livebooks blog

Todd Walker is a photographer and writer based in the San Francisco Bay Area. His “Gallery Hopper” blog has been featured in Forbes, The New York Times, The Wall Street Journal, and The San Francisco Examiner. Currently he writes at ocularoctopus.com.

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Multimedia Dreams Dance In Our Heads

Some of the most interesting suggestions from contributing Future of Photobooks bloggers addressed changes in the way photobooks are “consumed” (the best word we could find to encompass “read,” “viewed,” and “watched”).

Here are a few of their predictions for what it might be like to look through a photobook in ten years:

Images accompanied by audio of the photographer describing the work, their personal vision, and the way the images were made. “It will be like a museum tour where you have your own personal guide,” explains Tomas Ovalle at The PhotoOracle.

Jin Zhu at Shooting Wide Open wishes that photobooks could be more like McSweeney’s publications, arriving with physical goodies like pullout posters, photo postcards, and maps, as well as digital goodies like audio interviews with the subject or “making of” videos on an accompanying DVD or USB.

Shane Godfrey and Nick Turpin both suggested a symbiosis between digital, physical, and downloadable versions of a book. From Nick’s post on sevensevennine: “I can see the printed and digital elements of PUBLICATION complimenting each other in this way as we go forward, the printed magazine on sale for six months whilst the essays from previous editions are archived and made available online.”

Expanding Definitions, Expanding Audiences

We can only hope that these models and more will be explored — again, as creative decisions made by artists about how best to convey their work. Todd brought up another question that relates instead to the “consumer” or audience.

As Radius Books co-founder Darius Himes pointed out in his post, the average photobook only has an audience of around 3,000. Can that audience be expanded by expanding the definitions and expectations of a photobook? And what new requirements will photographers need to consider if their audience is a much wider one including a much lower percentage of “photo people.”

One positive change that might be spurred by a larger, more diverse audience for photobooks is that they be treated with more respect by the cultural gatekeepers. As Alec Soth points out, they at least deserve the same kind of attention the New York Times recently bestowed on graphic books. Or, as Larissa Leclair suggests, maybe it will help us to recognize books as an artform in and of themselves, perhaps even prompting “photobook museums.”

Wait, Am I Reading or Watching?

In all our excitement over the idea of a “multimedia photobook” (I hope I’m not the only one who’s excited), we shouldn’t lose site of the possible downsides of this reading experience. As advertising consultant Alan Wolk reprimands at The Toad Stool, “reading” (and I would include still images in that) is an entirely different experience from “watching” something, also highlighted by this brilliant video from the Lens Culture blog forecasting what a digital magazine of the future might look like.

And finally, I don’t think we would call this brilliant multimedia slideshow from Alec Soth a book, but a book was its impetus and a book (and sculpture) are its outcome. What it definitely is, is an enjoyable place to start to stretch our brains about what a photobook could be.

Eyecurious founder Marc Feustel (on the left) is a Paris-based independent curator and writer with a background in Japanese photography. You can find out more about some of his projects here, follow him on Twitter here, and contact him at info@eyecurious.com.

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First, Let’s Step Back Just a Little

In light of the many ways our concept of the photobook is changing — to include digital texts, print-on-demand, self-publishing, and online distribution — our first question needs to start at the very beginning: How do we now want to define what a photobook is? Radius Books co-founder Darius Himes asked us to step back to this foundational question in his contributor post, and we recommend it as a great starting point for this discussion.

In Darius’s opinion: “A pdf or a website or an ‘ebook’ are not books in the same way that a stone tablet or a scroll or a sheet of papyrus are also not examples of books. They are vehicles of recorded human language, true. But a pdf is a pdf. A website is a website. A stone tablet is a stone tablet. A set of pages with either written language or images on them (reproduced in any manner of methods), gathered and bound together in some fashion = a book.”

A fair point, but if it were that simple we’d have nothing to discuss ;) Marc points out several interesting examples that ask us to re-examine what a photobook is:

“What about something like Frederic Lezmi’s 11m long leporello From Vienna to Beirut? Or, going even further, the works produced by Toluca Editions. They are limited edition prints, not bound but mounted, and created through a collaboration between photographer, writer, and designer. I think fewer people would accept that this is a book, but in some ways, in terms of the way it is made, I think this is closer to what we traditionally think of as a book than some print-on-demand examples.”

Picking Through The Trash Heap

Another way to define a photobook, and one that several contributing bloggers mentioned, is by its role in a photographer’s career or the photo industry in general. As Mike Johnston point out at The Online Photographer:

“Photo books [in the past] weren’t just a reflection of the culture of photographers…they were the culture. They were how you kept track, how you saw work, how you learned who was doing what, how you “saw” shows you missed. That’s all changed.

The internet is a junk heap. It’s every frame that comes back from the drugstore. It’s the contact sheet, the raw material, the unsorted mass. The first draft. In that context, what will rise in importance will be the opportunities and the occasions we have for selecting only the best of the best, for making extended visual arguments, for the creativity and inventiveness inherent in limits, for the formalized set of photographs that puts a photographer’s best foot forward, no fluff, no excuses. That’s the future of the photo book, in my opinion.”

Alan Rapp also touches on this in his post at Critical Terrain: “How will the author/photographer find projects worth publishing, balancing the effort it takes to make a good book under any model vs. the number of consumers ready for it on the other end?”

The definition of a photobook suggested by this question may seem circular — a photobook is a collection of images a photographer values enough to put the effort into publishing — but it highlights an important point in this discussion. No definition is “right” or “wrong,” but the decision to make a “book” instead of some other artform should be a conscious creative one. If you’ve published a book before, in any format, under any definition, how did you decide that that work should be a book specifically?

Being An Auteur Isn’t Everything

Another important choice that artists making books now have to consider is, “Will this be a collaboration or not?” While photobooks were once necessarily the product of many hands — artist, designer, printer, publisher — a photographer can now make every image, lay out the book pages on a computer, print the book with a service like Blurb, then sell the book through the Blurb Bookstore or market and distribute it themselves online.

In contrast to this option (or perhaps as a backlash against it), many Future of Photobooks bloggers mentioned growing opportunities and interest in collaborative photobook projects. You can see several examples under “Collaboration and Crowd-sourcing” in our earlier post; more general collaborative projects include FlakPhoto, Bryan Formhals’ La Pura Vida Gallery, the rotating gallery on Too Much Chocolate, collectives like Luceo and MJR, and distribution networks like the Artists’ Books Cooperative. How can artists make an informed decision about which steps to do on their own and how or with whom to collaborate on the rest?

A few weeks ago, RESOLVE and Flak Photo launched the Future of Photobooks project, a collaborative, cross-blog brainstorm session asking what photobooks and publishing in general might look like in 10 years. The response was more than we could have hoped for — to date, 47 bloggers have responded with posts on their own blogs. Please check out the full list of collaborating blogs, plus the posts below, which were drawn from some of the most interesting shared links.

Now it’s time to open up this topic to more targeted discussion — and we want you all to be part of it. Most collaborating bloggers understandably shied away from the idea of “predicting” the future of photobooks. Allow us to rephrase this inquiry into something more active and, we hope, productive: What SHOULD photobooks look like in 10 years?

The fact is, we are the ones who will decide. Blog-savvy leaders from small publishing houses, like Darius Himes of Radius and Lesley Martin of Aperture. Ambitious photographers who have taken publishing into their own hands. And you and me and anyone else out there who might be inspired by the ideas expressed here and start the next big thing that revolutionizes the photobook industry. (Larissa Leclair even called out our collective power in her post on the Future of Photobooks.)

Starting tomorrow through Thursday we’ll be publishing one post a day asking specific questions relating to three main topics we identified after reading hundreds of your posts and comments.

Tues., Jan. 5 – How should photobook CREATION evolve in next decade?
Moderated by Marc Feustel, creator of eyecurious

Wed., Jan. 6 – How should photobook CONSUMPTION evolve in next decade?
Moderated by Todd Walker, creator of Gallery Hopper and Ocular Octopus

Thur., Jan. 7 – How should photobook FUNDING evolve in next decade?
Moderated by Bryan Formhals, creator of La Pura Vida Gallery and blog

In keeping with the collaborative nature of this project, we’ve enlisted three bloggers to oversee these discussions. They’ll lend their insights and help keep everyone on track, up to date, and working toward positive action.

We hope you’ll check back in tomorrow and throughout the week. We’re looking forward to hearing from you.

As part of the ongoing discussion examining the Future of Photobooks we’re hosting on RESOLVE in collaboration with FlakPhoto, we’re sharing some of our favorite publications mentioned by the 45+ bloggers who have weighed in so far. These represent the seeds of publishing advances we expect and/or hope to see in the future. Check out our earlier posts as well, on small printers for self-publishing photobooks and game-changing people and ideas from the photobook world.

Digital Photobook Prototypes

Collaboration and Crowd-sourcing

Self-publishing Success Stories

Small Publishers Pushing the Boundaries

What People Are Actually Paying For