To celebrate the 10th anniversary of Conscientious, Joerg (The Blogfather) Colberg's seminal and influential blog, fotobloggers around the world were asked to share the occasion by talking about the future of photography. To talk about what's bold, brave and new in the photo-world.
I'm honoured that Colin Pantall has seen fit to mention LIVE THROUGH THIS in this context. Surprising in a way because the photos don't allude to the history, uses or future of photography.
No. Colin saw them as a possible way forward simply because of their engagement with the subject.
The continuing saga of getting LIVE THROUGH THIS off the computer and onto the press. . .
When I received the dummies made of uncoated paper a couple of weeks ago I was thrilled, felt so good to hold an actual thing in my hands, made the book seem more real.
Then the sober second thought. The reason for using uncoated paper was so the book would feel good, and I have to admit to liking the idea of uncoated paper. But every time I print on it at home, feed it thru my trusty Epson 3880, I'm disappointed. In the end I have to admit to liking my prints to look like photos, if you know what I mean. None of this arty/farty matte shizz for me. Plus I really dislike the way the contrast and blacks are rendered on uncoated stock.
So Paul (the designer) and I had a big talk and decided that the way the photos looked in the book was more important than how the paper feels in the hand. Back to the drawing board.
We met with Pam, our go-to person at the printers, and studied more options. In the end we decided to have 2 more blank dummies made, using 80 and 100 pound Opus Matte sheets; the closest we could find to uncoated that would still make the photos look like photos printed on photo paper, if you know what I mean.
And while we were at it we decided to totally rethink the cover as well. What stock to use, its look and feel, its ambitions and so on. So we're not really back to square one, but certainly we're somewhere near there.
This aspect of doing the book reminds me a lot of the process of editing, sequencing and deciding on its look and feel. . .long and complicated. But as I always tell myself, what's the point of doing something easy?
What does cleaning up a studio have to do with STRAYLIGHT, you might ask.
This is the board I was using (along with the good-old computer) to figure out LIVE THROUGH THIS, the book:
And a couple of details:
And this was the board a few days ago:
Now, starting today, it's getting pressed into action for LIVE THROUGH THIS, the exhibition:
A whole new problem.
Had a few meetings with Paul (designer) and Pam (print rep) this last week. Going over stuff like paper choice, cover possibilities and just how much it's going to cost to get this thing on the press.
Turns out that I could save about $1000 if I chose cheaper paper; very nice stuff but, still, paper that I don't want. So: no way.
Part of the idea of STRAYLIGHT is that printed photo matter is a sensual thing, and how the pages feel in your hand, their weight and texture make a difference. So we're going with the expensive stuff.
The printer is going to bind together a couple of 80 page, 9x9 inch blank dummies, using Husky Offset Smooth paper (one dummy will use 70 pound paper, the other 80 pound) so Paul and I can see and feel.
All of a sudden this thing is feeling real. LIVE THROUGH THIS has now moved from the working-with-the-edit-sequence-and-look bit into the man-this-is-really-happening phase. Scary and exciting.
Here's an interview with Steph, shot a week after her brain surgery.
Please support STRAYLIGHT. Buy a copy of of our book. LIVE THROUGH THIS.