PHO705 Final Major Project

On Photobooks

| Phil Hill

I spent a good amount of time during the MA debating the value of the photobook in terms of a key way to disseminate my work. Photobooks can feel like a limited way of putting work into the world, which is supported by arguments put forward by Simon Norfolk who has suggested that they can be esoteric and only really consumed by other photographers (2019). However, I have since started to consider the photobook as one of a range of ways to disseminate my work, which in part has been inspired by that way that my own small book was distributed and shared, leading to additional ways in which work can be seen (Fig: 1). This in part has been formed from starting to look at the ways that I can use the format over an in-person exhibitions, owing to the pandemic. Martin Parr, one of the biggest proponents of the photobook also notes their significant place for the dissemination of photographic work: “The photobook has been a fundamental means of expression and dissemination for photographers since the earliest practitioners pasted their images onto pages resembling those they would once have filled with sketches” (Parr & Badger, 2004: 7).

Figure 1: Phil Hill & Out of Place Books (January, 2021) I hope this finds you safe and well photo book.

The book creates an opportunity for my work to be experienced in a tangible way, even when it has been impossible to do so over the recent months. The physicality of the book also places an enhanced experience of the work for the reader through the materials and the way that the work is presented. Bruno Ceschel expertly provides the basis in which I can now approach my own photobook construction for the project: “The first thing you must do is demystify the idea of the photobook. As soon as you have demolished every single convention about what a photobook should be, you fee yourself to dream up something new, exciting, and most important – completely doable” (2015: 485). It is important to put down my initial reservations about what I thought photobooks represented and consider the ways that I can add value to my project with a physical art object, which can be distributed and shared easily, meaning the experience of the work is not lost through the computer screen. Crucially, Ceschel makes a further point: “The book is a journey, not a destination […] Making a book should be both challenging and fun. It should be an adventure that will make you aware of your own practice, ideas, knowledge and skills” (p. 486). This above all, has been the biggest revelation in the process of the MA and indeed this FMP.

Figure 2: Alma Haser (2015) From ‘Cosmic Surgery’
Figure 3: Alma Haser (2015) from ‘Cosmic Surgery’

Therefore, I am looking at constructing a self-published book in the first instance. One that includes elements of trace and memory and how unreliable these things are. My book should be able to be reproduced easily in potentially different versions. I am considering creating a short run edition of between 5 – 10 highly unique books with an individual hand-made aesthetic and will be a higher end product, much Almar Hasser’s first edition of ‘Cosmic Surgery’ that that contains many more intricate elements than the subsequent editions (Fig: 2&3). I will also do a further edition, which is more easily producible on a larger scale – potentially on demand. Both of these editions, will be able to be produced through the resources that I have available to me. As I work in a Further Education college, I have access to good quality book making materials and printers – albeit with some limitations that I am exploring. There are also a range of art studios, which I can potentially use for elements such as screen printing and letter press etc.

Self Publishing

David Senior notes: “To self publish, to decentralise the production of print media, created a new type of printed object – one in which artists and designers bent the rules, played with conventions of the format, and created new containers for communication” (Ceshel & Senior, 2015: 8-9), which continues to support the idea of experimentation within my project. I have not finished photographing for the project either, so both provide opportunity to continue investigating ways in which to best communicate my ideas.

Figure 5: Lewis Bush (2021) From Bush’s Instagram showing the process of zine making.

My plan is to build a good quality dummy, which can be shared with publishers and also through book dummy awards. The idea that I can also produce other versions of the book quickly and efficiently to a high standard also means that I can share the book with people within the industry that might be interested in the project. I can do this on my own terms and also continue to develop the book as I gain reaction to it, as Ceshel also discusses: “Another thing you can do to free yourself from performance anxiety is to think of your book as being in flux – each time you print, the publication can change” (2015: 486). Lewis Bush also noted this when promoting some later runs of his zine publications (Fig: 5), which embrace the hand made nature of the format and the way that later mistakes can be rectified and does not detract from the professionalism that he brings to his wide range of zine publications.

My project has become one that builds an unusual world for the reader to be taken on a journey through. John Gossage places this kind of world building as a key element for a good photography book project: “firstly, it should contain great work. Secondly, it should function a concise world within the book itself. Thirdly, it should have a design that complements what s being dealt with. And finally, it should deal with the content that sustains an ongoing interest” (Parr & Badger, 2004: 7). This idea of world building is still ongoing and I will need to consider the ways that the materials and the design of the book add value to this. 

Bibliography

Ceshel, B. & Senior, D., 2015. Self Publish Be Happy: A DIY Photobook Manual and Manifesto. 1 ed. New York: Aperture.

Norfolk, S., 2019. A Small Voice: Conversations with Photographers [Interview] (12 June 2019).

Parr, M. & Badger, G., 2004. The Photobook: A History Vol 1. 1 ed. London: Phaidon.

On Diana Markosian

| Phil Hill
Figure 1: Diana Markosian (2014) Armenia. 2014. This is the closet thing I had to an image of my father. A cut out of him in my mother’s photo album. An empty hole. A reminder of what wasn’t there.

In her work titled ‘Inventing my Father’ Markosian deals with the absence of her father, who exists as only memories and cut out of photographs in her family album (Fig: 1). The work wonderfully puts together archive images and her own photography. I quite like the way that she combines the colour archive with her own black and white imagery (Fig: 2) as if to invert the idea of black and white being of the past – the fade and colour shifts in the archive does that in a really natural way and her images create a visual break to show her own investigations.   

Figure 2: Diana Markosian (2014) Armenia. 2014. I am standing in the courtyard of my father’s home. It’s the same gray, decaying Soviet building I remember as a child. You could say I’ve come home. But that’s not how it feels.
Unreliable Narrator – Archive Database

Figure 3: Phil Hill (April, 2021) Archive database of image captions for FMP project

I have been working to create captions and text to accompany my images. Initially, I was looking at the idea of describing the image in a literal way and created a database of all of the images that I have photographed and archived myself (Fig: 3). The idea is that my eventual sequence would be as subjective and edited as any of the narratives that I have, or that the reader might have of the work. This could work as a booklet with every caption, numbered, for the reader to work through and find the ones associated with the book. This very much was inspired by Barthes’ famed winter garden image of his mother (1993), which is never seen and may have never existed at all (Photoworks, 2013). This literal description however, may not be working and I actually quite like the way that Markosian has captioned her imagery with a personal reflection about her father (Fig: 4). This could be a way of creating the narrative within my work and potentially I could create a kind of ‘Flash Fiction’ story broken up into the image sequence.

Figure 4: Diana Markosian (2014) Armenia. 2014. When I would ask my mother about him, she would look at me disappointed, “Forget him. He’s gone,” she would say.
Figure 5: Karl Ohiri (2013) from ‘How To Mend A Broken Heart’

Figure 6: Quetzal Maucci (2020) from ‘
Baci, Piccoli Baci, Grandi Baci’

One of the most striking images in Markosian’s series is the cut photographic print (Fig: 1), another example of the ‘Manual Intervention Photographs’ that photographers, such as Karl Ohiri (Fig: 5), and Quetzal Maucci (Fig: 6) have used to great effect in their own series. Markosian notes of the photograph: “For my mom, the solution to forget him was simple. She cut his image out of every photograph in our family album. But those holes made it harder for me to forget him” (2015). This validates an earlier discussion that I had regarding these kinds if images, which create more questions than anything that are conceivably aiming to hide (Fig: xx). I wonder why you would keep the image at all. It would also be worth noting that Markosian’s mother took her and her brother to the US when Markosian was seven, without telling her father where they were going. Presumably, Markosian’s mother took the family albums with her – including all of the images if the father. The object remains precious, even under times that are understandably stressful.

Photography – The Unreliable Narrator.
Figure 7: Phil Hill (February, 2021) Discussion the unreliable narrator and manual intervention photographs

Return of the object

There are a number of objects within the archive that I need to consider in terms of the way that they are part of the project.

I have considered the concept of Object Orientated Ontology (OOO) previously, the idea that objects exist in a far more complex way than humans are able to interpret them, as Graham Harmon states: “all of the objects that we experience are merely fictions: simplified models of the far more complex objects that continue to exist when I turn my head away from them, not to mention when I sleep or die” (2018, p. 34). In my own reflections, I considered the way that we view the world in a anthropocentric sense yet objects can exist outside of this, including ideas that ‘agency’ may also evoke the way in which the qualities and characteristics of even inanimate objects may have an impact on the reading of them.

It is a recurring theme in the work that I am reviewing as part of my research. In an anthropological sense, objects in the absence of the person are what can be used to try and understand them. A material culture (Engelke, 2017, pp. 6-7) show all of the items that we collect and hoard to build a picture of the person. Of course, this also has it’s subjective limits and is unreliable.

Bibliography

Barthes, R., 1993. Camera Lucida. London: Vintage.

Engelke, M., 2017. Think Like an Anthropologist. London: Pelican Books.

Markosian, D., 2015. Diana Markosian: Inventing my Father. FT Weekend Magazine, 3/4 January, pp. 12-15.

Photoworks, 2013. The Great Unknown. [Online] Available at: https://photoworks.org.uk/great-unknown/ [Accessed 07 February 2021].

Communities and Communication conference reflections

| Phil Hill
More Lonely Ere – Idiorythmic Communities and the Nostalgic Lens (Presentation)
More Lonely Ere – Idiorythmic Communities and the Nostalgic Lens (Supporting notes)

Figure 1: Phil Hill (2021) Conference paper and presentation

I found the experience of delivering a paper on my research to be a really valuable one (Fig: 1). Even though the presentation centered around the photography that I was producing for the last module, the paper that I wrote was written recently and created an opportunity to re-assess some of the research that I have done throughout this MA. It highlighted the areas that remain relevant to my practice and also some of the areas, which I had moved on from but would benefit on a closer re-evaluation for the FMP. For example, Barthes’ concept of the idiorythmic is and area worth applying to my current work – how we have our beliefs but entrench and separate them from each other, even refusing to accept the opinion of others. This is something that I can use for ‘Unreliable Narrator.’ Barthes also spends time discussing the way that a communities sense of self is built on (among other things) what it excludes, but also can choose to keep the expunged close as a way of comparing oneself (2012, p. 81). There are also elements of distance, which Barthes refers to Nietzsche’s ‘Pathos of Distance’ to highlight the way we elevate ourselves above what we wish to expel to create a kind of nobility (p. 132). I made this reference in relation to the way that we distanced ourselves during the pandemic but feel that it could easily refer to the way that we distance ourselves from one another through belief and ideas. I came to this research fairly early in the MA process but quite enjoy the way that its importance changes with the context of the way that I work.

Ross, was also working on delivering a paper at a separate conference, and it was also really valuable to gain peer support in the writing and editing of the presentation.

Figure 2: Phil Hill & Communities & Communication (2021) Online Communities and Communication Conference

Conference takeaways

Keynote speaker, Nichola Twemlow made an interesting observation regarding the young people that she supports through the YMCA. Talking about the value of communities, she noted:

“people can define themselves by the labels they are given”

(2021)

This really resonated with me and the way that I might consider applying class under the project themes. Working at an FE college I can really relate to this statement as the demographic of students that I teach regularly do not believe in themselves and the potential value that they have. For example, the Btec qualification that they study is considered slang for something being second rate – ‘that’s such a Btec xxx.’ It also really resonates with my own personal experiences if growing up within a working class home – the idea that you are not good enough is something that I hear often from my close family and potentially fuel for some of the other beliefs that they hold. Darren Mcgarvey understands this feeling when he discussed the way that the EU referendum argument for remain was based very much in the ‘on average’ benefits that it would have without truly grasping that if you come from a below average (economically) then these are not actually benefits to you (2018).

Twemlow’s statement is a useful method of framing aspects of my project and a way of discussing some of the content that I might include in a final sequence.

Bibliography

Barthes, R., 2012. How to Live Together: Novelistic Simulations of some Everyday Spaces. Translation ed. New York: Columbia University Press.

McGarvey, D., 2018. Poverty Safari. Main market edition ed. London: Picador.

Twemlow, N., 2021. Communities and Communication Conference 2021: Connections. Staffordshire, Staffordshire University.

Book Dummy Construction V2

| Phil Hill

Continuing the development of my book dummy, I have started to look at ways that I can make a book, which can be mass produced easily. I feel that the outcome should exist somewhere between the accessible and unique limited-edition art object. I intend to create a short-limited edition that includes unique and hand made elements to the book. For example, the use of the carbon copy paper, hand typed, and potentially screen-printed pages. These books could also have an individual unique aspect to the sequence or another part, which supports the unreliable aspects of the project.

Ideas for this could include:

  • Unique sequence for each book
  • Supporting ‘end notes’ that changes the caption information
  • ‘End Notes’ booklet that has captions for more images than are in the publication or the inclusion of additional contact pages to acknowledge the subjectivity of the photographic edit.
  • Limited edition prints included
  • Hand printed elements within the book.
  • If I decide to use elements such as the correspondence paper, this could actually be included
  • Hand torn edges – creating a unique object

Unreliable V2:

Figure 1: Phil Hill (April, 2021) Unreliable narrator book dummy version 2

I was able to access a printer that can create booklets, which makes it quite easy to run off sequences and see how these work in a book form (Fig: 1). The stapled edge also would work similar to the Japanese binding that I looked at previously in terms if the gutter and center margin. Although, I would aim for a higher quality for any final book, this was a useful way of seeing how I could quickly and economically produce a larger run of the book should it be self-published.

I am not sure about the A4 size, as the aspect ratio of the 6X7 format might look better in a 10×8 format. Some of the images within the book, really need the space to breath and I would have to consider the way that some of the image plays a role in the way the book reads.

Courier Type

Figure 2: Howard Kettler (1956) Courier Typeface

As I have been using a physical typewriter, I decided to use a typeface that would still be recognised as such. Courier is a ‘slab serif’ style (Fig: 2), which was created originally as a typewriter font. It’s use in later versions of my book would mean that the style and feel of the type would not be too compromised switching between a hand typed to digital text, albeit with a lost physicality.

Quotations

From conversations that I have started to have with family and others around the project, I have been collecting together quotes that I can use within the sequence so I have attempted to work some of them into this version

Endnotes

Figure 3: Phil Hill (April, 2021) Endnotes accompanying booklet

As an attempt to bring in a bit more of a contextualisation to the work, I have produced an accompanying booklet called ‘endnotes’ (Fig: 3), which creates an opportunity to play with the concept of unreliability by potentially producing different versions to go with the main publication. At the start, I have added a contextualising statement and then followed it by providing caption information via a corresponding number within the main book. Alternatively, I could use the Twin check label idea, which I have linked to ideas of memory, or could create a mini version of the main book that would have images.

Script

Figure 4: Script Studio (2021) Script format for printing out

Following the narrative structures that I am using, I might also work to create the next iteration of the book in the format of how a script is produced (Fig: 4). The format and presentation lends itself to the goals I am aiming for with my book. The size and script format create connotations supporting the unreliable narrator narrative structure. This kind of referencing is also similar to the way that Jack Latham’s ‘Sugar Paper Theories’ (Fig: 5) is presented as a kind of court evidence document. The format lends itself to a modular approach in the way that it is bound together using brass split pins, which could work as a way of mixing up the sequences. It would also be a relatively economic way of producing multiple copies in preparation for sharing with people interested in disseminating the work. This also means that I can easily create a copy for book awards.

Figure 5: Jack Latham (2015) Cover of Sugar Paper Theories