Figure 1: Phil Hill (April, 2021) Reflecting on the Conference presentation
Off the back of the Communities and Communication conference that I took part in April (Fig: 1), I was invited to submit my paper for their upcoming publication. I am really please that I am able to submit an academic piece of writing for a university publication as this was one of the goals of the FMP. The paper will be an extension on the presentation that I delivered, with a deadline for submission just after the FMP deadline. I will have my work cut out putting together the writing as I am required to produce a 6000 word paper.
It is giving me the opportunity to revisit in detail a lot of the research that I have been considering throughout the FMP and see new relevance for it for the FMP. In particular, I am forming discussion around the idea of Roland Barthes’ ‘Iddiorrythmy’ (2013) Susan Keller’s Community as an ongoing search between the individual and the community whole (1988), Graham Harmon’s Object Orientated Ontology (2018). I am also able to apply in greater depth the way that I am also looking at photographic memory and nostalgia.
I will be able to apply much of this thought and discussion when I come to write the Critical Review.
Bibliography
Barthes, R., 2013. How to Live Together: Novelistic Simulations of some Everyday Spaces. Translation ed. New York: Columbia University Press.
Harmon, G., 2018. Object Orientated Ontology – A New Theory of Everything. 1st ed. London: Pelican Books.
Keller, S., 1988. The American Dream of Community: An unfinished Agenda. Sociological Forum, 3(2), pp. 167-183.
I had a meeting with Emily Macaulay today of ‘Stanley James Press’ to talk through how I might turn my project into the book. This was highly productive and extremely valuable to hear her extensive experience in creating book projects with photographers. I was very pleased to be able to discuss the project with her, as she has worked on some titles that I really enjoy, including Alma Haser’s Cosmic Surgery (Fig: 1), a Limited edition of Sugar Paper Theories (Fig: 2), Simon Robert’s ‘Brexit Lexicon,’ and also Portrait Salon exhibition catalogues, which always bring a unique quality to them over the standard image and caption on page (Fig: 3).
Figure 1: Alma Haser (2015) Spread from ‘Cosmic Surgery’
Figure 2: Jack Latham (2019) Limited Edition ‘Sugar Paper Theories’ box set
Figure 3: Portrait Salon (2015) Portrait Salon 2015 Catalogue
Macaulay, was interested in the project and how I have been considering the published object to be about trace and memory, we spent some tie discussing this and how it might come together as a book. McCauley is keen to understand how I have been putting together the project up until now and her process would then be to look at how formatting would best serve the story. Should we end up working on the book together, it would become a collaborative process over a period of time that could involve both the design and the production of the book.
There is much potential to develop my project in this way and dependent of the economics of the publication – an unfortunate but essential consideration – it could be either a full book, or closer to a zine. I am hoping for something in the middle, akin to the book that I produced with Out of Place.
One of the key questions that I was keen to talk through was the idea of fund raising for the title. This of course depends on the outcome. Cosmic Surgery, for example was funded through a highly successful Kickstarter campaign but this comes with it’s own pitfalls. Kickstarter expects a fee for its service and according to Macaulay was an extremely intense period of promoting and pushing the project through this platform. Alternatively, there is an opportunity to ‘pre-sale’ the title but that would of course depend on the amount of interest I was able to generate in the book and would also mean that I would need to produce some to show the product that people are buying into. That said, Macaulay did suggest that it was possible to ‘pre-sale’ the idea but that this would need some specific marketing to allow people to get on board without seeing the finished product.
A real positive from the meeting was how Macaulay was very used to working with independent photographers, such as myself and aware of the process of creating a book with varying budgets. Moving forward, I will follow up soon to see if it is possible to create my book designed by Stanley James Press.
Figure 1: Phil Hill (May, 2021) Family archive objects re-shoot
I have been waiting for a break in the weather to continue photographing family and also places associated with my project. This has given me the time to reconsider some of the objects that I have been photographing as still life (Fig: 1).
Figure 2: Phil Hill (February, 2021) St Christopher pendant on flatbed scanner
Figure 3: Phil Hill (March, 2021) St Christopher pendant on neutral background.
Initially, I made flatbed scans of many of the cuttings and images (Fig: 2), which worked as a starting point to consider what I had within the archive. It was always my plan to treat all of the objects including the photographic prints – the same in terms of how they should be photographed as a still life set up. For this change, I settled on a fairly neutral tone in order for the objects to be viewed in their own right (Fig: 3). Colour theory and the impact that this might have on the image is something that I initially gave little thought too apart from the decision to not use a straight white, which I felt would create far too much contrast, or black, which could lead to the objects becoming lost within the image. After some consideration, I felt that I wanted to bring more of myself into the work even if I am not directly in front of the camera. To do this here, I am referencing some of my own baby objects and christening items and decided to use a light blue background, or a baby blue (fig: 4) as if to signal that this is part of my childhood, albeit subtly. Aesthetically, the blue creates a nice contrast to the faded and high red tones in many of the archive images that I am working with (Fig: 5).
Figure 4: Pantone (2021) Pantone swatch for ‘Baby Blue’
Figure 5: Phil Hill & Unknown (May, 2021) Family albumpage on Blue back ground [un-edited]
The re shoot was also an opportunity to create a consistent series of images that up until now have been photographed using different methods and techniques, which might become challenging when it comes to the sequence. There is still some work to be done to clean up the consistency between these images in terms of the placement of shadow creating gradients that mean placing some images together might become problematic as a result of not having access to a good infinity curve. I may have to go back and make further re shoots when a sequence is settled.
Colin suggested during the recent group crit that I could aim to be reliable in order to be unreliable. As the author of the work it is important for me to be able to effectively apply the concept of the unreliable narrator in a reliable way – the best authors of literary work, for example, can create a narrative with an unreliable character because the readers trust the author to do so. In my own case, I potentially need to ensure that what you are looking at is technically and aesthetically sound so that the reader might trust that the sequencing is purporting to unreliable narration. As Wayne C. Booth reminds us:
“My subject is the technique of non-didactic fiction, viewed as the art of communicating with readers – the rhetorical resources available to the writer of epic, novel, or short story as he tries, consciously or unconsciously, to impose his fictional world upon the reader”
(1975, p. 1)
I also made some additional discoveries whilst going back through the archive and also some new connections with objects previously I didn’t photograph. For example, My parents used to keep scrap books of cards and other bits considered important – there is one for their wedding, and another two for both me and my brother. One of these books is called ‘Cuttings Book’ (Fig: 6), which resonated with the way that I have started to work with the Manual intervention images – perhaps the parts of the image cut away ended up in this book. Some other interesting discoveries, were in a couple newspaper clippings found in one of the albums, which become more intriguing o the reverse – suggesting a crime of some sort (Fig: 7). I am unsure of how to utilise these in the wider narrative but am becoming more interested in creating a few false turns and dead ends within the sequence to increase the sense of mystery.
Figure 7: Phil Hill (May, 2021) ‘Cuttings Book’ from family archive.
Figure 8: Phil Hill (May, 2021) Reverse of a newspaper cutting in family archive.
Despite much of my attention still wanting to create portraiture and also images of significant place, the objects represent an important development in my approach to the work. I am effectively taking from one archive and creating one of my own, a form of changing narratives through appropriation and selection in order to present what I want to be shown – for my purposes. As Sophie Berrebi notes: “There are no such thing as ‘found objects’, but only objects that are ‘set aside’, selected and re-contextualised” (2014, p. 41). The family album is a form of official state narrative, it is constructed to project the idealised version for others to see (Manual intervention images not withstanding), Berrebi acknowledges this within the way that we also view the ‘document’ or archives of other state narrative, referring to a response to Foucoult by Jacque Le Goff and Pierre Toubert: ‘there is no truthful document’, yet it is also the job of future historians to analyse these archives and as they go on to point out: “to deconstruct, to demolish this montage, to destructure this construction, and analyse the conditions of production of these documents-monuments” (p. 42).
In the images I construct that create new imagery of my own past archive, I am analysing its contents but I am also creating another ‘document-monument,’ which ultimately would need to be de-constructed in the future.
Bibliography
Berrebi, S., 2014. The Shape of Evidence: Contemporary Art and the Document. Amsterdam: Valiz.
Booth, W. C., 1975. The Rhetoric of Fiction. 11 ed. Chicago: The University of Chicago Press.
Building on the V2 book construction, I have started to look at methods of combining some of the more intricate elements of the book, which reference ideas of memory and trace and also working in more text within the main body of the book.
Typewriter
Figure 1: Phil Hill (May, 2021) Typewriter for book text.
Figure 2: Phil Hill (May, 2021) ‘Unreliable Narrator’ title using typewriter.
Focusing on the physicality of the object, I have used a typewriter to create the title and some of the pages containing the quotations I have collected (Fig: 1&2). The typeface is quite small – roughly 12pt – however, I enjoy the link to the material and the way the typed letters look on the page. This also links to ideas of manuscripts that I am aiming to emulate with the publication in this version and also to the novel and the nostalgia associated with typewriters and writing in this format. The typed letters are also a kind of trace left by the act of pressing keys in a way that is different to using a computer and word processing software. However, there is always the option to do this in later editions of the book.
Carbon copy paper
Fugure 3: Phil Hill (May, 2021) blue carbon copy paper in binding of book.
Figure 4: Phil Hill (May, 2021) Writing in pencil on opening page, which could be done with any pressure put onto the sheet.
Figure 5: Phil Hill (May, 2021) Carbon copy of pencil.
I managed to source a blue version of the carbon paper, which is what I have memories of. The blue also highlights the nature of the copied page (Fig: 3). I am considering using this in a couple of ways. At the start of the book, flanked by two blank sheets, which can be used for editions, numbering and signing (Fig: 4). There is potential to scribe onto the top blank page and create a copy of anything written (Fig: 5). Carbon copies are an idea that I came to after listening to Sara Davidman discussing her project ‘Ken. To Be Destroyed’ (2011), in which she found carbon copies of letters sent by her mother – a trace memory of the object letter. This is something that I could apply to my book. The collection of quotes that I am going to put into the book could be typed using letter paper and the copy paper included in the binding (Fig: 6).
Figure 6: Phil Hill (May, 2021) Typed pages ready for future version of book.
The carbon paper is also not fixed and any pressure applied to the page would leave a trace on the opposite page, which creates a book that is always in flux – just as our memory and histories are in flux.
Split pins
Figure 7: Phil Hill (May, 2021) Bound V3 book with brass split pins
Figure 8: Alibaba.com (2021) Book binding screws
Figure 9: Suharu Ogawa (2014) Photo album with screw post binding.
Manuscripts tend to be bound using brass split pins (Fig: 7), I have added some to this version of the book but am finding that they are quickly reaching breaking point when interacting with the book. A future version could instead use a kind of book binding screw (Fig: 8), which is a common feature in portfolios and more importantly, family albums (Fig: 9).
Hard cover
Figure 10: Phil Hill (May, 2021) Hard Cover experiment
Figure 11: Phil Hill (May, 2021) Margin error
I also used this version of the book as an opportunity to continue experimenting with cover options and created a hard cover (Fig: 10). I quickly realised however, that owing to the nature of the binding, my margin was off and cut some of the images and text up (Fig: 11). This also meant that the book no longer opened wide enough to enjoy a double page spread. The hard cover also does not really work in the context of the manuscript idea and its inflexibility reduces the enjoyment of picking it up and leafing through the pages. Bruno Ceschel comments on the experience of interacting with a book: “you will have to take that into consideration: what experience you want to give your readers, and especially how that experience might enhance or be in tune with the content of the book” (2015, p. 494).
There is potential for the hard cover to work, if it was a traditional case binding, however making them myself means that I won’t be able to produce this kind of binding, which will look professional. This kind of material will also push the unit price of the book much higher. I am keen for the experience of the book to be nearer that of a manuscript, or even that of a paperback novel, which denotes the idea of the unreliable narrator in its feel and experience of picking it up and working through the pages.
More of the indexical
Figure 12: Phil Hill (May, 2021) Photogram on fibre based darkroom paper made from acetate overlay.
Figure 13: Phil Hill (May, 2021) Photogram torn and mounted to front cover.
I made a series of acetate sheets that could be used to create photograms in the darkroom. I made a series of fibre-based prints using these and am currently exploring ways that I can incorporate them into the book (12 & 13). The photogram is usually made by placing objects onto the photo sensitive paper blocking the light. This indexical link to the object is another way of exploring ideas of trace and memory. This also brings the physicality of the photograph into the book, that might be lost through the way that the book’s pages will be printed. To extend this idea, I also am considering turning the archive imagery that will be used into small 6×4 glossy prints that could be stuck onto the page instead of printed to reference the family album that I found them in. I could also make some of the same physical cuts that those prints have.
Other Books analysis
Critina De Middel: Afronauts
Figure 14: Cristina De Middel (2012) From’Afronauts’
Figure 15: Cristina De Middel (2012) From ‘Afronauts’
De Middel’s book is a fiction based in some fact. Her book is a reflection of this (Fig: 14) and uses it to build a story through her personal imagery (Setanta Books, 2019). There is a great physicality to the object, which also includes types elements and place these on lined paper that fold out from the central gutter (Fig: 15). I also enjoy the use of illustration with the photographs and there could be potential to include some within my own sequence. In Joerg Colberg’s review of the book he notes: “I had seen photographs from the project on the internet, but I thought that they were just a tad too cute. But then I came across the book, and that made all the difference” (Colberg, 2012) suggesting the way that the book can change the interpretation of a body of work.
Middel’s approach to the series is also worth discussion. In her own words: “it had this fact/fiction game in terms for the documentary value of photography — it’s something real but unbelievable, so if you take pictures of it, you end up with this weird thing, which you don’t know whether to believe or not” (De Middel, 2013). And this really resonates with my own project however, there are some ethical issues that are also worth noting and some that play a role in the development of my work. It could be argued that Middel is mocking or othering in her Afronauts project, something that she rejects, noting the work is more about the perception of Africa that it would be impossible for them to reach the moon: ‘The images are beautiful and the story is pleasant at a first level, but it is built on the fact that nobody believes that Africa will ever reach the moon. It hides a very subtle critique to our position towards the whole continent and our prejudices.’ (Setanta Books, 2019).
Alec Soth: Broken Manual
Figure 16: Alec Soth (2010) ‘Broken Manual’
Soth creates a really engaging object with his book ‘Broken Manual.’ Soth’s book is housed within another book creating elements of secrecy and mystery (Fig: 16). Soth created a character for this book in the form of ‘Lester B Morrison,’ a construction of Soth’s he uses to create further intrigue. In a sense Lester B. Morrison is an unreliable narrator when you realise that it is in fact Soth writing: “I was trying to develop this secret, private language – the way people who’d spent too much time with themselves do” (2020).
Both approaches add something to the images and create a more experiential object that time can be spent and enjoyed. This is something that David Levi Strauss argues for in ‘Photography and Belief,’ which is opposition to the way that we consume images digitally: “Images that appear on the screens of our devices go by in a streaming flow. Individual images are seldom apprehended separately, as a singular trace […]. The images consumed in a flow are seldom dwelled on, so their individual effect is limited” (2020, p. 63).
Next Steps
I am still photographing this project, so the way that the book comes together will inevitable be a reaction to the images that I have to create. That said, after reading Bruno Ceshel’s ‘Self Publish Be Happy: A DIY Photobook manual and manifesto’ it is clear that the work can exist in its iterative form and continue to evolve even as I share the work (2015, p. 486), which is also something that Wendy suggested in a previous meeting. I am relatively happy with the way the work is coming together and initial sharing of the project is proving positive, including FT editor Emma Bowket, who found the concept interesting. I plan to create the next version of the book in a more polished form that can be shared with industry professionals for feedback.
Bibliography
Ceshel, B. & Senior, D., 2015. Self Publish Be Happy: A DIY Photobook Manual and Manifesto. 1 ed. New York: Aperture.
Colberg, J., 2012. Review: The Afronauts by Cristina De Middel. [Online] Available at: http://jmcolberg.com/weblog/2012/07/review_the_afronauts_by_cristina_de_middel/ [Accessed 06 May 2021].
Davidmann, S., 2011. Ken. To Be Destroyed. [Online] Available at: https://www.saradavidmann.com/work#/kentobedestroyed/ [Accessed 07 May 2021].
De Middel, C., 2013. CRISTINA DE MIDDEL: THE AFRONAUTS [Interview] (25 April 2013).
Levi Strauss, D., 2020. Photography and Belief. 1 ed. New York: David Zwirner Books.
Setanta Books, 2019. The Afronauts. [Online] Available at: https://www.setantabooks.com/product/afronauts/ [Accessed 6 May 2021].
Soth, A., 2020. Broken Manual: Alec Soth in Conversation with Aaron Schuman [Interview] (11 August 2020).
