In The Photobook Review 005, Guest Editor Darius Himes and Publisher Lesley Martin spoke to a handful of people who have collectively (and many, individually) spent decades working with artists to help manifest, in physical form, the ideal book that is in their imaginations. For ease of discussion, three micro-stages have been identified: the consideration of materials, preparation of files, and what happens (or goes wrong) on press, when the images are finally made real. Part B: Preparing Files/Separations Converting a photographic image into a digital file ready to print How important is the stage of creating properly prepared reproduction…
For the moment, the photobook is definitively a physical object. Somewhere, somehow—whether printed and bound at a Chinese printer whose main business is cereal boxes or output on a bedroom ink-jet printer and hand-stitched by the artist— images need to be put on paper, collated together, and made available in multiple copies. A book must be produced. “Production” is the final stage in the long, at-times heart-wrenching process of bookmaking. And it is often where the rubber hits the proverbial road—will the delicate palette and tonal range of the original images survive the translation into a limited set of inks…
Mark Oppenheimer reviews Adam Broomberg and Oliver Chanarin’s Holy Bible.
Danny Lyon reviews Mike Brodie’s photobook A Period of Juvenile Prosperity.
Vicki Goldberg on Anne Wilkes Tucker and Will Michels with Natalie Zelt, War/Photography: Images of Armed Conflict and Its Aftermath
Vicki Goldberg reviews War/Photography: Images of Armed Conflict and Its Aftermath by Anne Wilkes Tucker and Will Michels with Natalie Zelt.
The PhotoBook Review is a publication dedicated to the consideration of the photobook—focusing on the best photography books being published, from the coffee-table book to the handmade artist’s edition, and on creating a better understanding of the ecosystem of the photobook as a whole.