In my never ending pursuit to escape the clutches of Adobe’s leasing model, I’m always on the lookout for alternative software to manage organise and process my digital files. This last few months I have been working exclusively without any Adobe products. Lightroom was my go to tool until I resurrected Aperture by Apple on an old Desktop. Now I’m using 2 apps to do all the heavy lifting.
NeoFinder is the first. It is now my digital asset tool of choice. Finding and using this software has potentially saved me from buying a new desktop computer. The software is stable, fast and flexible. If it had an ability to “ingest files” and process them as raw then I’m set. As Neofinder does not, my workflow consists of using Apple’s Image Capture.app to ingest files, Neofinder to rate, sort and organise, and Affinity Photo to process the raw files.
Concurrently I had been mulling over how I made an earlier book using Blurb. ‘What’s the ugliest part of your body?’. When making it. I had decided to compromise on its layout and not crop the images resulting in a book that few people handled correctly as it was landscape orientation. As a consequence it had lots of wasted white space. I feel this didn’t add anything to the idea. This time I decided that I would print full bleed, and use pictures that were portrait in orientation. I also wanted to add some text to engage the reader. So after perusing my library and searching the internet I found of series of snippets of text and quotes that posed pointed questions about landscape, landscape art, and landscape photography. With these two ideas in mind I collated as many images as I could that were portrait in format, ie Not Landscape, the book’s title, printed out a set of them. Then started editing them into a book.
I have some copies of my ‘What’s the ugliest part of your body?’ left. These are $15.00 each, and after making them now consider it unlikely I will make a second edition.
I have one copy of my book Contact for sale as well.
As we reach the end of summer here in Australia, I’ve been exploiting the the effects of La Niña. With the Melbourne Art Book Fair approaching rapidly, I was hesitant to head out to make pictures but this Friday the weather was just right, so I exploited that and made pictures for a couple of hours.
I initially set out to make some pictures as teaching aids, but as I was on a bridge near the ring road, I decided to wander towards an aspect of the Maribrynong river that has always intrigued me.
I started under the EG Whitten bridge. A sad spot in so many ways. So much rubbish just dumped. I am unsure about the status of the land under the bridge as well. I know that the edges of rivers up to the high tide mark are considered crown land, but this land is well above that and also bordered by some private land. The western side of the river seems mostly private. This has been heavily impacted by trail bikes and other uses. This is the part I found most interesting. As the bike riders reshape the topography.
An early influence for me as a student of photography was Joe Deal’s work, The Fault Zone Portfolio, a group of 19 silver gelatin prints that documented suburban life along the San Andreas Fault Line in Southern California. This place reminds me of that except the forces at play are much more human in scale.
I only took digital equipment with me on this occasion. Given what I saw I’m sure a return visit is in order with at least my Hasselblad. It would be no mean feat to cary this equipment in, but more than worth it under the right lighting conditions.
Published by Mack books in 2022. As soon as I saw the flip though on the Mack Book website I knew I had to have the book. Once it arrived, and very quickly I might add, I barely put it down.
I bought the book because I could tell in the flip through that Shore was going to refer back to all kinds of art from many parts of history. Indeed there are some real gems cited in the book. From Frederick Sommer to Eugene Atget , Bob Dylan to William Blake, Lorraine to Turner. The list is as deep as it is wide, he refers to poetry, music, theatre, film, architecture. Reading it has been a humbling experience, his advice is thoughtful, thought provoking and practical.
This is my favourite excerpt from page 176:-
“During dinner I saw Ansel drink six tall glasses of straight vodka. Toward the end of the evening, he said to me, “I had a creative hot streak in the ‘40s and since then I’ve been potboiling” I don’t remember the context of this, but I do remember that he said it drily, like a photographer observing something.”
If you are a beginning student or an accomplished photographer this book will be a useful and welcoming addition to your library.
I particularly like the production values of the book. I feel it is entirely within keeping of Shore’s temperament. The book has weight and presence that is enjoyable, the pages easy to turn and the reproductions surprisingly good on the paper stock used.
For the second year running the skies in Melbourne have been far more photographic and overcast than I remember in summer.
I really exploited this in the quiet period from when I started my holidays to the new year. Many construction sites are closed at this time of year. This makes it even easier to photograph these places. I have shot more than 3 rolls of 120 film and about 20 sheets of 5×4 film. The results at this point seem pleasing.
This year I didn’t borrow a digital DSLR from work so the only digital files I’m making are using my iPhone.
These are the images I’m adding to this post. I also used the quiet time to scout a few possible locations moving forward. I’m very interested in the infrastructure projects going on right now all around Melbourne. In particular I’m interested in the ones that are close to me ie the inner west.
These are going to change the fabric of these suburbs. For better or worse I don’t know. But change they will and I’m trying to capture as much as I can, while I can.
Photo-eye has a best of photobook list for 2021. I’m no fan of the idea. It would be impossible to survey the field comprehensively given how many are made. There are a couple of crossovers and the list of reviewers is impressive as well.
As usual I need to keep my credit card securely tucked away out of reach as I read about each book.
Below is the transcript of the presentation I gave online with the other members of MPC at the Ballarat Photo Bienalle photobook weekend on the 17th of October 2021
The Shape of a Photobook Project?
It’s an interesting question and thanks to Anne for proposing it.
My most recent book is a DIY style book of ‘tipped in’ photographs.
Ideas for books don’t come easily to me nor do they arise from singular “AHA” moments, their creation often come from an idea or an experience, however small and inconsequential. Mostly the ideas toss and turn in my head for some time before I sit down and actively look for pictures to include, rarely do I make pictures with a book in mind. That is until the last few years anyway.
I have been a practising artist since 1987.
My interest in photobook making was sparked by exposure to photobooks at college in the late 1980s and was kicked up a notch in the mid 1990s when I realised if I learned a computer program like Aldus Pagemaker or Quark I could create a polished book that looked anyway I wanted. It was to take a Masterclass with Marshall Weber and Stephen Dupont in 2015 to get me to see beyond the established codex of a photobook and to think of book making in a different light.
The above books span more than 12 years of experiments with the book form. All self published, from the polished Art & Mathematics, to the handmade, Body Bags & Other Misdemeanours. In these books software figured heavily in their production, my latest book however comes from a craft perspective, where the use of computer software has been minimal.
Two formative books [see above] that have shaped my research, interests and tastes since college are:-
The Book of 101 Books: Seminal Photographic Books of the Twentieth Century by Richard Benson, May Castleberry, Jeffrey Fraenkel
The Photobook: A History, Vol. 1, 2, & 3 Martin Parr, Gerry Badger.
Amazon and the internet changed the way I find and purchase books radically. Which in turn feeds the process. It feels to me that the photobook has undergone somewhat of a Renaissance over the last 15 or so years and sources of information about them are almost overwhelming. Nearly anyone who publishes photobooks will have a website, newsletter and instagram feed at a minimum.
My most recent photobook is titled Contact? It is a DIY style book of ‘tipped in’ photographs, in a purchased visual dairy that was spiral bound but had blank pages. I Initially imagined it as an edition of 3 with 1 Artists Proof. The book ended up with 26 pages in total and 26 tipped in photographs.
The idea itself can be traced back to several conversations I had in the years since meeting the rest of the Melbourne Photobook Collective. Firstly Stephen Dupont one of the masterclass facilitators, where MPC first crossed paths suggested ‘tipping in’ work as a way to create a desirable book object, after I showed some work from a long running project I have been making using large format film during the workshop. [see below]
Lastly coffee with a former teacher pushed the project forward after we talked about paper used in silver gelatin printing that convinced me Blake’s idea was suitable to pursue my own ends.
All the while I was thinking about history, memory and the archive. I was also sorely missing my time spent outdoors with my cameras.
My usual method of working involves looking back over contact sheets or digital files looking for connections between the images. These connections might lead to a book idea or an exhibition proposal. But having not had the chance to get out and look for new picture making opportunities I decided that there was enough in my archive to make a book.
At this point we were well into our second lockdown. I kept coming back to the idea of walking in a city with a camera. Something I took for granted until the pandemic began.
My archive itself spans more than 30 years of picture making. All up more than 530 or so contact sheets, each with 12 pictures. It actually took several hour long sessions to ‘consider’ them all. Peppered throughout were some images that for a variety of reasons resonated with me for many years, these also helped the process tick over.
The only selection criteria for the images at this point, was that the image have enough visual strength to stand out as a small contact print. I had decided very early on to only contact print these images which in turn drove the choice in book format. A6. Blake’s method was intriguing but I had other ideas on how I wanted the finished object to look.
My first edit yielded about 80 possible images, which I roughly printed digitally. Then edited down to about 40. I had yet to solve the issue of how the book would look with so many images, this weighed on my mind as I printed 4 sets of 40 images in the darkroom using silver gelatin paper.
After staring at the 40 images spread in front of me on a wall in my darkroom dedicated for this purpose I managed to edit the sequence down to 26
I then spent some time trimming and assembling and gluing them into 4 books
At one point I realised disassembling the books made some aspects of the production easier. Thanks to the spiral binding. A process driven result.
This helped the page count, as I removed more than 2/3 of the original pages.
Overall this was a satisfying exercise, I’m not convinced however, the object achieves the look and feel I was hoping for. In my mind it was going to be a unique yet luxurious object. I severely underestimated the skill level to achieve this. I may use this technique with a different size scale and binding approach in the future.
Today was the beginning of the term break for me as I only work 3 days a week now. I managed to procrastinate online all morning. I fitted in some quality time in my darkroom after lunch though. I have a solo exhibition application in the works. So if I’m accepted into the space I want to have plenty of time to make the best quality prints I can. The negatives span more than 30 years of shooting film and are mostly images that I have liked for and of themselves. But may not have fitted in with other series and bodies of work I exhibited in the past.
It’s a bit weird working with such old negatives. I started in my first year of University with a Mamiya medium format TLR camera. I used Microdol-X as my developer in those days. I now use a Hasselblad as my main medium format camera. Recently switched to Xtol too, a commercial developer also by Kodak. Prior to switching I had used a home made developer called D25. I’m still using the same film though, Kodak T-max 400.
Papers too, have changed radically since 1989 when I was at University. Now most papers are multi-contrast as opposed to graded. This is actually a good thing as I feel I can eke more out of a negative using the 2 extreme filters, 00 and 5. A technique called ‘split filter printing’.
I hope then to better match my expectations of an image using the split filter printing system, and a variety of home made paper developers. Compared to my University days, when a neg may have been put aside due to it not being able to printed well on a single grade of paper.
The differences between cameras and eras seems noticeable. The developer not so much. I switched film developers mainly for environmental reasons but technique also played a part in that decision too. I touched base with an old teacher a couple of summers back and he suggested the change.
The weird part is as I’m not really working to a fixed time frame, I have all the time in the world to muck around as I make each print. Some are just “falling” out of the enlarger, others are requiring many test strips and prints. I plan on exhibiting about 14 to 18 prints. Pinned directly to the walls of the gallery.