Dark of the Moon: A PDF, A Zine & A Chapbook

Dark of the Moon

I’ve enjoyed looking at chapbooks and zines over the last couple of weeks, especially as an alternative to ‘prints on the wall’ as a finished product. To begin exploring the practicality of this I thought I would pick a small set of images and make something.

I had been playing with my iPhone at night just to see what it was capable of doing in low light. Over the course of a couple of weeks – usually when I was taking out the trash cans – I made a series of images of the moon. I then wondered whether I could actually get a crisp image of the moon with my Sony A7RIII.

I pulled these together in a Lightroom catalog, picked the ones I liked the most and then started in.

I have also had ‘learn InDesign’ on my list of things to do, so this was an opportunity to do all of this at once.

I started simply by making the chapbook using square museo cards. These are double sided so it was easy enough to set up a print template in light room for the card and run them through for the front and back. It was a bit of a brain twister to make sure the the right image was in the right place, in the right orientation but I figured it out eventually.

Not everything went to plan!

I then moved on to the zine which I had decided I would make on regular photocopy paper using my laser jet printer. I made a project for this using InDesign and was able to relatively quickly assemble the images for printing. My laser jet printer has a duplex option which means it automatically prints on both sides of the paper. It did take me a while to get all the settings figured out and by a while I mean a lot of paper! I finally realized what the issue was and got the zine printed.

Finished zine printed on photocopy paper

For binding, the zine was stapled using a long reach stapler – what a cool toy that is! – and the chapbook was sewn using the three hole pamphlet stitch. I was happy with how they came out.

Take a look in the video below.

Finally using the InDesign file I made a pdf of this project – check it out here.

I was quite happy with how this came together. I still have a lot to learn but have a number of ideas for other mini-projects that I could do in a similar way which will build into something a little more substantial.

Final Chapbooks and Zines

Life is Just a Series of Moments

I am crossing my fingers and hoping I don’t jinx myself by saying this but I have impressed myself with my ability to keep up with posting on Instagram. I had set a creativity challenge for myself earlier in the year – originally it was to post on Instagram everyday but instead I decided to post every other day. Remarkably I’ve kept up with it!

Like photography and all forms of social media there is a good deal of editing involved. I am not showing everything that is going on for me only when I’m moved to use the camera. Nevertheless I am capturing my life one frame at a time.

Many of these photographs have special meaning for me but I wonder whether they connect with an audience. Certainly none of the images have ‘gone viral’ so that’s one kind of answer to this question.

One question that I’m returning to is ‘who are you creating for? Is it for yourself or your ‘audience’?’ I have always been advised to create for yourself but market to your audience.

How do you think about this? Where is ‘audience’ in your creative process? Not considered or front and center? Or somewhere in between? Is that working for you? I’d love to hear about it.

Friday Inspiration: Josef Sudek

In my poking around on the web I recently came across the photography of Josef Sudek. Sudek was based in Prague and actively photographed until 1976 when he was 80. He had lost an arm to shrapnel in the First World War which makes his work produced with a large format camera all the more impressive.

Prague was occupied in World War II which meant that Sudek’s photography business ground to a halt. During this time he continued photographing mainly shooting from his studio. These images and more from later years can be found in the book ‘Josef Sudek: The Window of My Studio’.

Sudek is often referred to as the poet of Prague and I can understand that. I find his images to be quiet and contemplative. I get a sense of loneliness or melancholy from many of the images. Perhaps that’s just me. The images shot in and around his studio reminded of Saul Leiter’s photographs – largely because of shooting through the condensation on the windows.

Learn more about Josef Sudek in the videos below.

When is a Project Finished?

I’be been thinking about projects over the last few weeks. You might call it a series, others might call it a portfolio but for me all of my photography sits as part of at least one of a number of on-going projects. I picked up this way of working from one of the earliest workshops I did online with Bill Neill.

I had been thinking about initial ideas and how to develop them into a rich body of work when I started to think about what’s the goal? What would success look like? When would I know that I was done?

I must admit though that I never feel like I’m ‘done’. I just keep looking for images that will either raise the standard of the work that’s in my project or that will extend it in some way. But I had never thought about it being done.

It was encouraging then to listen to an interview with Michael Kenna who said something similar. That he’s never really done but an exhibition or a book deadline line will cause him to bring a group of images together that suits the need. He keeps working though and extends the work beyond the exhibition or book.

Other people that I’ve been listening to have discreet projects – I’m going to photograph here for a week, a month, a year and then after that time I’ve got what I’ve got and I’ll move on to the next project. Even then some of these photographers look for a milestone event such as an exhibition or a book to signal being done.

I like the idea of getting your project out into the world as an exhibition, a pdf, a chapbook, zine or larger book as a signal that the work is done. If only that means that chapter of the work is finished.

How about you. How do you know when you’re done with a chapter or the whole project? I’d be interested to hear about it.

Chapbooks As A Vehicle for Your Photography

Time to finish the thought about zines and chapbooks this week.

I had never heard about chapbooks until I came across them through Brooks Jensen. Chapbooks have a long history as a way for artists to self publish smaller bodies of work. This seems to mostly have been a way for poets to get their foot in the publishing door and to pave the way for publication of a larger collection.

With the advent of inkjet printers we photographers can get into the game too! I had said previously that for me the real difference between a pamphlet, zine and chapbook is really the production value. With a chapbook being at the top of the heap, requiring more hand work – i.e. sewing of the signature than a zine which I would typically expect to be stapled.

I have included below a flip through of a Brooks Jensen chapbook ‘Worlds Within Worlds’ which I think illustrates the chapbook concept nicely.

I really do like this idea of small handmade books as a way to get my photography out into the world and will be exploring these more in the coming weeks.

Engaging with the Masters

In looking at the work of Peter Dombrovskis over the last few weeks I couldn’t help but wonder about how we engage with the work of the ‘photography masters’. My preference of course is through books. Based on my Peter Dombrovskis experience this is a challenge.

There are of course the exceptions. Access to Ansel Adams’s photographs are readily available through books and calendars. It’s even possible to get prints from the original negatives printed by Ansel’s assistant Alan Ross.

Not every photographer has the kind of machinery behind them that Ansel has. What about the others. Is there space for periodic ‘remastering’ of classic books in the way that classic records are remastered. A very different undertaking but certainly possible.

I feel like one of my favorite photographers, Eliot Porter, received this kind of remastering in 2012 when a new edition of
‘In Wildness Is the Preservation of the World’. was published to mark the 50th anniversary of the first edition.

The Getty Museum also published a collection of Eliot’s work at around the same time, ‘Eliot Porter: In the Realm of Nature’. This book rather than a new edition is a great survey of Eliot’s work and for me is reminiscent of the Peter Dombrovskis book I recently acquired.

I wonder how many of the masters will get this additional chance to reach a new audience through a book, how many will achieve something similar through the internet and how many will fade away.

Friday Inspiration: Miho Kajioka

I’m sat here trying to work out how I came across the work of Miho Kajioka. It took me a few minutes but I think that I’ve reconstructed it. I tend to hopscotch around from a photographer I read about in this book to digging into who else did the book publisher work with and on and on.

I recently came across IIKKI, a collaborative project between a visual artist and a music artist. IIKKI publishes books and pairs them with music releases. What a cool idea. Their latest release is a book from Miho Kajioka paired with music from Ian Hawgood and Craig Tattersall. And we’re off to the races.

Miho was born in Japan and then moved to San Fransisco to study fine art painting, where she was introduced to photography as one of her classes. Miho returned to Japan where she was working as a journalist when the Tsunami devastated the Fukushima area. Miho returned to art and photography to help her process what she was seeing. I’m glad she did!

I have seen her photography described as ‘snapshot’ photography which struck me as odd, since her photographs look nothing like my snapshots! Working in the traditional darkroom to make silver gelatin prints she works her negatives, some more than others, to reveal her vision. I’m fascinated at the moment with trying to reverse engineer Miho’s technical process. How does she achieve those creamy whites and the delicate blacks?

Her work is also giving me insights into my own tastes and how my work could evolve. I like the simplicity in her images. They are frequently paired down to just the essence, often juxtaposing contrasting elements. For me this makes a stronger statement and gives me space to think.

Check out more of Miho’s work at her website here and listen to her describe her journey and her work in the interview below.

Friday Inspiration: Masao Yamamoto

I was excited to see recently that a new edition of Masao Yamamoto’s retrospective book “Small Things in Silence’ will be published in May. It looks like it will have a new cover and additional images. This news made be go through my library and dig out the previous version of the book and take a look.

Masao Yamamoto was originally trained as an artist, studying oil painting with Goro Saito in Gamagori City, before turning to photography. As an artist his range of subjects include the nude, still life, landscape and wildlife. To these subjects he brings a painters eye and aesthetic, pushing the gelatin silver process by dyeing, toning with things such as tea distressing the final prints. The result is of course much more than a straight representation, achieving a more ethereal and poetic quality.

One of the striking things for me is the print size. Masao’s prints are typically small – small enough to be hand held. This way of finishing the work is the antithesis of the ‘immersive print’ movement. Prints so large that you can almost feel as though you could walk into them. Intimate prints beg for a different kind of engagement, a more personal one. A print that you can hold in your hand invites you to look deeper. Printing images like this makes the statement that this is only a small piece of a larger whole.

Check out the videos below to hear Masao talk about his work and see more on his Instagram page here.

Friday Inspiration: Elizabeth King

Pupil Pose 1

“Process saves us from the poverty of our intentions.”

I am currently reading Seth Godin’s new book ‘The Practice’. More about that when I actually finish it. I was struck by the quote in the front of the book from Elizabeth King shown above and went on a hunt to find more about her. Frustratingly I couldn’t find the exact source of the quote but many people who attribute it to her but the journey was fun.

Elizabeth King is a sculptor who taught at Virginia Commonwealth University for 30 years before retiring to focus on her work. She is best known for her figurative sculpture that she combines with stop motion animation. Perhaps remarkably she was creating the articulated sculptures that were perfect for stop motion animation long before she had the idea for animating them.

I am always fascinated to watch artists at work, regardless of the medium that they work in. The behind the scenes look that you get in Olympia Stone’s documentary “Double Take’ is a real treat in this regard. It shows Elizabeth at work in her Church Hill studio as well as installing her work at various shows.

What is evident in the documentary is her attention to detail. She really cares about getting the sculpture right, capturing the imperfections in joints on the hands of her sculptures so that the fingers end up a little wonky. I thought she was describing my fingers as she described this detail in the documentary. She’s clearly looking and not just going through the motions and means that her sculpture stands up to the closest of scrutiny.

Of course her attention to detail doesn’t stop with the creation of the work. It’s interesting to see how much attention she puts into the installation to make sure that the pose of the sculpture is correct and that the lighting is just so to provide the correct emphasis to the face and hands. This is what separates masters from the journeymen.

Check out more or Elizabeth’s work at her website here and listen to her describe her work in the videos below. You can watch the full documentary at amazon.

The Gap – Be Kind to Yourself, Don’t Compare

I often fall into the trap, as I suppose many people do, of being generally dissatisfied with the work that I’m producing. I make images that I like just often enough to keep me engaged but it can be tough to keep going especially when we’re surrounded by an onslaught of great work on social media.

The guitar teacher Tomo Fujita tells his students ‘Be Kind to Yourself, Don’t Compare, Don’t Expect Too Fast, and Don’t Worry.’ Good advice for anyone whether they are trying to learn a new skill or to be creative.

The other advice that I turn to when I’m struggling is what Ira Glass said about ‘The Gap’ (see video 3 below). He’s describing the difference between what you know is good and want to be able to do and what you’re currently able to achieve.

Check out the illustrated video below.

The solution of course is to do a lot of work. Bang it out even if you don’t feel like it. Just keep going. You will get better, you will evolve and you will close the gap.

Checkout the full interview ‘Ira Glass on Storytelling’ in the following videos. This should be required viewing for anyone in the creative arts.