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Tutorials Avaialbe in the 'Learning Materials' section on their Moodle page

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London Centre for Book Arts - London Centre for Book Arts

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Based in what was once the heart of London's print industry, the London Centre for Book Arts (LCBA) is an artist-run, open-access studio offering education programmes for the community and affordable access to resources for artists and designers.

Based in what was once the heart of east London's print industry, the London Centre for Book Arts is an artist-run, open-access studio offering education programmes for the community and affordable access to resources for artists and designers.

Join us for an OPEN STUDIO on Sunday 11 Feb 11am-5pm to celebrate the reopening of the studio after a devastating flood in the beginning of the year. Poster by Juna Horstmans.

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London Centre for Book Arts - London Centre for Book Arts

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London Centre for Book Arts (LCBA) is an artist-run, open-access studio offering education programmes for the community and affordable access to resources for artists and designers. The Centre's mission is to foster and promote book arts and artist-led publishing in the UK.

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An Incomplete Guide To Ecological Thinking In Photographic Practice | Vol. 3 - PhMuseum

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Paola Di Bello, Roberto Huarcaya, Miguel Sbastida and Aindreas Scholz’s works inquire into the relationship between ecosystems and image-making techniques, turning photography into a way to tie bonds with the non-human.

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https://www.ciaopress.com/

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https://hum-co.de/

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https://www.romapublications.org/Roma251-500.html

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https://channel.louisiana.dk/

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https://www.e-flux.com/

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https://www.youtube.com/@AlecSothYouTube/videos

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https://photoworks.org.uk/

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https://c4journal.com/

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https://www.foam.org/magazine

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https://www.afterall.org/articles/

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https://photobookstore.co.uk/

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https://outofstock.xyz/

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https://photobookjournal.com/

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http://rinkokawauchi.com/en/publications/

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https://www.1000wordsmag.com/

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https://www.anothermag.com/

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https://josefchladek.com/

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https://cameraarhiva.com/

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https://www.slavsandtatars.com/printed-matter/books

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https://www.frieze.com/article/bow-down-podcast-women-art-history

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Bow Down is a new podcast about significant women artists from the past who deserve our attention. For each 20-minute episode, Jennifer Higgie - frieze editor at large - invites an artist, writer, historian or curator to nominate an artist to whom we should all ... well, bow down.
Episode 1: Helen Cammock on Artemisia Gentileschi
First up is the Turner-Prize-shortlisted artist - and winner of the 2018 Max Mara Prize for Women - Helen Cammock on the 17th century Baroque painter Artemisia Gentileschi.
Episode 2: Olivia Laing on Agnes Martin
The best-selling novelist and essayist, Olivia Laing nominates the influential abstract artist Agnes Martin (1912-2004). Martin - a gay, working class woman who forged a path in a male-dominated artworld - embraced solitude and didn't have her first solo show until she was 46. With a practise inspired by Zen Buddhism, American Transcendentalist ideas and the landscape, Martin believed that to paint is to enter 'a field of vision as you would cross an empty beach to look at the ocean'. Olivia Laing is the author of To The River and Lonely City among other titles. Her book Funny Weather: Art in an Emergency is published in Spring 2020 and she is currently working on a book about bodies and freedom.
Episode 3: Laura Mulvey on Chantal Akerman
The renowned film theorist Laura Mulvey - who, in the 1975 article 'Visual Pleasure and Narrative Cinema' coined the term 'the male gaze' - discusses the life and work of the influential avant-garde feminist filmmaker and artist, Chantal Akerman, who died in 2015. According to Mulvey, Chantal, who was enormously prolific, was one of the most influential filmmakers in history, the creator of 'women's cinema' who 'turned filmmaking upside down'.
Episode 4: Juliet Jacques on Claude Cahun
Writer, filmmaker and memoirist Juliet Jacques joins Jennifer to discuss Claude Cahun. Born in Nantes in 1894, the surrealist photographer and writer Claude Cahun lived most of her life on the island of Jersey with her stepsister, lover and artistic collaborator Marcel Moore. The work of Cahun and Moore - who resisted the German occupation of Jersey with poems they slipped into soldiers' pockets - is at once a celebration of queer identity and a testament to the power of the imagination to resist fascism.
Episode 5: Natalia Sidlina on Natalia Goncharova
Natalia Sidlina, Tate Curator of International Art and a specialist in Russian emigre art, nominates Natalia Goncharova - a modernist pioneer of painting, performance, theatre and costume design who changed the landscape of avant-garde art in early 20th century Russia. Despite being a star in her day, her work has all but faded from the public eye - until early 2019, when her first-ever retrospective was staged at Tate Modern.
Episode 6: Shahidha Bari on Mary Moser and Angelica Kauffman
The cultural historian, radio presenter and author of Dressed: The Secret Life of Clothes (2019) discusses the life and times of the two women founders of London's Royal Academy, the trail-blazing 18th-century artists Angelica Kauffman and Mary Moser.
Episode 7: Liliane Lijn on Stella Snead
The London-based artist discusses the life and times of her friend, the late (and overlooked) British surrealist painter, photographer and collage artist, Stella Snead, who lived between New Mexico and India.
Episode 8: Zoe Whitley on Kathleen Collins
The Hayward Gallery curator, and co-curator of the blockbuster touring exhibition 'Soul of a Nation' discusses the life and work of Kathleen Collins, the first African-American woman to write and direct a feature film.
Listen to Bow Down: Women in Art History via iTunes, Spotify, or your favourite podcast platform.

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Bow Down is a new podcast about significant women artists from the past who deserve our attention. For each 20-minute episode, Jennifer Higgie - frieze editor at large - invites an artist, writer, historian or curator to nominate an artist to whom we should all ... well, bow down.

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https://artscatalyst.org/radio/

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https://bensmithphoto.com/asmallvoice

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A Small Voice: Conversations With Photographers

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All episodes and show notes from photography podcast A Small Voice: Conversations With Photographers, by Ben Smith

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https://magichourphoto.org/

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https://nearesttruth.com/

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https://www.foam.org/explore/podcasts

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https://patrycjarozwora.com/Kitchen-Conversations

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The podcast series Kitchen Conversations aims to open up the 'mysterious' and 'vague' Eastern Bloc to a broader audience. Each episode is devoted to one artist/researcher/activist exploring their relation, interest and urgency to create within the framework of the post-Soviet sphere. Read more

LISTEN TO PODCAST

BECOME A PATRON

ONE TIME DONATION

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Kitchen Conversations - Patrycja Rozwora

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The podcast series Kitchen Conversations aims to open up the 'mysterious' and 'vague' Eastern Bloc to a broader audience. Each episode is devoted to one artist/researcher/activist exploring their relation, interest and urgency to create within the framework of the post-Soviet sphere.

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https://www.photoethics.org/podcast

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The Photo Ethics Podcast - Photography Ethics Centre

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This is the podcast of the Photography Ethics Centre. Each week, we will hear from an accomplished photographer about the ethics of their practice.

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http://www.felicityhammond.com/property-artist-book-spbh-editions-2019

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Artist book published by SPBH Editions, 2019

The 21st century has seen a dramatic shift in the way that architecture is experienced. Advancements in technology have enabled architectural representation to visualise the built environment through the lens of the virtual, generating digital renderings that depict the future of towns and cities all over the world. Property - the first publication by British artist, Felicity Hammond - mines these seemingly perfect worlds, revealing their inaccuracies through collage and cut-out pages. The unwieldy, grimy, littered city doesn't fit within the glossy dreamscape of contemporary living, made all the more obvious when these surfaces collide. The disregard for the spatial realm in which these visual imaginaries propose to operate is exposed when they are transferred from computer screen to printed matter: the battle between the powerful, speculative image and the city from which it grows are at the forefront of our urban encounters.

Combining photographic works and installation images of her photo-sculptural and installation practice, Property collides image with object, much like the sites of urban transformation to which Hammond refers. The book is a continuation of her process, placing her source material of found rendered imagery against the sites that they inhabit. Object in form, the cut out pages are used as a device to reveal how the rendered image dictates physical space, and how both of these surfaces are at play in the urban realm. Existing somewhere between a still life and a stage set, it is unclear whether the images in Property are the trace of the object, or the object the trace of the image; the props await direction, just as the built environment is in a constant state of becoming.

Special edition, available through SPBH Editions:
The special edition of Property is limited to 25 copies and is presented in a unique slipcase made from polycarbonate sheeting housed in a handmade wooden frame. Each book comes with a limited edition C-type print made exclusively for the books release.

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Property: Artist book, SPBH Editions 2019 - Felicity Hammond

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Artist book published by SPBH Editions, 2019 The 21st century has seen a dramatic shift in the way that architecture is experienced. Advancements in technology have enabled architectural representation to visualise the built environment through the lens of the virtual, generating digital renderings that depict the future of towns and cities all over the world.

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http://www.lademiddel.com/#

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Joshua Rashaad McFadden | Come to selfhood

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Joshua Rashaad McFadden | Come to selfhood

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http://lenscratch.com/2017/09/joshua-rashaad-mcfadden/

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https://www.martinparrfoundation.org/bookdummies/richard-billingham-rays-a-laugh/

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Richard Billingham Ray's A Laugh (Final Dummy)

This is one of two book dummies held in the MPF Collection for 'Ray's a Laugh' by British artist and photographer Richard Billingham. The work offers an intimate view of the artist's family and deals with the struggles of alcoholism and poverty. In the snapshots on 35mm colour film, a medium associated with traditional family photography, Billingham depicts the chaos and hardships of his parental home, whilst retaining an intimate and tender view of his family.

Published by Scalo Press in 1996 to great acclaim, it became the photobook of the Young British Artists generation, with Billingham later being shortlisted for the Turner prize in 2001. In 2018 the project was adapted for cinema in a film produced and directed by Billingham entitled Ray & Liz.

The Martin Parr Foundation holds two dummies (Final Dummy & 2nd Final Dummy) which were created whilst editors Michael Collins and Julian Germain finalised the layout with Richard Billingham.

MEDIUM
Photobook Dummy illustrated with digital laser prints.

DIMENSIONS
Page (each): 30cm x 21.5cm
Overall (closed): 30cm x 21.5cm

DATEc.1996

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The foundation will support and preserve the legacy of photographers who made, and continue to make, important work focused on the british isles.

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https://www.erikkessels.com/publications

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http://victoriakieffer.com/category/books/

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https://play.acast.com/s/themessytruth

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by Gem Fletcher

Photo Director Gem Fletcher hosts The Messy Truth, a podcast dedicated to the world of contemporary photography featuring exclusive interviews with emerging and leading artists, curators and critics. Listen in to these candid conversations that unpack photography and why it connects us all in such transformational ways. Follow Gem's Instagram @gemfletcher for images of photographs discussed in each episode.

See acast.com/privacy for privacy and opt-out information.

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The Messy Truth - Conversations on Photography on acast

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Photo Director Gem Fletcher hosts The Messy Truth, a podcast dedicated to the world of contemporary photography featuring exclusive interviews with emerging and leading artists, curators and critics. Listen in to these candid conversations that unpack photography and why it connects us all in such transformational ways.

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https://www.vivianesassen.com/books/

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Selected pages of Sassen's extensive collection of art book publications

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Carrie Mae Weems | The Kitchen Table Series

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Carrie Mae Weems | The Kitchen Table Series

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https://mweditions.com/books/carrie-mae-weems-kitchen-table-series/

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Carrie Mae Weems is considered one of the most influential contemporary American artists. In a career spanning over 30 years, she has investigated family relationships, cultural identity, sexism, class, political systems and the consequences of power. Weems' complex body of art employs photographs, text, fabric, audio, digital images, installation, and video. Weems has received numerous awards, grants and fellowships, including the prestigious MacArthur "Genius" grant and the Prix de Roma. She is represented in public and private collections around the world, including The Metropolitan Museum of Art, The Museum of Fine Arts, Houston, The Museum of Modern Art, and the Museum of Contemporary Art, Los Angeles.

Sarah Elizabeth Lewis is an associate professor of history and art and architecture and African American studies at Harvard University and the founder of the Vision and Justice Project. Her research focuses on the intersection of visual representation, racial justice, and democracy in the United States from the nineteenth century through the present. Her books and edited volumes include The Rise, translated into seven languages, Carrie Mae Weems, which won the 2021 Photography Network Book Prize, and "Vision & Justice" by Aperture magazine, which received the 2017 Infinity Award for Critical Writing and Research from the International Center of Photography.

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Carrie Mae Weems is considered one of the most influential contemporary American artists. In a career spanning over 30 years, she has investigated family relationships, cultural identity, sexism, class, political systems and the consequences of power. Weems' complex body of art employs photographs, text, fabric, audio, digital images, installation, and video.

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https://tienda.alejandrocartagena.com/product/suburban-bus/

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Almost daily between 1993 and 2004, Alejandro Cartagena would commute on a suburban bus from Monterrey to the suburban city of Juarez and back. Working at his family's restaurant, he watched the gradual changes happening in Juarez. Between 2000 and 2005, the city went from a population of 66,000 to 144,000. He watched Juarez be eaten up, all through the window of the bus.

On those trips he read, fell asleep, daydreamed of owning a car, and lamented being stuck in this metal creature in the 40-degree heat of northern Mexico. 12 years later, and now a photographer, he decided to take the bus once again to capture the experience thousands of blue-collar suburbanites have every day. What he saw made him reencounter the unintended mental and physical anxieties produced by the unplanned urban development. This book is a story about people wanting a better life in a city characterised by lack; the lack of proper roads, the lack of enough buses, the lack of security inside the buses. Furthermore, 91.6% percent of women experienced sexual assault at least once while traveling on public transport in the Monterrey Area.

"The precarious situation of public transportation, and of mobility in general, remains ultra-underrepresented in public debate, as a matter condemned to languish on many public 'to do' lists. This means that the work of Alejandro Cartagena takes on specific political importance in making visible the costs of this inaction on the quality of life of people living in the Metropolitan Area of Monterrey." -- Ximena Peredo

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Suburban Bus Book by Alejandro Cartagena published by The Velvet Cell

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Almost daily between 1993 and 2004, Alejandro Cartagena would commute on a suburban bus from Monterrey to the suburban city of Juarez and back. Working at his family's restaurant, he watched the gradual changes happening in Juarez. Between 2000 and 2005, the city went from a population of 66,000 to 144,000.

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http://www.dafnatalmor.co.uk/book.html

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Dafna Talmor - Constructed Landscapes by Fw:Books (released October 2020)
24 x 28 cm / 210 pages (10 gatefolds) / colour/ softcover /
Texts by Olga Smith, Shoair Mavlian, Cherry Smyth and interview by Gemma Padley with Dafna Talmor;
Design Hans Gremmen

To order copies please visit Fw:Books
​For distribution please visit Idea Books

Constructed Landscapes, an ongoing project consisting of two sub-series, stems from a personal archive of
photographs initially shot as mere keepsakes across different locations. Produced by collaging medium format colour
negatives, the resulting images are staged landscapes, a conflation combining the 'real' and the imaginary. Through
this work, specific places initially loaded with personal meaning and political connotations, are transformed into a space
of greater universality. Blurring place, memory and time - defying specificity and referring to the transient - the work
alludes to idealised and utopian spaces. In dialogue with the history of photography, Constructed Landscapes
references Pictorialist processes of combination printing as well as Modernist experiments with the materiality of film.
Whilst distinctly holding historical references, the work engages with contemporary discourse on manipulation and the
analogue/digital divide. Beyond photographs, the work has expanded to include site-specific vinyl wallpapers and
spatial interventions, photograms and studies.
The book includes 44 main colour plates from the two project sub-series alongside extensive previously unpublished process material such as reproductions of contact sheets, constructed negatives and preparatory studies.
Constructed Landscapes has been longlisted for the 2021 Kraszna-Krausz Photography Book Awards.

Jörg M. Colberg Book reviews/features can be viewed here:
Paper Journal by Eugenie Shinkle
c4 journal by Nick Scammell
American Suburb X by Brad Feuerhelm
Collector Daily by Loring Knoblauch
Conscientious Photography Magazine by
Photobookstore Magazine interview with Zak Dimitrov
BREEDBEELD Magazine review by Stefan Vanthuyne

The book has been included on Photobooks of 2020 lists selected by:
Brad Feuerhelm, Eugenie Shinkle, Awoiska van der Molen, Morgan Crowcroft-Brown for Photobookstore
Emma Bowkett for Deadbeat Club
Shoair Mavlian for Fast Forward: Women in Photography

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Dafna Talmor - Constructed Landscapes by Fw:Books (released October 2020) 24 x 28 cm / 210 pages (10 gatefolds) / colour/ softcover /Texts by Olga Smith, Shoair Mavlian, Cherry Smyth and interview by Gemma Padley with Dafna Talmor;Design Hans Gremmen To order copies please visit Fw:Books ​For distribution please visit Idea Books Constructed Landscapes, an ongoing project consisting of two sub-series, stems from a personal archive ofphotographs initially shot as mere keepsakes across different locations.

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Julia Borissova | documentary, found photography

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Julia Borissova | documentary, found photography

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http://www.juliaborissova.ru/Julia_Borissova_PhotoSite/Books.html

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58 pages + 24 pages special section + 1 inserts and 1 booklet

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https://www.reference-point.uk/home

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https://www.artwords.co.uk/

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https://www.photobookcafe.co.uk/

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We have a hosted a wide selection of Book launch's, talks and exhibitions here at PBC.

From up and comers to professionals, PBC offers a great mix of photography covering fashion to documentary, portrait to landscape. We have exhibited student work from end of year shows, as well as student zine projects.

If you would like to host your next book or zine launch please get in touch. All our launches are free to both artist and viewer, as well as our zine fairs, talks and workshops.

We also are available for private hire events on weekday evenings and Saturday evenings.

For more info on events please contact - info@photobookcafe.co.uk

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We have a hosted a wide selection of Book launch's, talks and exhibitions here at PBC. From up and comers to professionals, PBC offers a great mix of photography covering fashion to documentary, portrait to landscape. We have exhibited student work from end of year shows, as well as student zine projects.

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American Suburb X | reviews, articles & interviews

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American Suburb X | reviews, articles & interviews

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https://americansuburbx.com/

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https://www.beijingsilvermine.com/photobooks

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Date of publication: November 2013
Self-published

"METV" is publication made as a collaboration between Thomas Sauvin and Erik Kessels in Beijing. Found in a market in Beijing, the images show a woman in her late sixties, always in an identical pose.

《METV》是苏文和Erik Kessels在北京联合出版的一本书。素材淘自北京的一个市集，这些照片的主角是一位年过六旬的中国女性，在镜头前摆着一系列相同的姿势。

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Date of publication: November 2013Self-published "METV" is publication made as a collaboration between Thomas Sauvin and Erik Kessels in Beijing. Found in a market in Beijing, the images show a woman in her late sixties, always in an identical pose. 《METV》是苏文和Erik Kessels在北京联合出版的一本书。素材淘自北京的一个市集，这些照片的主角是一位年过六旬的中国女性，在镜头前摆着一系列相同的姿势。

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https://loosejoints.biz/

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https://trolleybooks.com/

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https://trolleybooks.com/products/the-ward-gideon-mendel

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THE WARD by Gideon Mendel (second edition)

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Second edition publication date 5 January 2023 Exhibition at The Fitzrovia Chapel ‘The Ward - Revisited’ 5 January - 5 February 2023 In 1993, Gideon Mendel spent a number of weeks photographing the Broderip and Charles Bell wards in London’s Middlesex Hospital as part of the ‘Positive Lives’ project…

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https://photobookjournal.com/2011/11/05/sophie-calle-true-stories/

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Copyright Sophie Calle 2010 courtesy of Steidl and Hasselblad Awards 2010 Sophie Calle is an interesting and unusual photojournalist. In many situations she does not operate a camera to capture her…

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https://annastrand.se/Collecting-I

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48 pages offset print, black and white hardcover 300 x 222 mm edition 300 text: english Sailor Press 2022 Av en slump hörde jag talas om samlaren I. Efter en tids tvekan kunde jag inte motstå min första impuls att kontakta henne. Med ut...

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http://lenscratch.com/2023/02/rich-joseph-facun-little-cities-and-black-diamonds/

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Rich-Joseph Facun's beautifully designed and constructed second monograph, Little Cities (Little Oak.PRESS, 2022) opens with the words of American nature poet, William Cullen Bryant. This verse evokes sensations of sight, touch, and sound as the author meditates on times past. Of whom and what was before. This excerpt reverently sets the tone for the pensive nature of the photographs that follow-seemingly delineating both Facun's experience in making this work, and an invitation to the viewer to participate by increasing their awareness to the subtlety of details to come. This series, Facun writes, is "a visual meditation on the ways cultural forces shape our relationship to the landscape. It examines how both Indigenous peoples and descendants of settler colonialists inhabited and utilized the land around them." For me, Facun's intent is succinctly represented early on in the book's image sequence. Eight photographs in, and immediately following the title page, we are introduced to a scene of an earthen mound encircled by manicured suburbia. Having grown up in the American Midwest myself, I feel like this image somehow contains all the stereotypical identifiers that I associate with a middle(ish)-class residential area in that part of the country-brick and siding homes, flagpoles, precast plastic mailboxes, chain-link fences, and neatly maintained yards and roads. And the ubiquitous, understated beige car. By means of contrast in value, that car stands as a distinct focal point for my attention. I am intrigued by its mimicry of the shape of the mound behind it, yet how it is dwarfed in scale. I wonder about the individual inside and how they experience navigating the massive volume of space that the mound occupies. Do they even notice it? Or, has it become as ordinary and overlooked as the rest of their surroundings (including their car)? Are they aware of the mound and its historical and cultural significance? Whatever the case may be, at a certain point in their commute, as they approach the corner to turn left or right, they must acknowledge its presence. For me, this car-mound relationship illustrates the significance and function of Little Cities as a whole. The knowledge and awareness that the book extends symbolizes the earth mound in the neighborhood of the American cultural psyche-regarding the land and its uses, from indigenous inhabitants to the progeny of colonizers. Its existence is unavoidable and must, at some point, be addressed and reconciled.

Little Cities is a continued investigation of the broader area that Facun now calls home-a personal exploration initiated with his project Black Diamonds (Fall Line Press, 2021). Both series borrow their names from the Little Cities of Black Diamonds region, or the small towns in the Appalachian foothills of Ohio. Where Little Cities centers our attention on land and place as it relates to history, Black Diamonds delves intimately into the contemporary culture of locals in these same places. Together, they thoughtfully describe the complex experience of life in these once prosperous coal towns-that boomed during the late 19 th and early 20 th centuries.
Little Cities
Little Cities is a visual meditation on the ways cultural forces shape our relationship to the landscape. It examines how both Indigenous peoples and descendants of settler colonialists inhabited and utilized the land around them.

The images depict the man-altered landscape within the rural Appalachian communities of Southeast Ohio, a microcosm of unsettled issues that transcend the region and permeate the nation's psyche. This study observes the correlation between the physical landscape and collective memory.

The infrastructure has its own vernacular, and the images depict the heavy hand over the land, alluding to the fading American Dream and the ongoing "Native Nightmare." In my Appalachian home, the region is engulfed in poverty. Amid the deteriorating architecture of the coal boom, despite colonial efforts of erasure, evidence of ancient Indigenous existence dots the landscape like fading fossils-unseen and unheralded.

Sacred Indian burial mounds sit between suburban tract homes, webbed powerlines, scrawled graffiti, acid mine drainage, banal Midwestern commerce, parking lots and one-room post offices, closing the gap between past hopes and present regrets. Within these spaces, the physical and psychological merge.

Centuries have elapsed since the last Indigenous tribe was relocated from this region, and decades have passed since the valuable resources deep in the earth were extracted. Today we reflect, reconcile, and strive to repair wounds to both the land and its people. These observations are born from the desire to understand who we were, who we are, and who we may become.
Daniel George: We'll start off by getting personal. Regarding your photographic interests, what compels you to focus on authentically depicting aspects of place, community, and cultural identity?
Rich-Joseph Facun: I don't see my photographic interests as a separate entity from my own self-interest. When I reflect on topics I have pursued as a photographer they have more often than not been nurtured by basic existential thoughts. This notion has motivated me to visually dissect/interpret place, community, and cultural identity. Moreover, I find solace and wisdom in how these elements shape and influence myself, the individual, and society.

I attribute these feelings from my transient childhood and personal cultural experiences. My father was an immigrant who served in the US military for over two decades requiring us to move to a new port every three to four years. Additionally, being of mixed heritage - my mother is Otomi, and my father is Pinoy - often left me seeking to define my own identity, craving a sense of belonginess and clarity.
DG: You have been all over the world in your work as a photojournalist, but what brought you to southeast Ohio?
RJF: In 2014 I was a full-time staffer for a metro newspaper in Virginia. I had put 15 years or so into the industry and no matter how positive I tried to be; the writing was on the wall - print journalism was on the decline and in dire straits. I knew I needed to diversify and find a new source of generating revenue to care for my wife and children. Not to mention, I had been uprooting my family every two years for 15 years - always moving onto the next job prospect. I could see it was taking a toll on my two youngest kids. My wife and I wanted a lifestyle change for all of us. This meant, rural living, small town life, and a community that embraced diversity and inclusion. Long story short, I pivoted and took a job in communications and marketing for the medical college at OHIO University in Athens. We moved here in 2015, settled in, bought some land, built a network of friends, and haven't looked back.
DG: What effect has your journalistic work had on your approach to photographing this region in this way?
RJF: Having been trained and educated as a photographer and documentarian under the theory and ethics of journalism influences me to make work that is an honest representation of what I see. This ethos applies to any region I am documenting.

However, philosophically I've always questioned one's ability to make work that is objective or absolute. The concept that objectivity exists and can be applied to the way in which one sees, processes, and captures the world within in a frame seems optimistic at best, yet delusional.

Those points aside, one of the more valuable assets I've carried with me from my time as a journalist is the ability to weave concepts and abstract thoughts into a coherent visual narrative.
DG: I'm curious about your research and creative process. With these series specifically, did you begin by delving into the history of the Little Cities of Black Diamonds before setting out to make photographs? Or did you start with visual exploration-eventually being led to the stories that you're sharing?
RJF: My initial awareness of the Appalachian region referred to by the locals as the Little Cites of Black Diamonds was casually introduced to me by a friend. I took a mental note and stored it away. At the time, I was on a hiatus from photography but thought it might make for an interesting story.

Two years later I began seeing images again. I forced myself to pick up my camera and made the first image for what would eventually become Black Diamonds. At the initial start I had no defined intent of where that would take me. I simply needed to satisfy a craving to make new work and quench my curiosity of the unknown. As the series developed, I began to research local history, seek out anthropological and sociological based writings about Appalachia as a whole, and dig into the archives at the historical center here in Ohio. At this point, both image making and research began to run parallel to each other.

While working on Black Diamonds the man-altered landscape within the rural Appalachian communities began to pique my interest. Making images of these observations, I experienced a new connectivity to my Indigenous heritage. The ancient Indian burial mounds that share spaces with the postindustrial decay of the former coal mining boomtowns where I now live seem to speak to me.

Although I found these visual notations did not fit into the narrative of Black Diamonds, I continued making them. I had an inclination that they may lead to something more than a passing thought.

A year or so later I took a deeper dive into exploring the earthworks and sacred burial mounds of the ancient Indigenous Adena and Hopewell cultures present in my community. Part of this endeavor led me to researching the history and plight of the Indigenous tribes of the region.

Eventually, the work led to the publication of Little Cities which is a visual exploration of how both Indigenous peoples and descendants of settler colonialists inhabited and utilized the land around them.

Through both bodies of work, I submitted to the creative process, allowing the images to lead the way and show me where the story was going. It was very much an intuitive and liberating practice.
DG: In Black Diamond's Unspoken Psalm, you write that Appalachia "is fraught with mystery and mischaracterization..." and that your images "strive for understanding...". What sort of new or more accurate comprehension do you feel these photographs provide?
RJF: In an effort to not beat a dead horse, I think CNN writer Jacqui Palumbo articulated this point best when she wrote:

" Black Diamonds " is also a unique series in the photo world. Countless White photographers have documented communities of color for major publications, photo books, photo awards and personal projects, but aBIPOC (Black, indigenous and people of color)photographer setting out with his camera to explore a predominantly White area is much rarer."

Some might question how the images would be any different if they were made by a white male or someone not of the BIPOC community? To that I ask, "How would the history of the US differ if it had been written and documented by a person of Indigenous lineage or a descendant of a slave?"
DG: You also ask (regarding the broader concept of community as it relates to your image-making) "Am I accepted in this community? Am I safe here?" I get a sense that these questions were on your mind while working on Black Diamonds, and as you were interacting and photographing locals. Despite this seeming unsureness, your portraits feel extremely sympathetic-toward those with whom your acceptance was unknown. Would you share the significance of your embracing this sort of compassionate way of seeing?
RJF: Being at peace within has been a challenge for me throughout my life and is a trait I have strived to improve upon into my adulthood. As I've aged, I've thankfully become less confrontational and short-tempered. With this personal progression and development my compassion for others has grown.

Additionally, growing up brown in Mississippi and Virginia while being exposed to racism and prejudice or hearing stories from my parents of times when inequality ruled and justice was not a commodity afforded to them, how can I not be sympathetic to others? Having personally experienced the pain of exclusion, how can I not be inclusive? When I'm confronted with another's suffering how can I not feel motivated to relieve that suffering? I'd like to think that any compassion you see in my images derive from the insight harvested from my own personal experiences.

Let's end it with karma, also known as the law of cause and effect, stating that whatever thoughts or energy you put out, you get back-good or bad. I think this reasoning holds true when one is engaged in the act of photography, specifically when making portraits of someone on the streets. There is a collaboration happening there, an ebb and flow, a silent communion. Perhaps we're witnessing the effects of karma in a photograph?
DG: While both books are about people and place, Black Diamonds seems to overtly concern itself with the region's current inhabitants and their goings-on (through portraiture and photographs in their spaces). On the other hand, Little Cities implies more about human activity by taking a step back and considering locale (with few actual people found in the photos). Could you talk about this difference of approach?
RJF: I felt that the goal of communicating the effects of capitalism, diaspora of Indigenous people, and the presence of settler colonization might be best told from taking on a topographic aesthetic. With Little Cities, the nuances of the man-altered landscape are intended to carry this narrative. Even without people in the images, the hope is that one can sense they are looking at a portrait of humanity. Yes, the photographs were made in Appalachia, yet the visual messaging was intended to supersede the locale.
DG: In both books, you begin with a short poem. Tell us more about your choice to lyrically prime your photographs.
RJF: The poems at the start of Black Diamonds and Little Cities offer a prime for the viewer - serving as a navigational tool of the forthcoming pages without concisely defining the intent of the series. In a sense it functions as a movie trailer using poetry, verse, impressions, and notions to hint at the underlying intent of the work.
DG: I am interested in the way that your photographs in Little Cities allude those larger "cultural forces" that have shaped the landscape of this part of the country-from signs of indigenous erasure to dilapidated buildings. All related to the rise and fall of the coal industry. Would you further elaborate on your drawing parallels between the "fading American Dream and the ongoing 'Native Nightmare'?"
RJF: The concept of the "American Dream," is often highly heralded by patriots of this country. However, historically, under the guise of capitalism and religion, settler colonialists have enacted the cultural genocide of Indigenous peoples. Our lands have been stripped from us, our cultures misappropriated, our languages demolished, and our heritage denied. These cultural forces have attempted to erase us from their history. Systematic racism is at work here.

The "American Dream," is not inclusive of Indigenous people, in fact it is quite the opposite - hence the "Native Nightmare." The ideal that every citizen of the United States should have an equal opportunity to achieve success and prosperity through hard work, determination, and initiative does not apply to the Indigenous existential experience.
DG: The final image(s) in Little Cities depict a front/back view of a postcard of Famous Indian Mound, Mound Cemetery, Marietta, OH. There is so much to unpack here-from the American flag at the mound's pinnacle and it being described "as perfect today as it was when discovered by General Rufus Putnam's little band", to Gertrude's suggestion that Sara's kids could "play Indian" there. What led you to include this at the end of the edit?
RJF: I'm deeply pleased to find that the inclusion of this postcard resonated with you and carried the intent/insight I was striving to achieve. One point being to create a philosophical and disruptive break among the sequence of the work. Within Little Cities, unlike Black Diamonds, I purposely excluded an index and minimalized any explanatory text. This decision was an effort to encourage readers to dive deeper into the messaging of the work, to discover and collect the clues peppered into the monograph through items such as the poem at the opening of the book and the postcard near the closure - the cyclical placement are points of navigation and interpretations. There are some images within Little Cities that are intended to function in a similar manner. Keep looking, you'll find them eventually. The work is a very slow burn, a whisper; if you're not listening closely, you might not hear what is being spoken.
DG: At the end of your artist statement you write, "These observations are born from the desire to understand who we were, who we are, and who we may become." After having created this work, would you share your personal insights on the topic? What understanding do you have now that has developed from the outset?
RJF: Personally, it inspires me to continue to seek out knowledge about my own heritage. My mother is Otomi - an indigenous people of Mexico. Unfortunately, much of our family history and Native culture has been lost. Once my grandfather immigrated to the US he rarely spoke about our family lineage. His goal was to be "American." It was a much different time in the States, assimilation was key to survival.

On another level, I've learned about the tribes who lived and prospered in the region I now call home. Southeastern Ohio was once a confluence of some 40 tribes that included the Mingo, Erie, Wyandot, Miami, and Lenape people. Eventually it became the traditional homelands of the Shawnee and Osage nations.

As a current proprietor of acreage and a modest home in rural Appalachia Ohio I now hold stewardship of the land where these tribes coexisted. There are sacred Indian Mounds less than a mile from my homestead. With that perspective I have continued to be mindful of how I tend to and nurture the environment in which I reside. To be clear, I do not prescribe to the concept that I "own," the land, this idea that I "purchased," it is quite an abstract concept. I often contemplate how anyone "owns," part of the earth.

Today, I look within, I work to keep myself in check. I ask who I am, who I want to be, and how the smallest of my decisions and actions can influence or change who I become, who my children become.

Overall, my understanding of my responsibility to the land, to myself, to others, to my community, has developed and matured from the outset of the work. I hope this continues.
Black Diamonds
UNSPOKEN PSALM

Rich-Joseph Facun is a photographer of Indigenous Mexican and Filipino descent. His work aims to offer an authentic look into endangered, bygone, and fringe cultures-those transitions in time where places fade but people persist.

The exploration of place, community and cultural identity present themselves as a common denominator in both his life and photographic endeavors.

Before finding "home" in the Appalachian Foothills of southeast Ohio, Facun roamed the globe for 15 years working as a photojournalist. During that time he was sent on assignment to over a dozen countries, and for three of those years he was based in the United Arab Emirates.

His photography has been commissioned by various publications, including NPR, The Atlantic, The New York Times, The Wall Street Journal, ProPublica, AARP, The Associated Press, Reuters, Vox, Adweek, Education Week, The Chronicle of Higher Education, The FADER, Frank 151, Topic, The Guardian (UK), The National (UAE), Telerama (France), The Globe and Mail (Canada) and Sueddeutsche Zeitung (Germany), among others.

Additionally, Facun's work has been recognized by Photolucida's Critical Mass, CNN, Juxtapoz, British Journal of Photography, The Washington Post, Feature Shoot, It's Nice That, The Image Deconstructed, The Photo Brigade, Looking At Appalachia, and Pictures of the Year International.

In 2021 his first monograph Black Diamonds was released by Fall Line Press. The work is a visual exploration of the former coal mining boom towns of SE Ohio, Appalachia. Subsequently, it was highlighted by Charcoal Book Club as their "Book-Of-The-Month." Black Diamonds is also part of the permanent collection at the Frederick and Kazuko Harris Fine Arts Library and the Amon Carter Museum of American Art's Research Library.

Facun's second monograph Little Cities, was released in Autumn 2022 by Little Oak Press. The work examines how both Indigenous peoples and descendants of settler colonialists inhabited and utilized the land around them.
Posts on Lenscratch may not be reproduced without the permission of the Lenscratch staff and the photographer.
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Introduction: Flag Book

A flag book is a type of sculptural artist book invented by Hedi Kyle. It is based on a simple accordion book, in which papers are glued to the sides of the accordion. These papers stick out like flags, hence the name. Examples of artists who have used this structure can be viewed here.

Not only is this book an interesting and innovative means of creative expression, it is a great structure for designers or for material display. Instead of paper for the flags, consider photographs, fabric, wood veneer, or some other thin material.

Step 1: Step 1: Gather Tools and Supplies.

Supplies needed for this project:

Triangle

Bone folder

Bone scorer

Xacto knife

Pencil

Book board (for covers)

Book Board jig, cut longer than the height of your book, and 1/2 inch wide

Paper for flags

Paper for wrapping cover

Paper for end sheets

Adhesive of your choice - I will be using wheat paste for this Instructable

Paintbrushes for applying adhesive

Step 2: Step 2: Assemble Your Flags

Lay out your flags in the order in which they will appear. This will keep you organized as you start working.

Step 3: Step 3: Begin to Fold the Accordion

In this next series of steps, you will need your paper for your accordion, a bone folder, a bone scorer, and your book board jig.

Start by folding your paper in half by bringing the shorter two ends of the paper together.

Using the side of your bone folder, press down in the center of the fold, then pull it up along the fold.

Following this, bring the bone folder down along the fold. This technique assures that your folds will be crisp and well-formed.

Step 4: Step 4: Continue Folding Accordion

Now you will need your jig.

Lay the jig next to the folded edge you just made. Run your bone scorer along the edge of the jig on the inside of the paper, scoring the paper in order to make it easier to fold.

After scoring, open the paper while keeping the jig in place.

Run your bone folder alongside the inside of the fold, pressing against the jig through the paper.

Remove the jig. Next, still using the bone folder, fold the paper down on the crease you just made. Press down with the bone folder.

Your paper should now look like the final image of this set.

Step 5: Step 5: Complete the First Mountain Fold

Flip your paper over, and repeat the previous sequence.

Again, line your jig up with the center crease, score and fold the paper over.

When the paper is opened, there will be a small fold in the center that pops up.

This small fold is called a "mountain fold." Mountain folds point towards the reader. The opposite, "valley folds" point away from the reader.

Step 6: Step 6: Continue in Sequence

Continue in this sequence until you have enough mountain folds to attach all your flags.

Each mountain fold will require you to repeat the sequence on both sides of the paper to be complete.

Step 7: Step 7: Step Up Your Workspace for Gluing

Once you have enough mountain folds, set up your workspace to begin gluing. You will need your flags, assembled in order, your adhesive, paintbrushes, and scrap paper.

When using wet glue, it is very easy for it to migrate everywhere. I recommend laying down several layers of scrap paper, when one gets covered in glue, you can simply pull off a layer and keep going.

Step 8: Step 8: Begin to Glue the Flags to the Accordion

Select your first flag - I prefer to begin with the uppermost left flag, and work from there.

On the back of your flag, brush out a strip of glue along the right edge of the back.

Lay the flag along the top edge of your paper, on the left side of the top of the first mountain fold.

If there is trouble getting it to stick, use your bone folder to press the flag down to get a firm attachment.

Step 9: Step 9: Continue Gluing Down the Flags

Continue to glue the edges of the flags and attach them the sides of your mountain folds, until all your flags are glued down.

Often, when there are three rows, as there are in this example, the center row is glued to the right side of the folds, for visual variety, but this is an artistic choice, not a requirement.

Step 10: Step 10: Begin Wrapping Your Book Covers

Set the accordion aside to dry, and meanwhile, you can wrap your covers. For this step you will need your book board, covering paper, bone folder, a pencil, adhesive, paint brushes, and more scrap paper.

Again, I cannot over-emphasize having plenty of scrap paper, since it is very easy to get adhesive all over the outside of your book, which can detract from its appearance.

Prior to gluing, trace your board outline onto the back of your wrapping paper.

Brush glue over the board smoothly.

Lay your board onto the cover paper. Using your bone folder, you can press it smoothly down and squeeze out any excess glue.

Step 11: Step 11: Crease Paper and Trim Cover Paper Corners

Using your bone folder, fold the edges of your cover paper up and over the book board.

Next, using your jig, line it up at a 45 degree angle to the book board at a corner.

Trim off the corner triangle on the outside of the book board.

Trimming the corner ensures that there will be no excess paper to make the paper bunch up. Using the jig guarantees that there will be no gap after the excess paper is removed, because one board thickness remains. Therefore, when the board is wrapped, there is the exact amount needed with no excess so that the board is wrapped neatly with no bulges or gaps.

Repeat these steps for all four corners of both boards.

Step 12: Step 12: Complete Wrapping Cover

Once all four corners are trimmed, glue out the edges of your cover paper. Do this on the scrap paper, and make sure to brush the glue all the way to the edge of the cover paper.

Using the bone folder to make sure good contact is achieved, fold the paper over the press down smoothly, squeezing all excess glue out.

Repeat for all sides.

Step 13: Step 13: Attach Your Accordion to the Cover

To attach your accordion to your cover, you will need your bone folder, paintbrush, adhesive, and scrap paper.

Turn your accordion over on scrap paper and glue out the back of one side. Make sure to brush the glue all the way to the edge.

Center this glued out side of the accordion on one of the covers. Using the bone folder, press down smoothly and firmly.

Step 14: Step 14: Glue Down End Sheet

If you have enough excess accordion paper, you can choose to skip this step. However, I think it makes a more complete looking book, and it will give your accordion a stronger hold on the cover.

On scrap paper, brush glue over the entire back of your end sheet. Lay over the accordion paper on the inside cover. Using a bone folder, press down smoothly and firmly.

Step 15: Step 15: Back Cover and End Sheet

Repeat steps 13 and 14 to attach the back cover to the book. To ensure no glue gets on your book while gluing out the back page of the accordion, place scrap paper in your book while brushing on the glue. When you have finished brushing the glue on, remove this paper.

Pay particular attention to lining the back cover up with the front, so that they match up.

Step 16: Step 16: Let Book Dry and Enjoy!

Since I used wet glue, after the book was assembled, I placed some paper towels withing the book to absorb the moisture, and then placed the book under some other heavy books to weight it down while drying. This prevents the moisture in the book from warping the book, and undoing all my careful craftsmanship. It took about a day to dry.

I hope this tutorial was clear and helpful, and I hope some of you will share your work in the comments. For other ideas, projects, and creations, please check out my blog, Rocinante Press.

Good luck!

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Flag Book: A flag book is a type of sculptural artist book invented by Hedi Kyle. It is based on a simple accordion book, in which papers are glued to the sides of the accordion. These papers stick out like flags, hence the name. Examples of artists who have u...

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https://makinghandmadebooks.blogspot.com/2014/12/variation-on-hedi-kyles-fishbone-fold.html

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The Fishbone Fold, whose design is attributed to Hedi Kyle, has been around for several years, it seems, but over here on the left coast I hadn't seen it until just recently. It is an interesting variation on a one-page structure that has a horizontal slit down the center; this one-page structure has several slits, each separated by 1/2" of the fish's spine. The
tutorial by Susan Angebranndt at Green Chair Press creates a structure that has overlapping pages when closed and makes a longer, narrower fish. I wondered how it would look if the fore edge was even. It makes the structure more plant shaped, I think. The above photo shows the fishbones on the left, the fishbone variations on the right. These instructions show my variation. It could be made as a tree or flower or pine branch, depending how you paint the paper.
If you use paper that is grained long, the bones (or branches) tend to pop open more; the book is more sculptural. If you use paper that is grained short, the base opens more: you may wish to glue the pages in strategic areas.
You will have 1/2" between the bones (or branches), 1/2" at either end to glue together.

Tools: pencil, metal ruler, bone folder, X-Acto knife and cutting mat, PVA and small piece of board or brush for gluing
Materials: Arches Text Wove (Velin Arches) 10" x 24 1/2"; or Canson Mi-Teintes, Rives Lightweight, or another lightweight or mid-weight paper
Example: 5" x 4" finished size, closed

Arrange paper horizontally.

Measure and mark, top and bottom:

Align the ruler with the marks, just behind them so there is room for the bone folder.

Connect each set of the marks and score (draw a line) with the bone folder.

(You can see the scores as shiny marks in the photo at left.)

Fold the paper in half horizontally, making the whole page long and narrow.

Open and make marks at all the intersecting folds.

Make marks top and bottom, centered, between each of the wider marks

(leave the 1/2" sections alone).

Connect the sets of marks with the ruler and score these as well.

With the cutting mat underneath the paper,

cut with the X-Acto using the metal ruler as a guide;

make horizontal slits, across the larger segments and across

the new score lines, stopping at each 1/2" segment.

(Exception: You can cut all the way across the 7" segment and the 1/2" piece that follows it.)

Fold up again, in half, long and narrow.

Fold along all score lines.

Start at the shorter end by pushing in toward the remaining folded paper.

Continue pushing in and folding.

Note the 1/2" segments at the ends.

One is in the center of the book,

one is at the front and one is at the back.

Apply glue to one side of the 1/2" segment in the center.

Apply glue to one 1/2" segment at the spine.

Press the front and back segments together.

Or put glue on both and wrap them around the spine of the book.

Alternatively, you could glue these segments to

separate wrapped boards or to a case.

Add end papers after attaching the segments to any hard cover.

And there it is, a slight variation on the Fishbone Fold.

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The Fishbone Fold, whose design is attributed to Hedi Kyle, has been around for several years, it seems, but over here on the left coast I hadn't seen it until just recently. It is an interesting variation on a one-page structure that has a horizontal slit down the center; this one-page structure has several slits, each separated by 1/2" of the fish's spine.

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Keisha Scarville | lick of tongue, rub of finger, on soft wound

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Keisha Scarville | lick of tongue, rub of finger, on soft wound

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Keisha Scarville has spent much of her life tracing routes of movement between the Caribbean and America in order to investigate her own lineage. Attempting to understand how notions of belonging and identity are formed and structured, her image-making practice visualises the latent narratives inscribed within the thresholds of memory across generations.

This first publication by Scarville unfolds as a sprawling, hypnotic visual essay, evocatively interweaving the artist's striking black-and-white photography with archival imagery, passages from books, collages, personal texts, and film stills. Moving between practice and archive, Scarville uses the form of the artist's book to reflect on what it means to create new genealogies by disrupting conventional, linear histories. The result is a journey through a multiplicity of personal and historical narratives of the Black diaspora. With this book, Scarville reflects on a process of becoming shaped by the diasporic imagination of Black people throughout the world.

Accompanied by a text by poet and author Harmony Holiday

OTA bound paperback
20 x 25cm, 168 pages

ISBN 978-1-915743-18-3
October 2023
€50 £45 $50

ABOUT THE SIGNED EDITION

The signed edition includes a slip signed by the artist and glued into the inside back cover.

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lick of tongue, rub of finger, on soft wound Keisha Scarville

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Keisha Scarville has spent much of her life tracing routes of movement between the Caribbean and America in order to investigate her own lineage. Attempting to understand how notions of belonging and identity are formed and structured, her image-making practice visualises the latent narratives inscribed within the thresholds of memory across generations.

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Humans leave traces of their presence almost everywhere they inhabit in the built environment. It's difficult for humans not to leave a mark, as they have a tendency to leave a marker of their passing, however involuntary or intended. This is partly due to how we view our world and its obligations to suit our needs, habitats, and wanderings. Our illustrated archaeological record, dating back over 40,000 years to the cave of Lubang Jeriji Saléh on the Indonesian island of Borneo, tells stories of our earliest pictorial mark making. Our various habitats that exhibit our historical markings, be it tool or hand, date even further back before agriculture and sedentary living became commonplace. We are creatures that tend to make marks, and we are less secretive in our occupation of a space than we often believe.

Documentation of markings found in caves, on walls, and on architecture have been popular since the early days of photography. Humans have had a long-standing relationship with the built world, and this has been captured in photographs. During the Victorian era, photographers with a love for the classics and a fascination for the Mediterranean embarked on a mission to capture the scripts and scrawls of the Romans, Greeks, and the inhabitants of the Holy Land. In Egypt, the pursuit of antiquity unearthed sarcophagi and tomb hieroglyphs that narrated heroic tales of the past and celebrated the individuals entombed within the walls. Photographs of Rome, in particular, showcased ancient graffiti and markings left on tombs and the wounded stone of the Coliseum walls. The camera's unique ability to capture human culture in still images made it a valuable tool in documenting the traces of human passing and culture throughout the modern world.

The fascination with the remnants of our past is captivating, not for what it directly tells us, but for the assumptions we can make at a glance. We often leave these signs in common places, such as homes, cemeteries, and prisons. The passing of time is evident in the yellow dust that dances in single rays of light passing through prison cells. Lord Byron even carved his name in exile on one of seven pillars in the dungeon of Château de Chillon on the shores of Lake Geneva. Walls that withstand time, such as the Tower of London and the Pyramids at Giza, bear witness to the marks left by our nails, hammers, and screwdrivers. Noted photographer Brassaï even made a photobook about it.

In 2011, I curated an exhibition with Daniel Campbell Blight called "On the Ephemeral in Photography". The exhibition showcased works in which the existence of ephemeral traces was the foundation of the photographic work. The exhibits aimed to discuss our infatuation with the fleeting world, featuring colorful large-format night photographs by Rut Blees Luxemburg, photographs of forgotten human ash cans by David Maisel, and portraits superimposed with dust by Mikael Gregorsky. Eminent cultural and architectural theorist Douglas best describes our affair with these traces (in much better prose).
Each medium or technique necessarily has its own particular spectral characteristics. Writing might be thought of as the petrified voice, the setting of speech into stone and symbol. A psychoanalyst might tell you that speech itself is evidence of a phantom, both irreducibly personal and somehow alien. The introduction of the phonograph and recorded sound is perhaps one of the more perfect examples of spectral media - the disembodied and projected voice is inherently uncanny, in the sense that its repetitions occupy space and time in almost perfect fidelity to their original occurrence. But what of photography? To return to Derrida, he notes - "It is the modern possibility of photography (whether art or technique matters little here) that combines death and referent in the same system [...] the immediate proof given by the photographic apparatus or by the structure of the remains it leaves behind are irreducible events, ineffaceably original." - Derrida, 'The Deaths of Roland Barthes'.
For Derrida, after Barthes, the photograph haunts us with its effortless likeness. This perception of photography as brute, unadulterated representation is what allows it to work as an archival process - the strength of photography qua document or evidence testifies to this quality. But at the same time, photography and its mute realism freeze at an irreducible, irretrievable point. Compared to cinema (once described by Derrida as "the art of ghosts"), which unfolds as both sound and image in time, the stasis of photography has a different phantasmic quality. Photography's arrested likenesses provokes in thinkers such as Derrida and Barthes a pierced experience of death in its very impossibility, but simultaneously the infinite weight of the present in all its reality. Or, to put it another way, the spectrality of photography is not only that of seeing a ghost, but of seeing the ghost in oneself. - Douglas Murphy, 2011

In considering photography and its spectral ability to promote a short-circuit toward death, we can challenge the presumptions inherent in the medium as one of record-making. Record-making is after all, a life-affirming activity, a boundless (and often unscrupulous) gesture which exalts a characteristic joie de vivre in which the act of leaving a note or scratching for the future is to claim life, the author's innert graphism a way to reconcile the humbling acknowledgement of death and its contemplation in the midst of the most dire or jubilant of occasions. It is also a rebuttal against all great ends. It befits an attempt at legacy that is at once profound and stupid- a veritable gift for all occasion which satisfies one with an affadavit of living and the humor and preponderance of its future audiences from the great beyond.

In Mårten Lange's book "Threshold" (KARL, 2023), we explore photographs of various rooms and spaces captured by the artist. We try to find clues to understand the traces we see in these images. Although we can imagine a lot of human activity in these spaces, the rooms appear silent and empty, with only a few shadows of the artist visible. The people who once occupied these spaces are no longer there, leaving behind only the marks of their presence. We can see where the furniture used to be, where family photographs hung on the walls, and where people spent countless hours breathing and living. These spaces are now disabled but still pulsing with possibilities through projection. What's interesting is the emptiness that suggests the richness of activity within each image, creating a portal to a possible imagining of human connectivity. It's like an empty beehive, dormant in winter, yet its potential for life still exists at its nucleus. These photos may seem cold, but they contain the light of life continuing, however transiently.

Threshold is a thick book that contains numerous images, but the repetition inside is anything but uninteresting. Each small frame is packed with a density that keeps the pace moving, similar to the work of Gerry Johansson, a fellow Swede of Lange. The book alludes to painting, and it reminds me of a type of 50s and 60s conceptualism in the work of Ad Reinhardt, Rothko, and perhaps even an absent-type of Donald Judd. The work is related to geometry, but the rooms also become monochrome field paintings, which is a gesture that Lange is certainly aware of. This nod to a different type of intended mark-making brings us back to the cultural relevance of trace and what implications may be drawn from the act of recording it. If one observes carefully, some of the pairs also seem to mirror one another in where the door is placed, or where parts of the rooms feel similar but are slightly off, creating an unnerving and uncanny dialogue between what we assume to be simple typologies.

The work focuses on the doorways and connections between different rooms. The title "Threshold" suggests that the photograph itself acts as a gateway to these environments that Lange records. Each photo shows a sealed or open doorway or door that marks the room and asks the viewer to mentally move through the passageway. This way of counteracting the density of the book's images encourages us to consider a continuous series of rooms, similar to the concept of backrooms - the endless hallways and passageways that represent a type of locking limbo in our consciousness. Backrooms are often associated with video games, virtual reality, and urban legend, and serve as a conceptual portal to the shrinking divide between technology and human consciousness. The book's circular way of connecting these many images draws the viewer in to recognize the book as an object and not just a simple illustration of an idea similar to Michael Snow's 1975 book Cover to Cover. Overall, it is a highly successful publication and stands out in the artist's growing catalog of important titles.

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Humans leave traces of their presence almost everywhere they inhabit in the built environment. It's difficult for humans not to leave a mark, as they have a tendency to leave a marker of their passing, however involuntary or intended.

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[2016]

"Completely captivated by the photographic possibilities of light, both artists come at the medium with a desire to seek the extraordinary, in order to access invisible states of consciousness."
The work of art seeks to move us towards some kind of enlightenment. If, within the frame of western philosophies, such as Hegel's assertion that we move towards the ' spirit', or the greatest idea of ourselves and in certain eastern philosophies invoking the sacred nature of light. Our ability to transcend immediate reality and move towards a concept of perfection, of this ' idea ', is implicitly tied to the affections of art and light. This is perhaps no more so clear than the way we are enraptured by light as photographers - light is everything.

The origin of this is the Sun, to which we owe our existence. The celestial day provides the assurance of day and night and in doing so sets up this absolute certainty.. It is from the darkness of space that light emerges and this forms the existential duality we know as the abyss and the life that comes from it, in birth or in awakening. It is in praise of this that religious places seek to channel light: through the stained glass of a church or from the soft warmth of the candle flame, both elevate the devout towards the divine.

Photographic light often does exactly the opposite. These photons assist the medium in rooting us to the earth, terra firma that is, a way in which to know ourselves in relation to the objects around us, to secure us in-situ, to be cognizant of what we know we see and to so often prove ' this was here'. Photographic realism's grounding qualities are at times, at odds with arts transcendental powers, so much so that when we see the sublime in a photograph - the ultimate, mind-blowing sunset, a resplendent El Capitan in Yosemite or the NASA image of earthrise taken from the ascending Lunar Module, our souls are momentarily touched.

"Photographic realism's grounding qualities are at times, at odds with arts transcendental powers, so much so that when we see the sublime in a photograph - the ultimate, mind-blowing sunset, a resplendent El Capitan in Yosemite or the NASA image of earthrise taken from the ascending Lunar Module, our souls are momentarily touched."

Both Katrin Koenning and Sarker Protick in Astres Noirs, published by Chose Commune imaginatively play with light the through their smartphones, taking us, delightfully, well beyond the limits of the everyday camera-phone digital aesthetic or the daily snap enhanced by film simulation filter settings. It was through posts on their respective Instagram feeds that the book's editors, Cécile Poimboeuf-Koizumi and Vasantha Yogananthan saw a potential dialogue emerging. It was clear that both artists were interested in the creative possibilities of transcending reality and so the editors sought to craft a publication that might begin to mimic the magic of the backlit screen.

Completely captivated by the photographic possibilities of light, both artists come at the medium with a desire to seek the extraordinary in order to access invisible states of consciousness. Protick's interest in photography, sparked after breaking his mobile phone camera lens, pointing it at the sun, perhaps signals a new generation of image makers not fixated on any decisive moment. His work naturally imbues a spirituality that, I think, is often lost on western audiences. In contrast, the experience of Koenning's migration from Germany to Melbourne in Australia has gifted her an impulse to seek emotional resonance in her surroundings. Her search for connections to place is about engaging with the world through the love it inspires in her mind. The essence of both their work, therefore, appears to be rooted in the personal and meditative relationship they have with metaphysical thought and less with rigid notions of representing a photographic reality. Astres Noirs gives us an insight into their supernatural vision through these fairly eclectic astral projections.

Initially, assuming their work would be near impossible to reproduce in print, it wasn't until I sat in my sunlit office that I came to fully appreciate the book. As I thumbed through its black pages, the light delicately reflected the silver ink of the images and I began to feel the enchantment these images truly hold yet again. Having been a follower of both Koenning and Protick for some time on Instagram, often being mesmerised by their images and regularly dumbfounded at how they might have been created, I was beautifully reminded of the very natural affinity both artists have towards a higher state of consciousness.

By Sunil Shah, American Suburb X.

Astres noirs is the debut book for both Katrin Koenning and Sarker Protick, artists who live thousands of miles apart whose peculiar photographic wanderings create a hauntingly beautiful dialogue. This book presents photographs taken on mobile phone cameras, devices used to capture their everyday in an impulsive and almost obsessional way, documenting life from their doorsteps to far afield.

Their photographs capture the commonplace such as water stains on asphalt, dust clouds and rays of light, and transform these into mesmerising frames - elusive fragments that evoke an imaginary creature, a milky way, a phosphorescent silhouette...

Presented together, their combined voices lead us on a journey into unexplored territory, somewhere between the everyday and paranormal, between night and day. Amongst enveloping darkness, lightness is revealed, dazzling and miraculously caught by discerning eyes.

SPECIFICATIONS

Photographs: Katrin Koenning, Sarker Protick
Concept and editing: Cécile Poimboeuf-Koizumi & Vasantha Yogananthan
Graphic design: Atelier Pentagon
168 pages
91 duotone plates
16 cm x 22 cm
Hardcover
Bilingual: English, French
Publication date: April 2017
ISBN: 979-10-96383-03-0

*** 1st & 2nd Edition Out of stock.

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ASTRES NOIRS [2016] "Completely captivated by the photographic possibilities of light, both artists come at the medium with a desire to seek the...

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Francesco Merlini | Better in the Dark Than His Rider

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Francesco Merlini | Better in the Dark Than His Rider

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Born out of a reflection on the nature of images and their nocturnal vocation, Better in the Dark than His Rider is both a fable and a survival guide. The collected work by Francesco Merlini spans different years, possibly quite distant from one other; shot in all four continents, his pictures reveal the unique perspective of someone who, like a sleepwalker guided by ghosts, seeks for something nameless. The title is drawn, almost literally, from a 19th century manual of optics. The original sentence - "[...] much better in the dark than his rider" - refers to a horse's night vision compared to a human's.

The selected sequence of pictures unravels around the transitional stage between wakefulness and sleep, engaging with hypnagogia as a sensory yet dreamlike mode of semiconscious representation. Images make up mind's psychic contents. If in dreams self-consciousness is suspended and images look real to the extent that we are sleeping, when dozing we can consciously guide them because partially aware that we are dreaming. Stated otherwise, in lucid dreams we know we are faced with the contents of our imagination, whose edges appear hallucinatory. Dreaming is a perpetual state we do experience both asleep and awake. Thanks to imagination, the dream matter turns into the mind's real object again.

23,5x31cm
80 pages
Hardback with embossing on jacket
Black printed page edges
Offset CMYK + UV

Paper:
Munken Lynx Rough 150 g/m²
Fedrigoni Sirio Nero 140 g/m²
Wibalin Natural Slate 120 g/m²
Wibalin Natural Petal 120 g/m²

Printed in Italy by Longo spa
October 2023

ISBN 978 88 944622 8 9

Select your shipping options at the checkout. If your country is not on the list, please contact us at info@departpourlimage.com and we'll provide you a shipping quote.

Photobookstore

Book of the month
September 2023
Fondation Henri Cartier-Bresson

Book review:

American Suburb X
by Benedetta Casagrande

Marie Claire
by Emanuela Mirabelli

Creative Review
by Daniel Milroy Maher

Dohdo magazine

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Francesco Merlini | Better in the Night Than His Rider - Départ pour l'Image

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Francesco Merlini Better in the Dark Than His Rider 45 € EUR Add to Cart Second Edition October 2023 Born out of a reflection on the nature of...

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The Sustainable Photobook Publishing Network (SSP)

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A group of photographers, publishers, academics and writers who discuss and share knowledge on issues around sustainable photobook publishing.

If you would like to join the network, join a meet up or just get in touch about this topic please drop us a message.
Upcoming Dates:
Wednesday 23 February 2022 -7pmGMT ONLINE: with guest Paul Hewitt, Generation Press

Wednesday 12 January 2022 -7pm ONLINE: with guest Hannah Fletcher, The Sustainable Darkroom

Tuesday 16 November 2021 -7pm: The Photobook Cafe, 4 Leonard Circus, London EC2A 4DQ

Monday 1 November 2021 -7pm ONLINE

Monday 27 September 2021 - 6.30pm: ONLINE

Monday 23 August 2021 - 6.30pm: ONLINE

Monday 26 July 2021 - 6.30pm: The Photobook Cafe, 4 Leonard Circus, London EC2A 4DQ
Contributors
Bella Okuya
Dolly Meieran
Ed Sykes
Emma Lambert
Eugenie Shinkle
Gavan Goulder
Gisela Torres
Hannah Fletcher
Iana Mizguina
Jake Green
Jennifer Reeves
John Angerson
Mark Phillips
Nishant Shukla
Oliver Raymond-Barker
Rachel Arthur
Roelof Bakker
Sandra Davison
Sayako Sugawara
Tamsin Green
Tiffany Jones
Wendy Aldiss

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A group of photographers, publishers, academics and writers who discuss and share knowledge on issues around sustainable photobook publishing. If you would like to join the network, join a meet up or just get in touch about this topic please drop us a message.

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This resource list can be used as a reference for making environmentally conscious book making choices in the UK, and was assembled by the Sustainable Photobook Publishing (SPP) Network

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B Corp - Certified B Corporations are businesses that meet the highest standards of verified social and environmental performance, public transparency, and legal accountability to balance profit and purpose.

EMAS certification - The EU Eco-Management and Audit Scheme (EMAS) is a premium management instrument developed by the European Commission for companies and other organisations to evaluate, report, and improve their environmental performance.

EU Ecolabel - A label of environmental excellence that is awarded to products and services meeting high environmental standards throughout their life-cycle: from raw material extraction, to production, distribution and disposal.

FSC Certification - The FSC system allows businesses and consumers to identify, purchase and use wood, paper and other forest products made with materials from well-managed forests and/or recycled sources.

ISO 14001 - ISO 14001 sets out the criteria for an environmental management system and can be certified to.

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B Corp - Certified B Corporations are businesses that meet the highest standards of verified social and environmental performance, public transparency, and legal accountability to balance profit and purpose. EMAS certification - The EU Eco-Management and Audit Scheme (EMAS) is a premium management instrument developed by the European Commission for companies and other organisations to evaluate, report, and improve their environmental performance.

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The 2030 Calculator

A product carbon footprint calculation tool by Omnical

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The 2030 Calculator is a new service that radically simplifies the process of calculating a products carbon footprint by eliminating all previous hurdles, activating brands commitment towards sustainable production and responsible consumption.

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On the Contradictions of Sustainability

with Danah Abdulla

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This talk explores the contradictions of sustainability: between greenwashing, politics of production, and overconsumption.
As the earth burns and drowns in front of our eyes due to our overconsumption, we, designers, promote the discourse on designing for a better world but carry on with business as usual. In an era of instant gratification-made easier by access to cheap credit and contactless societies-designers are utilizing their power to conflate need and desire more than ever, but branding it as sustainable to evade responsibility.

Through entries from Danah Abdulla's recent book Designerly Ways of Knowing: A Working Inventory of Things a Designer Should Know, this talk will explore the contradictions of sustainability: the way brands greenwash their practices to signal their good and ethical practices, and how they continue to create products and services branded as sustainable that we just do not need, but never challenging the systems that created the problems, to begin with. The talk will conclude by considering how we can design over time and confront the effects these products and services we think we need have on the world (and the worlds within that world).

Danah Abdulla (she/her) is a designer, educator and researcher interested in new narratives and practices in design that push the disciplinary boundaries and definitions of the discipline. She is head of Graphic Design at Camberwell, Chelsea and Wimbledon Colleges of Arts (University of the Arts London), and a founding member of the Decolonising Design platform. Her first book Designerly Ways of Knowing: A Working Inventory of Things a Designer Should Know was published by Onomatopee (2022).

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This talk explores the contradictions of sustainability: between greenwashing, politics of production, and overconsumption. As the earth burns and drowns in front of our eyes due to our overconsumption, we, designers, promote the discourse on designing for a better world but carry on with business as usual.

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The Future Library project

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One thousand trees have been planted in Nordmarka, a forest just outside Oslo, which will supply paper for a special anthology of books to be printed in one hundred years time. Between now and then, one writer every year will contribute a text, with the writings held in trust, unpublished, until the year 2114.

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PANOPUS: Large-format digital printing, copying, scanning. ( London UK )

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Panopus Printing Ltd. in North London specialise in digital large-format colour printing, copying and scanning, as well as offering a range of complementary services to our clients.

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Email us at:
LCCDigitalPrint@lcc.arts.ac.uk

Visit us at:
W211 at the Workshop Block

Check 'Digital Print' Moodle page