Regular readers of this blog--if indeed there are any such animals--know that I've had a profound interest in photography, as evidenced by my many blog-posts here about various well-known photographers over the years.
While living in Northern Japan in the mid-1980's, I developed an interest in documenting the fascinating landscape of that place, by taking pictures. In the course of that pursuit, I quickly realized that I had an untapped orientation to the visual, as well as an aptitude for composing in two dimensions. After returning to the States, I quickly moved into the view camera field, acquiring various large format monstrosities, including a 4x5, an 8x10, and even an 11x14.
I pursued this avocation for 10 years, before abandoning it in 1996, for personal reasons. In the intervening years, I've always intended to return to it, while keeping busy with other distractions such as blogging and antiquarian bookselling.
Finally, this Spring, I decided to explore the possibility of making a collection of my images as a published book. In the time since I had actively worked in the field, the technology of print production underwent a revolution to the digital. What would once have taken a lot of painstaking donkey-work with chemical baths and drying racks and mounting boards, could now be achieved inside digital application programs, projected onto light screens, with an almost limitless range of possible adjustments and augmentations of an image file. The possibility of projecting a collection of mounted silver gelatin prints into a book file was a dream I had nurtured in my imagination for over 20 years. The time seemed ripe.
Fine art photography book production, using the latest high-tech craft in digital lithography, has yielded stunning examples of the work of the best contemporary photographers in the world. The costs associated with this craft have driven much of the industry overseas. In America, one outfit in particular has continued to set a standard, Dual Graphics in Southern California. Continuing a tradition begun earlier at Gardner-Fulmer, Dual Graphics employs the latest in digital image-making from scanning to final print production, to produce breath-taking monographs, with images that rival the original prints they're made from.
30 years ago, hardly anyone would have thought this possible. But it's become a reality.
Presently, I'm about half-way through the production of my book of photographs, the front cover of the dust wrapper for which is shown below. Assisting in layout and design is George Mattingly, a publisher and graphic designer in Berkeley, an old poet and little magazine editor I've know for many years, since our days in Iowa City back in the 1970's.
The book is scheduled to be completed sometime in mid-June. Next week, I'll be traveling to Brea, California, to oversee the printing of the signatures. There are 65 black and white images in the book, predominantly landscapes, with a few studies and abstractions. The shot reproduced below is of countryside in West Marin, an area I spent a good deal of time in during the decade of my photographic work.
The dimension of the book will be 16x14 inches, a huge tome of a volume, in the traditional "coffee table" format. The reason I chose such a large dimension is because I wanted to print my 11x14 inch contact prints at full scale, without shrinking them to fit a smaller vision. One of the great attractions of very large format, is the incredible clarity with which scenes can be reproduced, without blur or weakness anywhere in the field of the frame. Having gone to such trouble to generate these big prints, I couldn't stand the idea of compromising their potential.
The book will be 106 pages, and a $100 price tag, though I suspect that few if any of the copies will be sold for that amount. The run is limited to 300 numbered copies, all signed. I've explored the possibility of national distribution, but I doubt anyone will pick it up. Book distributors aren't much interested in obscure photography books by unknowns, no matter how interesting they are. And I've never been ambitious enough to pursue gallery or print sales.
Good luck, big book!