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The Changing Landscape of Photobook Publishing

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The Changing Landscape of Photobook Publishing any photographers consider publishing a book of their photographs a triumph, one that is sometimes greater than an exhibition of prints. The longevity of photobooks reaches viewers in a manner that is dif- ferent from the passive viewing experience in a gallery or on a screen. MArt objects in and of themselves, these books present the entirety of a photogra- pher’s work as a cohesive and ordered package that can be owned for a fraction of the cost of a single photographic print. Page by page, the reader can revisit the imagery as often as they wish. The publication of such a book once meant validation for the photographer and was seen as a milestone in their career, both artistically and professionally. The photobook industry of today is experiencing a shift, as is evident by the fast growing self-publishing movement. Publishing houses once served as such as Nan Goldin, Eugene Richards, the book, which sold out soon after gatekeepers, vetting photographers and Stephen Shore, British art book release. In 2000 Sumo set the auc- and deciding whether a body of work publisher Phaidon Press ensured the tion record for the most expensive should be published as a book based books’ financial success. But it does book of the 20th century, selling for on the quality and marketability of so by playing it safe: despite having 620,000 German Marks (approxi- the work. Publishing a photobook 1,500 titles currently in print, emerg- mately $358,882USD at the time).2 with a traditional press was consid- ing and mid-career photographers Already a celebrity in his own right, ered a sure path to recognition. In are noticeably lacking from its cata- the publicity associated with Sumo addition to owning and operating the logue. Helmut Newton’s Sumo, pub- and its subsequent auction sales con- costly equipment, publishing houses lished by Taschen in 1999 exempli- tinued to bolster Newton’s career. have the means to finance produc- fies the power of artists’ celebrity tion and marketing, as well as main- and publishers’ resources. Measuring Though photobooks are coveted for tain distribution channels through 20 by 27.5 inches and weighing 66 their tangible nature, their increase in which the books are to be seen and pounds, this volume attracted global popularity has grown alongside the sold. These resources are sought by attention from many photobook col- digital revolution, which has stream- many, but awarded to a select few. lectors. The expense of printing such lined the process of making pictures. a tome is unlikely to be shouldered Eliminating the need for chemistry, Prominent photobook publishers or recouped by a self-publishing pho- specialized equipment, and technical such as Taschen and Phaidon select tographer. Taschen published only knowledge, the digital camera has al- Barriers to Entry: photographers who not only pro- 10,000 signed and numbered copies, lowed more people than ever before duce beautiful work, but who have each priced at £6,000.1 At the time to make photographs. The ease of already achieved a certain level of of publication, Newton was already sharing photos on websites like Flickr, The Changing Landscape of critical success that will create a a world-renowned fashion and erotic Instagram, and Tumblr has increased market for the book. By publish- photographer. His reputation played both the amount of photographs be- ing well-established photographers a key role in the financial success of ing made, and the number of people Photobook Publishing 1 Eleanor Morgan, “Are Luxury Photography Books Recession-Proof?,” The Guardian, August 17, 2009, http://www.theguardian.com/artanddesign/2009/aug/17/photog- raphy-books-limited-edition. Kat Kiernan 2 “Newton. SUMO. Revised by June Newton,” Taschen Books, Accessed December, 2014. http://www.taschen.com/pages/en/catalogue/photography/all/00392/facts. helmut_newton_sumo_revised_by_june_newton.htm. 32 DON’T TAKE PICTURES Fall 2017 33 promotion, some photographers he launched his fundraising campaign. nor Matters first created a dummy have raised the amount of money A sought-after graphic designer by copy and allowed themselves six required for the realization of their trade, O’Leary designed and printed months to obtain a minimum of 500 book many times over. an exquisite mockup of the book to orders. The first 500 people who encourage advance orders. Of Beards pre-ordered a copy had their name One such photographer is Joseph and Men went on to win awards at or organization listed in the book as D.R. O’Leary, whose 2013 book Of the American Institute of Graphic co-publishers. Pre-ordering demon- Beards and Men: A Portrait of Man has Arts, Minnesota 2014 Design Show9, strates an investment in the book’s been tremendously successful both the 2014 Independent Publisher publication.12 Even traditional pub- in critical response and in fundraising. Books Award10, and was juried into lishers are exploring these financing Through Kickstarter, O’Leary raised INFOCUS: A Juried Exhibition of tactics. In 2013, Aperture Foundation $40,441—more than $13,000 over Self-Published Photobooks11. launched its first crowd funded In- his initial goal of $27,000.5 Of Beards ternet campaign through Kickstarter. and Men is comprised of over 130 Pre-ordering a book is not a new The goal was to raise $10,000 for the studio portraits and bios of bearded concept, but publically asking for do- publication of Touching Strangers: Pho- men. The concept sounds simple, but nations to guarantee a book’s publi- tographs by Richard Renaldi. With 885 the popularity of the topic and the cation is a recent phenomenon. The backers, the book went on to raise flawless execution of the portraits independent press Minor Matters, $80,943.13 Backers received a range resonated with audiences beyond while traditional in some aspects of perks including signed prints and assuming the title of “photographer.” Advancements in printing technol- ers at their fingertips, photographers those acquainted with the men pho- of production, is unusual in that it books, depending on their monetary These platforms have fueled enthu- ogy have allowed mid-career and are no longer waiting for a traditional tographed. The series was featured finances all of its books through contribution.14 Based on their initial siasm for fine art photography, cre- emerging photographers to forego publisher’s approval. Since its launch on many prominent blogs including crowdfunding. One of their titles, success, Aperture launched a second ating a worldwide community inde- the traditional publishing model and in 2006, Blurb claims to have pub- The Dish6, Laughing Squid7, and My What Could Be is the second mono- campaign for the publication of Ame- pendent of traditional institutions. produce their own books. This rise lished books by 2.5 million authors Modern Met8. To capitalize on the graph by David Hilliard and was re- lia and the Animals: Photographs by 3 in self-publishing is due largely to from around the globe. publicity, O’Leary began pursuing ex- leased in 2014. In order for What Robin Schwartz in 2014, which also For some photographers, the book technological advances both in the hibitions around the same time that Could Be to go into production, Mi- exceeded its fundraising goal.15 has replaced the exhibition as the printing industry and in digital pho- Photographers looking to produce ideal platform for presenting their tography. Presses that once filled more than a handful of copies of work. While viewing images online entire rooms are now condensed their photobook must consider dis- is convenient, few photographers or into single devices the size of a re- tribution and funding. As with tradi- curatorial institutions have resolved frigerator. Not only are they smaller, tional publishing houses, the photog- the limitations of viewing images this new machinery has significantly rapher’s own celebrity plays a crucial one-by-one on un-calibrated moni- decreased the cost of printing and role in their book’s success. Without tors, or in grids on mobile apps. The binding, and makes small print runs a publisher’s contacts and capital, self- photobook shares some of digital not only possible, but also economi- publishing photographers often rely photography’s desirable character- cally viable. The popular web-based on financial contributions from their 5 “Of Beards and Men: A Portrait of Man,” Kickstarter, accessed December, 2014, https://www.kickstarter.com/projects/jdro/of-beards-and-men-a-portrait-of-man. istics—the hand-held size, and the publisher Blurb markets itself to pho- audience to realize a book. For some, 6Andrew Sullivan, “Face of the Day,” The Dish (blog), June 16, 2013, http://dish.andrewsullivan.com/2013/06/16/face-of-the-day-189/. ability to experience images at the tographers specifically. The company this may mean fronting the produc- 7E.D.W. Lynch, “Of Beards and Men, A Photo Book of Men With Beards,” Laughing Squid (blog), July 18, 2013 (2:32 p.m.), http://laughingsquid.com/of-beards-and-men- viewer’s leisure. It also embraces the provides downloadable software and tion costs and hoping to recoup a-photo-book-of-men-with-beards/. 8Katie Hosmer, “130 Men Express Their Personal Style Through Facial Hair,” My Modern Met (blog), July 20, 2013 (9:00 a.m.), http://www.mymodernmet.com/profiles/ photographic print in its paper stock, online templates that allow anyone their expenses through sales. Oth- blogs/joseph-daniel-robert-oleary-of-beards-and-men. sequence, and variable images sizes. to upload photographs, select papers ers choose to pre-sell their books 9“2014 Award Winners,” AIGA Minnesota, accessed December, 2014, http://www.aigaminnesota.org/event/design-show/2014-award-winners/. We can still hold it in our hands, re- and binding, and order as few or as through crowdfunding platforms 10“2014 Independent Publisher Books Awards Results,” Independent Publisher, accessed December, 2014, http://www.independentpublisher.com/article.php?page=1791.
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