Hey Aaron, thanks for sharing. I've also thought about this in the past. My sense and personal experience are that part of what restricts photography to a small community of other photographers and artsy people is the conceptual design of the photo projects and their books.
Before attending the photography MFA, I could 'not read' images well (I have gotten only marginally better), and even less what they meant when sequenced in a series or book. The 'logic' and the project description and narrative are so complex and twisted that only a few have the reference points (or distinctions) to make sense of them.
Books that have sold a large number and thus reached a broader audience tend to be, at least from what I've seen, much simple in their conception. I.e., Portraits by Steve McCurry. Or books that are collections of the 'best of' some category of images.
Suppose what I said before makes sense and is accurate in any significant way. In that case, the problem becomes how you get a photo medium 'expert' to endorse your work. It seems to me that their interests are opposite. You either optimize for the medium or broad audience, but I don't see how you make them both happy.
I think you are exactly right! I do think each work and artist has their own sensibilities, which should come across in the book. But we've been on a fast train to making more and more novel and niche books that we shouldn't be surprised that a broader audience is left confused and disinterested. Personally, I'd rather my work reach a more diverse audience, rather than focusing on the art world gatekeepers. Do we even really want to be in that gate? I do think we can still make excellent and meaningful work, but with a broader audience in mind. Great thoughts Martin! It's always a joy to hear from you.
Evan, I've been experimenting with using Mixam for short runs of perfect bound or staple bound books. The printing is decent, but you have to use a coating on the cover or they will scratch (that's what I learned on the test print). I've also had good luck with Smartpress, but they are a little more expensive. The trick is to print enough of a volume to get a decent unit price but not print more than what you can sell. This book is a challenge as it has over 100 pages currently, which limits affordable binding options. But I think I've found the right formula for this one to work at a decent price for most buyers.
Thanks for reading. I think a lot of us are working through this in our practices, but it doesn't seem to be publicly spoken about very often. I can only hope others with the same convictions find ways to put a flag in the sand and try something new for the rest of the folks in their communities. If enough of us break away from the art market structures, the more likely we are to save our craft.
Hey Aaron, thanks for sharing. I've also thought about this in the past. My sense and personal experience are that part of what restricts photography to a small community of other photographers and artsy people is the conceptual design of the photo projects and their books.
Before attending the photography MFA, I could 'not read' images well (I have gotten only marginally better), and even less what they meant when sequenced in a series or book. The 'logic' and the project description and narrative are so complex and twisted that only a few have the reference points (or distinctions) to make sense of them.
Books that have sold a large number and thus reached a broader audience tend to be, at least from what I've seen, much simple in their conception. I.e., Portraits by Steve McCurry. Or books that are collections of the 'best of' some category of images.
Suppose what I said before makes sense and is accurate in any significant way. In that case, the problem becomes how you get a photo medium 'expert' to endorse your work. It seems to me that their interests are opposite. You either optimize for the medium or broad audience, but I don't see how you make them both happy.
What do you think?
I think you are exactly right! I do think each work and artist has their own sensibilities, which should come across in the book. But we've been on a fast train to making more and more novel and niche books that we shouldn't be surprised that a broader audience is left confused and disinterested. Personally, I'd rather my work reach a more diverse audience, rather than focusing on the art world gatekeepers. Do we even really want to be in that gate? I do think we can still make excellent and meaningful work, but with a broader audience in mind. Great thoughts Martin! It's always a joy to hear from you.
Very interesting and inspiring Aaron. I’m curious about the features of that economic book form that you’re working on for your Island series.
I tend to think the same thing about music, especially about independent diy music. Sometimes I’d like to make art for other people than arty people
Aaron-are you actually printing the books? Or, is it a service that you are using? I'd love to learn more about it.
Thanks!
Evan, I've been experimenting with using Mixam for short runs of perfect bound or staple bound books. The printing is decent, but you have to use a coating on the cover or they will scratch (that's what I learned on the test print). I've also had good luck with Smartpress, but they are a little more expensive. The trick is to print enough of a volume to get a decent unit price but not print more than what you can sell. This book is a challenge as it has over 100 pages currently, which limits affordable binding options. But I think I've found the right formula for this one to work at a decent price for most buyers.
Right on. I've used Mixam for my zines. I think they do hold up well (especially for the price).
I have yet to go beyond 50 pages, but I can understand how to balance both page count + volume.
Appreciate the insight!
This is really wonderful Aaron, and gets to the heart of a lot that’s been on my mind lately. Thanks for taking the time to write it.
Thanks for reading. I think a lot of us are working through this in our practices, but it doesn't seem to be publicly spoken about very often. I can only hope others with the same convictions find ways to put a flag in the sand and try something new for the rest of the folks in their communities. If enough of us break away from the art market structures, the more likely we are to save our craft.