Brian taught the class more about our so-to-be conceptual project and the way which we will publish it into a concrete print. The class talked about “Reading the Photobook” by Gerry Badger. A further discussion from Bella Capezio, what is really needed in a photobook? In the article, Badger cited many artist opinions on what they think a photobook is, and each quote varies. Badger cited Lewis Baltz that pointed photography as “a narrow but deep area lying between the novel and the film”, and Raplh Pins that photobook is an autonomous form “an event itself”. These artist touched upon the photobook as somewhat abstract form of storytelling, but another expert opinion, John Gossage noted that photobook has four qualities. “It should contain great work. Secondly, it should make that work function as a conscise world within the book itself. Thirdly, it should have a design that complements what is being dealt with. And finally, it should deal with content that sustains an ongoing interest”.
I feel in a sense, that what all the great commentators try to say is that photobook has to transport the viewer into the new fiction world, filled with the author’s subjectivity but allows the viewer to conjure their own meaning from the book. One particular point Gossage said is that all works of the photobook are fiction. We (the class) somewhat agree with the comment as compiling the photobook by the author cannot exclude the author’s personal meaning. The photobook must somehow represent the author’s idea, whether or not the images are nonfiction. The author’s personal interpretation is hence what is ‘fiction’ in the work.
Even though opinions on the photobook varies, Badger (and Brian) concluded that a photobook requires several elements:
- It requires the photographer’s conceptual core. The conceptual core is required before the whole process starts. It is the guiding light and the heart of the project.
- A photobook requires sequence. It is arranged with a beginning, a middle and an end. juxtaposing the images is important in delivering the idea you want your audience to get
- It requires a layout. While some might think the design isn’t as important as the content, the book’s layout is an opportunity to further give context and allows for creativity to run wild. A good layout can create an atmosphere set before and while reading the photobook.
Soon everyone in the class has to stand in front of a panel of judges to deliver our ideas and our understanding of the course so far. I still haven’t figure precisely what concept I want to pursue, just like the guy in the picture looking blankly at the parrot. I want to do studio-based project, Because that is one of my goals I told Brian during the first few weeks of the class. I want to try and see what I can play with a controlled environment. I’ll try to ponder some more around the weekends and see if I could come up with any more ideas.
