recommendations for photo-book layout

[ron_erwin1]

<p>I'm looking for recommendations for photography books (or books of other arts) with designs and layouts that have impressed you. Please note that it's the layout or other physical qualities of the books that I'm asking about, not the quality of the photographs or artwork. </p>

<p>Thanks for any suggestions. </p>

[Spearhead]

<p>I have a lot of photography books. The problem with your question is that the best layouts are specific to the type of photography and the way it is intended to come across. As a result, your question is impossible to answer usefully as asked. What is it you are trying to do?</p>

[Brad_]

Jeff's response is spot-on.

 

Also, for seeking photobook layouts that impress you, if you're near a large city, try looking in museum

bookstores and libraries.

[ron_erwin1]

<p>Thanks for the responses. I'll try to be more clear.</p>

<p>I've seen many fine photography books, too. (I've owned a bookstore for 30 years.) But strangely enough, when I pulled out some of my favorites, I found that, while the photography itself was exceptional, the layout was rather ordinary. In most cases, I felt that, while it didn't detract, it also didn't contribute to the message.</p>

<p>So Jeff, I will borrow your good suggestion and ask this way: Can anyone recommend a photography book in which the layout contributes in an significant way to the message? And can you comment on the way it was done?</p>

<p>Thanks again.</p>

[Spearhead]

<blockquote>

<p>Can anyone recommend a photography book in which the layout contributes in an significant way to the message? And can you comment on the way it was done?</p>

</blockquote>

<p>Araki's <em>Tokyo Lucky Hole </em>has a layout that suits it. His exploration of the cheesy sex clubs in Shinjuku is put together in a massive small format book of black and white full page photos. The layout completely de-sexes the photos of nude (mostly) women in sex clubs and makes it seem more like a documentary about coal mining.</p>

<p>A different take on a similar subject is Joan Sinclair's <em>Pink Box: Inside Japan's Sex Clubs</em>, which takes a much warmer approach to the same subject, with more engaged color photos, and has a layout that includes white space and commentary, mostly from the subjects. The result is quite different than Araki. Araki is documenting in a very dispassionate way, and the book is intended to assault the eyes. Sinclair wants you to like the subjects as much as she obviously did.</p>

<p>A third view of a similar subject is presented in Reagan Louie's <i>Sex in Asia</i>. Louie's approach is in-between Araki and Sinclair, with somewhat more white space but no commentary interspersed. The result is somewhat softer than Araki but more "in your face" than Sinclair. Of the three, I think he is the only one with a strong interest in exhibiting prints as the primary means of disseminating his images, and his seem to stand alone (without the words and without the non-stop bluntness) more in the book than the others.</p>

[ilkka]

<p>I think photographs should be the main subject in a photo book. They should be presented big and clear, (but not too big). I hate books that spread the pictures on two pages leaving the gutter in the middle of the image. Some books do this for almost all images. I also don't like books that over enlarge images. Some images cannot be enlarged to 30x50cm size without their quality falling apart, yet some publishers want to maximise the image size and make full use of their oversized edition. Big pages are good. It allows one to print one picture per page in good size and in either horizontal or vertical format. Books are looked at from arms length. The image does not really have to be huge to be impressive. I also don't like picture books that show no information at all next to the image and you have to go to the back of the book to find a one liner saying where and when it was taken. This info could just as well be discreetly printed on the same page. </p>

[bob_sunley]

<p>Probably the best I've seen is A Shadow Falls by Nick Brandt. Superb photography and printing at an affordable price. Now his newest artist's edition should be spectacular. </p>

<p>http://www.nickbrandt.com/Text_page.cfm?pID=2706</p>

<p> </p>

[will_daniel1]

<p>Ron, since you own a bookstore, you should be able to access my book, <em><a href="http://www.willdaniel.com/james/">James River Reflections</a></em> (Schiffer Books). My publisher's design team did a pretty good job of putting the photos in places that accentuate my text. On numerous pages the designers morphed two photos together (<a href="http://www.willdaniel.com/james/001a">like this</a>). I think it worked quite well in some places and not so much in others. I take no credit (or blame) for the design; just suggesting you take a look at it.</p>

[alan_zinn]

<p>I think you still have asked too broad a question. I have too many art books! As a general rule I don't want to see any text with pictures. It should be in the front or back of the book or tiny type titles way down on the page. I like the more expensive blank page between pictures productions - Kodelka's books. I don't usually like it when the grapic designers and typographers intrude (get too cute) on the layout. Its not about them! There is one tricked-up book I get a big kick out of, however, that has die-cuts that I'm dying to steal from. <em>The Eye Club. </em><br>

My point is that books AS graphic art are one thing and are different than books that are about a good photographic presentation. </p>

[Brad_]

>>> But strangely enough, when I pulled out some of my favorites, I found that, while the photography

itself was exceptional, the layout was rather ordinary. In most cases, I felt that, while it didn't detract, it

also didn't contribute to the message.

 

What kind of photo-message contribution are you seeking? What you are asking for from others is very personal,

reflecting individual likes, that can vary across both genre and purpose. Which may likely be at odds with yours - especially since you haven't yet

articulated anything about that.

 

For example, I'm currently designing a photo journal project drawing inspiration from Robert Frank's

"Come Again," and Laura Wilson's "Avedon at Work," liking elements from both. But again, that's

personal to me, my photography, and what I believe will resonate with my intended audience. And will likely be very different than what speaks to you.

[ron_erwin1]

<p>Thanks for all the responses. Bob, I had forgotten about <em>A Shadow Falls</em>. I have the portfolio in my library, but hadn't thought of it in this inquiry. An excellent example. And Jeff, your suggestions and comments were exactly what I was looking for. I've received the first 2 books already.</p>

<p>I'm interested in exploring how layout can contribute to the effectiveness in presenting the theme of a book of photography. I have no particular project in mind at this time. Everyone's input has been beneficial and appreciated. Thanks again.</p>

<p> </p>

[richard__]

<p>In the few photobooks I have, I've rather liked the layout of this book:</p>

<p>IMAGES IN THE HEAVENS PATTERNS ON THE EARTH: THE I CHING<br />THE PHOTOGRAPHS OF :JANET RUSSEK & DAVID SCHEINBAUM <br /><a href="http://www.photographydealers.com/books/iching_book2004.html">http://www.photographydealers.com/books/iching_book2004.html</a></p>

<p>I feel that the book is amplified by a sensitive layout which combines the physical size (that is big enough, but not too big), minimal text and the image placements into a complete unit.</p>