livebooks blog

It might be the greatest moment in the history of the written arts — it’s also a scene duckrabbit uses to teach photographers about great multimedia.

Shakespeare’s Hamlet steps out from the shadows and utters the immortal line:

“To be or not to be, that is the question.”

The students in our latest training course might not have expected us to open the workshop with a reading from Shakespeare, but for me this soliloquy in which Hamlet debates his very existence is a point-by-point lesson in how to create powerful multimedia.

It’s the golden moment when the actor steps forward out of the scenery and bares their soul. A moment of complete intimacy between us and them. The best multimedia producers will create an immaculate visual landscape from which their characters step forward, Hamlet style, to deliver their soliloquy.

Think about it this way. The photos or the moving images in a multimedia piece are the scenery. They both surround and create the stage. They impart a sense of place, of action, but it is the voice, the words, that tell the story and carry much of the emotion.

Now for an example from a master. Maisie Crow may only be in her early twenties but she the most talented producer of multimedia that we have come across at duckrabbit.  Quite simply she sets the standard because her work is so complete.

For Maisie it’s all about the person: She places them and their story center-stage and has them speak directly to our hearts. Because their story is so important to her, she is determined that it will become important to you to.

I’m not going to say anything about this particular piece. Other than that you won’t be sitting there marveling at technique, or the use of some fancy new camera that records video, because you’ll be completely sucked in by the story. That’s how it should be. Some of the most celebrated multimedia producers could learn a lesson or two from Maisie. We certainly did, and so did the trainees in our latest masterclass.

Baghdad Suite by Andrew Phelps. ©Andrew Phelps

Miki Johnson: Why is this such an exciting time for photo books?

Darius Himes: Books are amazing vehicles that have been with humans for millennia and have a fascinating history as objects of beauty, as well as conveyors of ideas. Books are also physical objects with a rich history of scripts, fonts, inks, papers, bindings and photographic reproduction techniques. For centuries, however, these skills and literacy itself was held by “the few.” Only in the last century have we seen a marked increase in the amount of printed material available. And when it comes to photography books, the print-on-demand phenomenon has truly transformed the landscape. Literally anyone has the capacity and the access to publish a book of images.

MJ: Now that anyone can make a book, it seems even more important for a photographer to establish their goals for a book before they begin assembling it.

DH: Setting out with a clear purpose is crucial to any endeavor. Photographers are creating books for a wide range of uses, from leave-behind portfolio pieces intended solely to garner assignments, all the way to conceiving and creating mass market books on any number of subjects.

MJ: Is this why the Photography.Book.Now contest has three separate categories?

DH: Yes. The three categories of this years’ contest are designed to let photographers approach the idea of a “photography book” from three different angles. The fine-art category is extremely broad and the most subjective. Photographers and photo-based artists can do whatever they want to produce their book. Often, these books are made by practicing artists and have little regard for communicating a specific narrative to a large audience.

Editorial photography, the second category, is a different animal. But let me state something at the outset: I’m not interested in, or trying to stoke the debate about, what constitutes “art” photography. Anything done well is done artfully. If it serves the goals that one sets out with, then “art” has been employed. I don’t want anyone to think that any of the three categories don’t somehow employ art or doesn’t constitute artfully done work.

Bamboo Fences by Osamu Suzuki. ©Osamu Suzuki, courtesy Princeton Architectural Press

Editorial and commercial photographers often serve patrons other than themselves; this the a big distinction. So, an editorial photographer assigned to cover a story may find themselves with a much larger body of work than will ever get published in a magazine. Likewise, a commercial shooter might have photographic skills that can be translated into a “commercial” book project; publishers also conceive of book projects in-house and then commission commercial photographers for the book.

Perhaps some concrete examples would help. This new book from Princeton Architectural Press—Bamboo Fences, by Isao Yoshikawa and Osamu Suzuki — is a great example of a commercial book project. It’s about a very specific subject — bamboo fence building in Japan — and the photographs by Suzuki perfectly illustrate the work. It’s primarily a photobook, but is supplemented by the text. Here’s another example: Bird, by Andrew Zuckerman. It has a specific subject matter artfully photographed by a commercial photographer. The publisher, Chronicle Books, probably hopes the audience for this book — and by that I mean ultimate sales for the book — will be upwards of 50,000+.

Two examples of books that have a broad “trade” appeal, but which are not “commercial” books like the ones above, are Jonah Frank’s Right, Portraits from the Evangelical Ivy League (Chronicle Books), and Articles of Faith by Dave Jordano (Center for American Places). In my mind, both of these books probably stemmed from assignments that blossomed into the book-length projects we see in the stores. Both have more of a storytelling quality to them than either Bamboo Fences or Bird. In that sense,  they come out of a “documentary” tradition, but are presented in an appealing way to as broad an audience as possible.

MJ: What uses does a self-published book lend itself to? Do photographers use them to collect images that didn’t warrant prints? Or as an alternative for a portfolio? Or a leave-behind? Or a family gift?

DH: All of the things you mention, I’ve seen. I’ve also seen photographers use the self-publishing, print-on-demand technology to create “limited run” books. Photographer Andrew Phelps took a small body of work called Baghdad Suite and issued a self-published, print-on-demand book of only 100 copies, which sold out rather quickly. It’s a great idea to use this technology to disseminate a body of work that is either small, in terms of number of images, or limited, in terms of it’s appeal or audience.

Right by Jona Frank. ©Jona Frank, courtesy Chronicle Books.

MJ: In your eyes, what makes a photo book great?

DH: From John Gossage, as quoted in The Photobook: A History, Volume 1 (Phaidon, 2004): “Firstly, it should contain great work. Secondly, it should make that work function as a concise world within the book itself. Thirdly, it should have a design that complements what is being dealt with. And finally, it should deal with content that sustains an ongoing interest.”

When you’re making a book for a broader audience, think like a publisher. Visit publisher websites, read the catalog copy, and craft your book the way they craft their books. Every publisher approaches things differently. If you consistently like books from one publisher, really study how they put together a book. A book from Princeton Architectural Press is quite different from a book by Radius Books. In other words, learn from those already in the field.

Often photographers, naturally so, get wrapped up in the individual images and either lose sight of the overall picture and purpose of the book, or they simply never arrive at an overall picture, and the book lacks focus.

And don’t forget that a book is not just a bunch of CMYK printed images sandwiched between two boards. Text and titles, fonts and captions, of course editing and sequencing, as well as how the image sits on the page-spread and what it is placed next to — all of these little elements can make or break a book.

MJ: Do you have an example of a self-published book that has been very successful?

DH: The most famous example is Alec Soth. In 2003, Alec came to Review Santa Fe, an annual portfolio review event, looking for exposure and a publisher for a body of work titled Sleeping by the Mississippi. What we all know is that, after the exposure he received there — he won the Santa Fe Prize that year — his small print-on-demand book made it into the hands of Steidl, where it has now entered it’s third printing. Alec received huge recognition for his work in the intervening years and is now part of the prestigious Magnum agency. Martin Parr and Gerry Badger included Alec’s handmade book in Volume 2 of their seminal survey of photography books, The Photobook: A History (Phaidon).

Images from a search for "woman + scale" on iStockPhoto.com

As a photo editor for a weekly women’s lifestyle magazine, I frequently had to find the same kind of image over and over again. One of the common ones was what we termed “woman on scale.” There is a weight-loss story in just about every issue of every women’s lifestyle magazine on the stands, so the need for this particular image (and ones like it), is almost endless.

Unfortunately, there never seems to be enough in the various stock coffers to keep up with demand. Especially considering that magazines will avoid using the same image twice or using the same image as another lifestyle magazine. For photographers this means — even though it’s counterintuitive — you should be shooting more of what you see the most of.

Do Your Research

As a photo editor, I would have loved to see more variety of these recurring images (like “woman on scale”). Photographers should first look through multiple issues of the magazines they expect will buy their images and notice which images are repeated. That will give you a few kinds of photos to focus on. Then get to know the editorial styles of each magazine and create different versions of those photos to cater to each style. Some magazines will want a very young woman, some a woman who looks more like a mother. Conservative magazines will want her legs and arms to be covered; others might want her to have the latest, tightest workout clothes.

Change Everything

Photographers often offer several images of the same model in the same clothes, changing only her the tilt of her head or the position of her hands. If you were an editor, would you use two of these as if they were “different” photos? Didn’t think so. If you are using the same model, change her clothes between photos, especially the color palette. Change her hairstyle, make-up, and expressions. Make her look like a different woman. Change the background and include a white background. Most importantly, shoot the same image with different models, especially ones from different ethnic backgrounds (although two from of the same ethnicity is still better than one). Think of it almost mathematically. Try to come up with as many permutations as possible for the same image.

Think Like an Editor

If you’re working in the women’s lifestyle genre, there are several other pictures that you’ll notice recur frequently: woman at a computer, woman performing various kitchen duties, woman in the car, woman with money, woman shopping. Remember, in addition to shooting each scenario in different locations, also shoot them on a white background to make a clean background for text. When possible, consider not only the content of the photograph but also the way the graphic designer may need to work around it when laying out a page. If you can do that, and keep supplying the images that editors have to keep going back to look for, you’ll quickly move to the top of their go-to list.

Ed Kashi – Ed has integrated video with his documentary photography for years, but recently shot his first video-only project.

1. How much do you shoot video compared with stills?

I have been working on a film in the Niger Delta, and although I’ve been shooting video for the past nine years, this is the first time I’ve shot a complete film without any stills.

2. What tools do you use to shoot video?

When I contemplated shooting this film in the Niger Delta, one of the toughest places I’ve worked, where most people don’t want to have any kind of camera pointed at them unless you explain yourself or you pay them, I was initially considering using the Canon 5D Mark II in video mode, thinking it would make me less conspicuous. That was a silly thought. In the end, I decided to work with a great standard definition video camera for excellent sound and none of the unresolved issues in video with the 5D.

3. What is the biggest difference for you between shooting video and stills?

Whereas still photography resides in the fractional moments, video lives in whole moments and complete segments. Keeping the editor’s needs in mind, you must provide sustained coverage with video, instead of pecking away at the fractional moments with your still camera. This can be a killer on your back, neck and/or wrist. The physical strain shooting video is definitely increased, at least for me since I work quite light, with one camera and one lens, when I shoot stills. With stills I am also slavishly dealing with the light, beholden to it’s patterns, moods and dictates. Light is important with video too, but I can still make a compelling video in almost any light. Then of course there is audio. I often ponder situations in terms of the audio it will render, what it will say and how it helps shape the narrative.

4. How do your still and video work influence each other?

Shooting stills is more torturous mentally but ultimately more deeply satisfying. I am a photographer at heart. Video is interesting, vital, challenging, relevant and captivating, but photographs are sacred to me in a way that video is not. It has something to do with my long relationship to photography, but more metaphysically, it relates to the stillness, the quiet and meditative quality of still images. No matter how enveloping and captivating video can be, there is an essential truth in still images for me. And I am finding that I miss working with my images — looking, editing, thinking about them, sending them to friends and family. They are much easier to move around, share and work with.

Bill Frakes – Bill has always mixed it up, but has been stepping it up lately with lots of great videos for Sports Illustrated and his many clients.

1. How much do you shoot video compared with stills?

It totally depends on what I’m working on. I’m just finishing a short documentary now that is entirely video. I’ve directed music videos and television spots for years. Usually I let the subject matter make the decision for me about the amount of video vs. stills that I’ll shoot.

2. What tools do you use to shoot video?

I shoot primarily with the Nikon D90, which allows me to switch between video and stills very easily. I have several professional-level video cameras, but the optics I can use with the D90 makes it a superior choice. I gather audio separately and I have had the D90s modified so they can accept outboard microphones.

3. What is the biggest difference for you between shooting video and stills?

From a physical standpoint, shooting video requires a tripod — otherwise it’s just not going to look good. From a photographic standpoint, composition still rules, but what works for each is totally different.

4. How do your still and video work influence each other?

My video and still work is totally in sync. Each is meant to enhance the other.

Guy Rhodes – Steeped in lighting and film techniques, Guy shoots a lot of independent films plus still images to keep his eyes fresh.

1. How much do you shoot video compared with stills?

The majority of my work over the past five years has been video-related, much of it in the independent film market. I shoot stills in my downtime to supplement my income and to keep my creative eye fresh. Over the past month, I’ve been out on three independent short film shoots, two as the director of photography and one as a Steadicam operator. I also had a handful of still shoots. Shooting video and stills at the same time is not generally required by my clients. Most hire me for one or the other, as they understand that trying to do video and stills at the same time often results in both suffering to some degree. The two mediums require different thought processes, and it’s very challenging to go between the two and do it well, especially in a deadline situation.

2. What tools do you use to shoot video?

I shoot on a Panasonic SDX900 for much of my independent film work. I’ve also shot several indie films on the Panasonic DVX100, which records in 24p, but on the more affordable MiniDV format. The short film I ran Steadicam on last month shot with Canon’s new 5D Mark II cameras. It was pretty exciting shooting HD video on a full-frame SLR, being able to use very wide aperture lenses to emulate the shallow depth of field of the 35mm motion picture format. For the rare instances that 24p is not required, I shoot on my Sony VX2000 MiniDV.

3. What is the biggest difference for you between shooting video and stills?

One large difference between shooting video and stills for me is lighting. Still images are pretty easy to manipulate after the fact, but you really can’t dodge and burn video. That’s why I try to nail my video lighting setups so I can hand the client a DVD of my camera raw video without color correction and not be embarrassed by it. I studied lighting in college so it’s not uncommon for me to spend an hour or two lighting a scene for film shoot, with only the last five minutes of that time devoted to setting up the camera and framing the shot. I think a lot of new video shooters and photographers get so wrapped up in the camera technology that they forget how important lighting really is.

4. How do your still and video work influence each other?

My video and still disciplines keep each other in check. I find that after shooting stills for a few weeks, the next time I pick up a video camera, the shots come easier. Sometimes I’ll try things with the video camera that I tried earlier with a still image, such as radically underexposing for a dramatic highlight or colorful costume. I have an equal love-hate relationship with each medium. Video editing is more tedious than editing a still photo shoot, but I do like the camaraderie of video shoots. First and foremost, though, I consider myself a lighting designer. Even when I’m shooting video all day, the majority of my time is spent lighting the scenes. The same goes for setting up a portrait shoot. When shooting on location with available light, lighting is still at the forefront of my mind.

Robert Caplin – Robert has been experimenting with the video capabilities of his Canon 5D, figuring out how to translate it into paying gigs.

1. How much do you shoot video compared with stills?

I shoot about 80% stills. Often I’ll capture video on interesting assignments, but more for memory’s sake. I’ve started working on video projects with my family and friends, but I have yet to capitalize on actually making a living with video. The transition is underway, but I don’t expect to ever give up still photography.

2. What tools do you use to shoot video?

I’ve exclusively used the Canon 5D Mark II for capturing video. For general audio I have a hot-shoe-mount mic made by Sennheiser (MKE 400). For music videos we record the music in a studio and lay it as the main audio track. For my latest project I used a separate sound crew who used professional booms, shotguns, and LAV mics.

3. What is the biggest difference for you between shooting video and stills?

The biggest difference during the shooting process is motion. Moving the camera while recording makes all the difference whether it’s a pan, dolly, crane, or steady-cam shot. I’ve found that keeping the camera motionless makes video more stagnant and less appealing. On the editing end, it’s a much more laborious process due to the file-sizes of the videos. It’s also more difficult to tone and edit 30 pictures per second.

4. How do your still and video work influence each other?

I feel that I’m a photographer at heart. Since I’ve started toying with video, I consider myself more and more a filmmaker as well. I think I have a lot to learn, but the ease of the 5D II makes it enjoyable to teach myself.

Martin Sundberg – Fielding frequent questions from clients about video, Martin recently produced a video shoot to test the waters.

1. How much do you shoot video compared with stills?

I’m still shooting nearly 100% stills for my professional and personal work, but nearly all of my clients are no inquiring if I can also produce video in addition to stills. On my last large shoot I started out thinking I would shoot a little video to show my clients how the activities might translate when we began our video productions. Yet, over 10 shoots at 10 locations, I only shot stills. Right now my mind set is, one or the other — video OR still. I think there have to be two different shoots or I have to have a video camera operator on set who I could direct while I shoot the stills.

2. What tools do you use to shoot video?

I am exclusively using the Canon 5D Mark II. We are capturing audio separately using a Marantz digital recorder.

3. What is the biggest difference for you between shooting video and stills?

When shooting photos I am really focused on perfecting the single moment. One perfect image. Video is about the flow through the frame and linking moments. Not all the moments in a sequence are perfect, but you only spend a fleeting moment looking at any one frame.

4. How do your still and video work influence each other?

I’m a photographer who is exploring video. I definitely think like a photographer… but I LOVE applying that to my new work in video!