“A lot of good and earnest work goes into the design of every novel and cookbook (to say nothing about the editing, the copy-editing, the fact-checking, the marketing, etc). To be honest, what we really want is for the design to become invisible. Reading a short story, for example, I don’t want to be thinking about font selection and gutters. I want to be in the flow, in the willing suspension of disbelief, in the sturm und drang, in the story. But then we have the photobook. Here the book itself is the thing being admired. The photobook presents a world of problems the other genres rarely consider: size of the image, the fact that they are rarely read beginning to end. What’s more, in no other form of publishing is the author/artist so involved with the design of the final product…” W. Scott Olsen speaks to Tomasz Trzebiatowski, Joel Meyerowitz, Elysa Voshell, Olga Karlovac, and Phil Penman to ruminate about the nature of the photobook in their own worlds. Each one of them has substantial success in every form of presentation.
Where Intimacy Meets Tactility: Artists and Publishers on the Nature of the Photobook—Via LitHub
spreadophilia 