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33
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"Photobooks."
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screams like home: A Photobook Project
Reflects on the creation of a photobook created using images on a nostalgic trip to Yamanashi Prefecture, Japan, in 2020. Acknowledges the cats of Yamanashi, noting the place of cats in Japanese folklore. Source: National Library of New Zealand Te Puna Matauranga o Aotearoa, licensed by the Department of Internal Affairs for re-use under the Creative Commons Attribution 3.0 New Zealand Licence.
Journal Article
The new algorithm of the photobook: A reading
From William Henry Fox Talbot’s 'The Pencil of Nature' (1844-46) to Tim Coghlan’s 'Hell’s Gates' (2018), photography has always liked books. Photography has continually involved the same procedure: observe, notice, record and share. The internet has allowed (and imposed) new layers to this: searching, sorting and storing. The evolving digital realm - from the headsup display in the family car to the taste profile determinism of the search engine - has fundamentally changed the photographic conditions for seeing, thinking and experiencing life. This new rhythm of lens and screen experience has even affected good old photobooks, or at least how we might read them.
eBook
Re-invigorating the photo album: augmenting printed photobooks with digital media
The photo album emerged in the late 1800s as place to collect portrait photos of visitors to a home, and was later appropriated by Kodak as a visual chronology of family history. With digital photography, the album has largely been replaced by online repositories of images shared on social media, and the selective printing of photobooks. In this paper, we present a ‘next-generation paper’ authoring system for annotating photobooks with multimedia content viewed on a nearby smartphone. We also report the results of a trial of this system, by nine travellers who used it to make augmented photobooks following a trip. These findings show that the augmented physical-and-digital photobook can heighten awareness of the multisensory aspects of travel, enrich memories, and enhance social interaction around photos. The social and technical implications for the future of the photo album are discussed.
Journal Article
Anja Niemi in character
A photo artist who works alone--photographing, staging, and acting out the characters in all of her images--Niemi is a constant presence (in character) in her work, developing complex, nuanced narratives through costume and styling. With over one hundred and seventy photographs organised into the six series that have defined Niemi's career to date, supported by an essay and interview by Max Houghton, this book provides an introduction for those encountering Niemi's work for the first time, and a retrospective for her longtime followers.
Book
The Particular Intermedial Technography of Euclides da Cunha’s Os Sertões (Rebellion in the Backlands)
Os Sertões (Rebellion in the Backlands) by Euclides da Cunha is an intermedial project. Its “particular technography,” as Euclides envisioned it in a letter to José Veríssimo, “embodies itself” in a “transgression of genres” (as argued by Haroldo de Campos) and requires the use of maps and photographs. As a photobook of literature, this work is the most notable example of an expanded experiment in Brazilian literature from the early 20th century. In Os Sertões, there are at least two descriptive levels that should not be confused in analysis. Its macrostructure, conceived as an intermedial project, intersperses, over more than 600 pages, images by cartographers and photos from the Flávio de Barros collection. This architecture depends on the microstructure of local text-image interaction, a property we refer to here as co-location. This article focuses on the macrostructure of the work. It compares text-image colocalization structures in various passages of the book. Five editions were directly compared (1902, 1903, 1905, 1923, 1933). The conclusion is that the macro-structural architecture of the work, as conceived and supervised by Euclides, is clearly disregarded in the posthumous editions of his work.
Os Sertões (Rebellion in the Backlands) de Euclides da Cunha é um projeto intermidiático. Sua “tecnografia particular”, como Euclides a concebeu em carta a José Veríssimo, “se incorpora” em uma “transgressão de gêneros” (como argumenta Haroldo de Campos) e requer o uso de mapas e fotografias. Como um fotolivro de literatura, esta obra é o exemplo mais notável de um experimento expandido, na literatura brasileira do início do século XX. Em Os Sertões há pelo menos dois níveis de descrição que não devem ser confundidos na análise. Sua macroestrutura, concebida como um projeto intermidiático, intercala, ao longo de mais de 600 páginas, imagens de cartógrafos e fotos da coleção Flávio de Barros. Essa arquitetura depende da microestrutura de interação local texto-imagem, uma propriedade a que nos referimos aqui como co-localização. Este artigo concentra-se na macroestrutura da obra. Ele compara estruturas de co-localização texto-imagem em várias passagens do livro. Cinco edições foram diretamente comparadas (1902, 1903, 1905, 1923, 1933). A conclusão é que a arquitetura macroestrutural da obra, conforme concebida e supervisionada por Euclides, é claramente desconsiderada em edições póstumas.
Journal Article
Stop reading! Look! : modern vision and the Weimar photographic book
In the second half of the Weimar period (1918-33), photographers produced books consisting almost entirely of sequenced images. The subjects ranged widely: from plants and nature to the modern metropolis, from exotic cultures to the German Volk, from anonymous workers to historical figures. While many of the books were created by key practitioners and theorists of modern photography, scholars have rarely addressed the significance of the book format to modern conceptions of photographic meaning. The term \"photo-essay\" implies that these photographic books were equivalent to literary endeavors, created by replacing text with images, but such assumptions fail to explore the motivations of the books' makers. Stop Reading! Look! argues that Weimar photographic books stood at the center of debates about photography's ability to provide uniquely visual forms of perception and cognition that exceed the capacity of the textual realm. Each chapter provides a sustained analysis of a photographic book, while also bringing the cultural, social, and political context of the Weimar Republic to bear on its relevance and meaning. Publisher.
Book
Suspended Conversations: The Afterlife of Memory in Photographic Albums
In Suspended Conversations Martha Langford shows how photographic albums tell intimate and revealing stories about individuals and families. Rather than isolate the individual photograph, treat albums as texts, or argue that photography has supplanted memory, she demonstrates that the photographic album must be taken as a whole and interpreted as a visual and verbal performance that extends oral consciousness. Exhibiting a collection of photographic travelogues, memoirs, thematic collections, and family sagas compiled between 1860 and 1960 and held by the McCord Museum of Canadian History, this second edition includes a revised and expanded preface along with new photographs of the Notman albums. Printed in colour throughout, the enhanced material draws out the distinct nuances and details of each album, giving them new life to tell their stories. Albums are treasured by families, collected as illustrations of the past by museums of social history, and examined by scholars for what they can reveal about attitudes and sensibilities, but when no one is left to tell the tale, the intrigue of the album becomes a puzzle, a suspended conversation. Langford argues that oral consciousness provides the missing key. Correlating photography and orality, she explains how albums were designed to work as performances and how we can unlock their mysteries. A fascinating glimpse of the preoccupations of previous centuries, Suspended Conversation brings photography into the great conversation of how we remember and how we send our stories into the future.
eBook