, light and showing detail? Does the whole book have an unwanted colour cast?
  • A softcover can be too flimsy, though a hard cover might not lay flat
  • Is the texture attractive and easy to read?

Colberg says it is important for photographers to ‘be aware of how the process of making a photo book will inevitably entail making compromises’ (Colberg, 2016:33). He divides publishing into 1) production and 2) postproduction stages,

Production:

  • The concept
  • Editing the images
  • Sequencing the edit
  • Text production
  • Design and layout
  • Materials printing and binding decisions
  • Preprinting file preparation
  • Printing
  • Binding

Postproduction:

  • transportation to warehouse/shop
  • Advertising
  • Selling

He usefully lists the challenges as:

  • Quality of printing – especially on on-demand printers
  • Correct binding – so nothing is trimmed off or unprinted. Perfect binding, which I’ll use,  can be satisfactory if attention is paid to not putting images across the gutter, made cheaply
  • Getting the correct overall feel of a quality book
  • Preparing a digital file effectively- this I will have to learn to do with affinity software.

His seventeen rules for how to make a photobook:

  1. Know why your book has to be made- what will this contribute that hasn’t been in this form before? Don’t make them for their own sake.
  2. Do your own research to support your decision making during the process. What are my preferences? What works well?
  3. Avoid shortcuts
  4. Best made through collaboration. Use other eyes, a designer, use whatever expert help you can get.
  5. Have a budget – it’s always a balancing act. Understand the costs.
  6. Everything has to be in the service of the book- to desired end, e.g. Edit, sequencing, design, materials…
  7. There has to be a good reason for every decision made. As above
  8. Be prepared to make compromises. This may well be in my case because of budget.
  9. Aim for the perfect book then make the best possible.
  10. There is no such thing as the perfect photobook. As above use the best solutions.
  11. A photobook plays more than one role, e.g. expression, selling, promotion…
  12. Keep your audience in mind – ensure it is understandable.
  13. Don’t approach editing and sequencing as if they are dark arts. ‘editing is based on recognizing form and content’ (Colberg, 2016:189)- give the images your full attention over time.
  14. Allow the process to take time – do not let the deadline dictate the outcome
  15. Always work with physical objects: notebooks, prints, dummies…
  16. All aspects of photobook making are important
  17. Don’t worry about money. He suggests if you don’t have the money-don’t do it!

My takeaways:

Reading this book has enforced my belief that a book is the best medium for my work.

I know why I am making a book – to share my feelings about community and to encourage others to reflect on community – and by sharing through artist talks only I have control locally about who views the images and poetry.

The book will be an ambassador for my work, but most importantly it is an intimate object that can be viewed where and when liked. I intend my work to be reflective and a book that can be viewed over and over supports this ethos.

Reference:

Colberg, J. (2016) Understanding photobooks. London, England: Routledge.

ASSIGNMENT TWO: Reflections on formative feedback

/ niki / Leave a comment

This was a video feedback session, see written feedback which followed:

Feedback Summary from TutorDownload

Actions suggested by Tutor

  • Ensure I show my reflections on how my aims have been/will be met -Done
  • Update my aims and objectives – Done
  • Show how I’ve engaged with and used the Photography online ethics resources – Done
  • Include wider context around my work- Done
  • Be aware of learning outcomes- Yes
  • Give evidence- Done
  • How will I use my learning from the resolved project – Developed
  • Can include hyperlinks in the proposal – Done
  • Give links to my previous work alluded to – Done
  • Reconsider showing my work locally : Since April 2024 my thoughts about sharing my work have developed. I was initially concerned about sharing my work locally, however by November 2024 I moved to a position where I was holding artist talks withing the woodland with the book. Initial feedback from attendees is that the book has a theme that extends outside of the locality; this encourages me to continue the talks and to consider expanding them.

I have since updated and revised my project proposal (Nov 2024) taking on board the above advice and later learning. It was interesting to reflect now against my original proposal written in April 24. See: https://nkssite6.photo.blog/category/body-of-work/bow-assignments/assignment-2/a2-draft-project-resolution-proposal/

ASSIGNMENT TWO: Reflections against learning outcomes.

/ niki / Leave a comment

Assignment 2 Publication proposal for resolution

Brief:

Write and send to your tutor a comprehensive proposal showing in detail how you intend to resolve and deliver or disseminate your major project. Your proposal should include:

A timeline for the development of your project, your marketing strategy and the resolution of your work, including installation if appropriate.

A description of the work. Use the work you did for Contextual Studies to help you position your work in its critical and/or commercial context. Briefly explain your motivations and how the project fits within your practice more broadly.

A budget, detailing the costs associated with the resolution of your project and identifying any payment in kind.

A description of how you intend to maximise the presence of your work and engage with your audience, such as your plans for a private view, screening event or artist’s talk. The whole document should not exceed 2,000 words. (Boothroyd, S. and Alexander, J; 56, 2020)

Reference: Boothroyd, S. and Alexander, J. (2020) Sustaining Your Practice Course Manual. Barnsley, UK: Open College of the Arts.

Reflections against learning objectives

LO1 demonstrate comprehensive knowledge of the professional context(s) relevant to your practice and have an understanding of the professional dimensions that underpin a successful photographic practice.

I attended a seminar with speaker Nick Dunmar of AOP ‘the business of being creative’ see post: https://nkssite6.photo.blog/2024/07/23/research-oca-creative-conversation/ which supported my calculations when setting a day rate, see blog post: https://nkssite6.photo.blog/category/sustaining-your-practice/assignments/assignment-1-syp/a1-setting-a-day-rate-exercise/

I did preliminary research into funding sources to gain an understanding of what is available and how accessible it is.

To produce my project budget, I investigated publishing options, quality and costs and software for publishing. See my my A2 draft budget see blog post: https://nkssite6.photo.blog/category/body-of-work/bow-assignments/assignment-2/a2-draft-project-resolution-proposal/

https://nkssite6.photo.blog/category/body-of-work/bow-assignments/assignment-2/a2-draft-project-resolution-proposal/

LO2 coherently present a body of work, making creative presentation decisions that complement your subject and/or your artistic strategies.

Creating a realistic  budget and timeline for my final project informed my decisions on the creative presentation of my final resolution for my body of work, including:  a book as the outcome, Artist talks for dissemination, social media and website for dissemination and likely publicity materials, see blog post: https://nkssite6.photo.blog/category/sustaining-your-practice/assignments/assignment-2-syp/a2-syp-learning-log/

LO3 operate in complex commercial contexts requiring the application of specific interpersonal, professional and business skills within an ethical framework.

I explored the commercial side of the photographic industry to produce my project budget. This included preliminary investigations into the cost of publishing and publicity materials.

My networking and research visit to the Cardiff Ffoton book fair helped me to finalise my plan for disseminating my work, via publishing and reaching an audience. See blog post: https://nkssite6.photo.blog/category/sustaining-your-practice/syp-research/ffoton-gallery-cardiff-book-art-fair-13-7-24/

Competition: AOP Open Awards

/ niki / Leave a comment

Deadline 12.7.24

Details: The Open Award is open to everyone – both professional and amateur – and are about championing exquisite imagery. There are no categories or restrictions in the Open Award, the image is the star, and exciting and innovative work is encouraged.”

The AOP Open Award is run by the Association of Photographers and is an exciting opportunity  for professionals and amateurs to compete on equal terms, with still and moving images created by a person, during what is our prestigious Annual Awards season.

The AOP Open Award aims to bring together professional and amateurs in a high profile way. The Open Award is a popular competition that has been running for 15 years, and each year has attracted approximately 1,500 entries from around the world. 

Finalists will be exhibited alongside 38th AOP Photography Award Finalists at the official AOP Awards Showcase in September 2024 with Gold and Silver Winners for the 38th AOP Awards, including the Open Award being announced live at the event.

AOP Open Award Finalists will also feature in the highly collectable 39th AOP Awards Book. Gold and Silver Winners will each receive a complimentary AOP Associate Membership*.

Submission rules:

  • All images must have been created on or after 1 January 2022.
  • Can enter a single or series (2-5) of images, created by a person.
  • Images submitted online should be RGB and in JPEG format. They should be no larger than 3500 pixels on the longest edge. Your final file size must not exceed 10 megabytes
  • You can enter a piece of moving imagery up to 7 minutes in length, demonstrating your understanding and skills within the medium. All moving image entries must reference whether the work is a collaboration with another artist be it a director, editor, colour grader, musician etc. or whether it’s the independent work of the photographer. You may wish to illustrate the creative use of technologies for example AR, VR, CGI or an other technique, created by a person.
  • You can enter works of innovation with an example of excellence that illustrates the creative use of technologies and innovations in the production of still images. This can be AR, VR, CGI or any other technique, created by a person.
  • You can enter commissioned or personal work.
  • For Full Image Specifications please see points 7 & 8 in the 2024 AOP Open Awards Terms and Conditions

Single Members – £15.00 Non-members – £20.00 Series Members – £25.00 Non-members – £35.00

MY ENTRY

Project title: What Lies Beneath

Project description: 2000 words

Series description:

     ‘What Lies Beneath’, expresses my reflections on community using the landscape of an ancient woodland to create a visual model where things successfully coexist and support each other. Here I transform abstract ideas in my head into something concrete.

Though humans provoked the concept of the work, they are not evident in the images. Unlike woodland community members, the local human community is often disharmonious and driven by difference. The inclusive, harmonious characteristics of these diverse woodland societies would benefit human societies where sadly, ‘incomers’ like myself, are never accepted as local, no matter how long passes, or what they contribute to the neighbourhood – this a story common to settings across the globe.

In this work, combining the world in my head with the one in front of me, has helped to heal some of the wounds that inspired the story’s beginning.   

What lies beneath the emerald wrapping, embracing their collective realm?

What lies elsewhere beneath man’s disguised demeanour, civil but deliberately divisive?

Niki South    

What lies beneath: Community

1.           Community. This is the second in a series of images for my body of Work ‘What Lies Beneath’. The series expresses my thoughts on community, using the landscape of an ancient woodland to create a visual model where things coexist, are inclusive and support each other. My experience of local community provokes the concept of the work, as its characteristics are in stark contrast to the woodland, often disharmonious, discriminating and driven by difference. This image is an entry portal to a varied but cohesive community.

What lies here beneath the willing emerald wrapping, accepting their collective realm?

What lies elsewhere beneath man’s disguised demeanour, civil but deliberately divisive?

2.           Harmony. This is the first in a series of images for my body of Work ‘What Lies Beneath’. The series expresses my thoughts on community, using the landscape of an ancient woodland to create a visual model where things coexist, are inclusive and support each other. My experience of local community provokes the concept of the work, as its characteristics are in stark contrast to the woodland, often disharmonious, discriminating and driven by difference. This image initially appears chaotic, however on closer sight the community is harmonious and supportive.

What lies here beneath the luminescent selfless sheaths, accepting mutual benefit?

What lies elsewhere beneath community spirit, concealed but festering? 

3.           Cooperation. This is the fourth in a series of images for my body of Work ‘What Lies Beneath’. The series expresses my thoughts on community, using the landscape of an ancient woodland to create a visual model where things coexist, are inclusive and support each other. My experience of local community provokes the concept of the work, as its characteristics are in stark contrast to the woodland, often disharmonious, discriminating and driven by difference. This image showcases cooperation in a complex but sympathetic community.

What lies here beneath the verdant creeping coverlet, collectively enjoying comfort?

What lies elsewhere beneath deceitful welcomes, smiling but spreading spite?

4.           Diversity. This is the sixth in a series of images for my body of Work ‘What Lies Beneath’. The series expresses my thoughts on community, using the landscape of an ancient woodland to create a visual model where things coexist, are inclusive and support each other. My experience of local community provokes the concept of the work, as its characteristics are in stark contrast to the woodland, often disharmonious, discriminating and driven by difference. This image shows welcoming tolerant behaviour in a diverse society.

What lies here beneath the soothing snaking sleeve, insulated from harm by another?

What lies elsewhere beneath undesired need, acknowledged but resented?   

            

        

5. Reciprocity. This is the last in a series of images for my body of Work ‘What Lies Beneath’. The series expresses my thoughts on community, using the landscape of an ancient woodland to create a visual model where things coexist, are inclusive and support each other. My experience of local community provokes the concept of the image, where its characteristics are in stark contrast to the woodland, often disharmonious, discriminating and driven by difference. This image demonstrates the generous, understanding that is possible in a community.

What lies here beneath the abundant enveloping eiderdown, slumbering peacefully together?

What lies elsewhere beneath acceptable appearances, charming but prejudiced?

COMPETITION ENTRY: Shutter hub Yearbook awards exhibition 2024

/ niki / Leave a comment

Shutterhub YEARBOOK AWARDS 2024

https://shutterhub.org.uk/call_for_entries/yearbook-awards-2024/#callout_apply

SUCCESS chosen with only 250 others world wide. I was especially pleased with this success as it offers good industry exposure, reaching out to people working within the creative industries and those who commissioning photography.

I supplied 6 images and a paragraph about my image/project (see below)

Shutterhub yearbook 2024: 250 photographers chosen worldwide: https://shutterhub.org.uk/exhibition-yearbook-awards-2024/:

Interesting that when I submit, if 1 image only is chosen it is this always one:

See this chosen image on the centre of the last page on the pdf below, and when on the live site clicking on my name (highlighted on the 2nd page) you to my website. I received an enquiry about my work via my web contact page, stimulated by my image and a visit to my website.

Resulting Shutterhub online presention:

SCreenshots exhibition for blog. highlighted docxDownload

I publicised this with an instagram post:

Submission details:

YEARBOOK is their annual awards for photographers, open to all, whatever stage they are at in their career. The Awards and exhibition are promoted to people working within the creative industries and to those who commission photography. They reach out to editors and publishers to share work with them and introduce them to photographers they may not yet know about. With prizes from major industry organisations Alamy, Metro Imaging, Newspaper Club, and Shutter Hub Editions, accompanied by an online exhibition.

YEARBOOK has no theme, it’s all about sharing your best work, and promoting the future of photography. Asking for entries from all photographers, no matter your background or education. Enter images that stand alone to represent your style, skills and the work you’d like to do more of.

They’ll promote your work on our website, to their contacts, through newsletter, and on social media, reaching tens of thousands of people who are interested in photography. Awards judges are looking for a wide variety of photographic work to support, giving opportunities for different genres and approaches.

There are no set entry fees for YEARBOOK, asked to ‘pay what you can’.

Deadline for entries: 11 July 2024 (5pm UK time)

RULES: Each photographer can enter up to 6 images. Images can be from a series or individual images.

SPECIFICATIONS FOR ENTRIES: All submitted files must be named with photographer’s name and title of work. Files that are not labelled correctly may not be accepted. Correct file naming looks like this: lastname_firstname_title_of_image.jpg

Images can be landscape or portrait format.

Submitted images must be jpegs, 2000 pixels wide, 300ppi and no more than 5MB in size. Please submit images in sRGB colour profile.

I supplied from ‘What Lies Beneath’: Cooperation, Harmony, Cooperation, Diversity,  Nourishment, Reciprocity.

Photographers retain copyright and ownership, as always.

 I was asked to provide a paragraph about my image/project (if your work is accepted for the exhibition, this information may also be used for publicity materials).

I supplied:

‘What Lies Beneath’ expresses my reflections on community using the landscape of an ancient woodland to create a visual model where things coexist and support each other. Though humans provoked the work, they are not evident in the images, my local community is often disharmonious and driven by difference. The inclusive, characteristics of these diverse woodland societies, would benefit human communities where sadly ‘incomers’ like myself, are never accepted as local, no matter how long passes – a story common to settings globally. Combining the world in my head with the one in front of me, has helped to heal some of the wounds that inspired the story’s beginning.   

What lies beneath the emerald wrapping, embracing their collective realm?What lies elsewhere beneath man’s disguised demeanour, civil but deliberately divisive?

SUCCESS

22.7.24

Hello!
I am really pleased to be able to confirm that your work has been selected for Shutter Hub’s YEARBOOK Awards 2024 exhibition!

Do feel free to tell people you are in the exhibition and spread the word but please don’t screenshot this email to share. The exhibition, including the full list of selected images and exhibitors will be launching on 08 August 2024, so please hold off on sharing any news until that date.

We’ll be promoting the exhibition far and wide to make sure it is seen by as many people as possible, and please tag us on Twitter and Instagram @shutter_hub and use the hashtag #SHYEARBOOK so we can share your posts too and spread the word further!

If you’d like to get involved in other Shutter Hub projects make sure you’re signed up to our mailing list to get our latest news, and follow us on social media to stay up to date with our daily news.

Thank you again for taking part, and congratulations! We’re really excited to share such a strong selection of images by so many wonderful photographers.

Best wishes,

Charlotte
Charlotte Shears
Community & Projects / SHUTTER HUB

I did receive some contact via my website directly from this exposure eg:

ASSIGNMENT TWO: Learning log

/ niki / Leave a comment

Working on this assignment was a turning point for me – procrastination into action!

This was the brief for the assignment: Write and send to your tutor a comprehensive proposal showing in detail how you intend to resolve and deliver or disseminate your major project. Your proposal should include:

  • A timeline for the development of your project, your marketing strategy and the resolution of your work, including installation if appropriate.
  • A description of the work. Use the work you did for Contextual Studies to help you position your work in its critical and/or commercial context. Briefly explain your motivations and how the project fits within your practice more broadly.
  • A budget, detailing the costs associated with the resolution of your project and identifying any payment in kind.
  • A description of how you intend to maximise the presence of your work and engage with your audience, such as your plans for a private view, screening event or artist’s talk.
  • The whole document should not exceed 2,000 words.

For the Publication proposal I need to: Write proposal to communicate with my tutor the details of how I’ll resolve my final project and outline how I’ll engage with a public audience. I will:

  • Explore business side of my practice, to develop further understanding of how artists and their projects are supported. I attended a useful seminar with Nick Dunmar of AOP ‘the business of being creative’ see post: https://nkssite6.photo.blog/2024/07/23/research-oca-creative-conversation/
  • Explore sources of funding: National Arts Councils, Regional development agencies, partnership funding, foundations grants and awards, crowd funding. I have done this and am likely to return to research further for assignment, but as I am not going to publish my book, and want to keep the audience small, such funding is not relevant to me.
  • Work out a budget:
  • I have done a theoretical exercise to set a day rate for myself see blog post:https://nkssite6.photo.blog/2024/07/24/assignment-two-setting-a-day-rate/
  • It is difficult to consider what my photos might be worth, certainly not the cost in time and overheads that I’ve put into them. Should my photography become popular, and I want to sell it then I would need to do this exercise at this stage. The AOP app could be useful: http://www.the-aop.org/information/usage-calculator and I would need to look at others work and prices for comparisons.
  • I have worked through all other budgeting components for A3 budget working document here:
A2 Draft Appendix Project budget.22.7.24 xlsxDownload

This must meet the set primary objective: To disseminate my work to a wider audience. My timely visit and networking at the Ffoton book Fair in Cardiff help to crystallise my plans, see my reflections at the end.  

I also want to:

  • Confidently engage with a public audience face to face when disseminating my body of work.
  • Broaden my professional photography practice, enabling me to engage in professional and commercial contexts and to establish relationships and network and understand markets.

CHOSEN OUTCOMES:

A book:

  • Though I want to use my work to engage and offer others opportunity for reflection, due to the nature of the topic I must limit its exposure locally – though my secrecy about my work locally has made it intriguing. I have decided that there will only be one copy of the book (not for sale) which will be used in face-to-face situations with limited open-minded locals during my artist talks and tours.
  • The book will also expose my work to professionals, away from my locality.  I will continue exposing my work through open calls for competitions and exhibitions, via portfolio reviews accompanying the images, via gallery showings of images where appropriate, and offering the opportunity to extract for magazine articles and similar.

Artist talks and tours locally:

  • These will be in the woodland with poetry reading and image sharing in the environment, with feedback opportunity on postcards.
  • Their purpose is to combine the images and poetry in a way that will offer access to viewers to reflect on some parts of the nature of community.
  • Viewers will be able to takeaway postcards with images to give them talking points, the poetry will remain with the author. The sensitive nature of the subject means I will be most likely to get frank responses in 1:1 situation.

This gives access to different types of learners:

  • Visual: book, images, physical woodland, written feedback on postcards
  • Auditory: discussions and woodland sounds
  • Kinaesthetic: Physical woodland experience, physicality of book and postcards

The publications must be clear and simple, to create a reason for engagement, relevance to themselves or an audience they know.

  • Publicity PDF for artist promotion -done ü
  • Talking point and reward postcards
  • Photo Book: Online dummy for use with professionals and portfolio reviews &           One physical copy for Author’s use and sharing during talks.

I will promote the book and the talks via:

  • Own: website, Instagram, LinkedIn, newsletters/emails to contacts. Conscious decision not to use Facebook as this has a local following that I can’t confine.
  • Paid for: leaflets, posters, connections from membership and subscribed to organisations (Shutterhub, Source).
  • Worked for: from promotions from open calls, exhibition/magazine inclusions, networking (OCA and external), portfolio reviews.

Lastly I need to devise a format for my proposal to my Tutor. This will include:

  • Description of project
  • How I will disseminate
  • Budget for dissemination.
  • Timeline for dissemination

See my detailed timeline working document here:

A2 Draft Appendix 1 Timeline 22.7.24Download

And see my monthly timeline here: Monthly tracker for resolution of project

2024: MonthActionDeadlineAchieved
Prior to JuneImages produced and finalised April 24
 Footnotes produced finalised April 24
 Poetry produced and finalised April 24
 Own media/promotion channels set up February 24
 Networking                    Yes
 Peer reviews Yes
JuneTimeline decidedEnd June23.6.24
 Networking Yes
 Peer reviews Yes
JulyBudget draft23.7.24 
 Detailed timeline23.7.24 
 Publication proposal to Tutor23.7.24 
 Publication research Yes
 Networking                      Yes
 Peer meetings Yes
AugustPublication research  
 Marketing research and outline 
 Marketing designs finalised 
 Peer reviews 
 Book draft to Tutor23.8.24 
 Marketing leaflets/postcards ordered26.8.24 
 Networking  
SeptemberBook design finalised/ordered2.9.24 
 Marketing publication4.9.24 
 Artist talks/tours arranged6.12.24 
 Book publication12.9.24 
 Artist talks/tours execute16.9.24- 4.10 24 
 Networking  
OctoberBook evaluation  
 Engagement evaluation  
 Evaluation to Tutor23.10.24 
 Networking  
ThroughoutOpen calls/competition entries  
 Portfolio reviews  
 Networking  

Reflections on A2

This month and Assignment 2 have been a turning point for me. At the beginning I was still undecided how I would engage an audience and meet my criteria for controlled exposure locally. Also, during the month, I had further successes with open calls, and this fueled me to continue with wider exposure.

My visit and networking to the Ffoton book Fair in Cardiff helped me to finalise my plan for dissemination; then putting together, formatting and publishing my project proposal came much easier.

Having a detailed timeline and budget will help me to execute my project effectively in the window that I have left.