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One of my University lecturers once said that he hated 'picture books.' You know the sort of thing - coffee-table photography books which have little to no editorial in them, instead relying on the photographs themselves to get the message across.
His reasoning was something along the lines of how he disapproved of the way pretentious photographers were exploiting their work (and its captive audience), simply to make a quick buck and if they were that set on being 'photographic artists,' they should probably just think about getting their work up on the walls of a gallery. Ooph.
I can see his point. I don't necessarily agree, but I can see his point.
Personally, I love seeing my work come together in any way, shape or form - whether that's on a client's website, in a national magazine, in a self-published book, whatever. It's often been said that pictures are no good just sitting on a hard drive - they should be enjoyed by others, employed to increase awareness of a situation, or to generate revenue if used in a commercial context.
By now, you will be aware of my Fountain Jam book project. I'll be editing, laying out and generally putting this together next month, but already I'm thinking about getting this year's book project under way. No details to share with you yet - you'll just have to watch this space!
Anyway, the point is, it's really important for us photographers to create bodies of work other than those which are commissioned by our clients. If we don't, all we have to show for ourselves is a bunch of pictures depicting interpretations of other people's ideas.
I like 'picture books.' Regardless of whether they are produced by contemporary photographers or creators from other disciplines. If I admire their work, chances are I'll take a look at any new collection they unleash on the viewing public.
One such example is Chase Jarvis, who I have mentioned in previous posts and on The Active Photographer podcast. Not so long ago, Chase brought out a new book called Seattle 100: Portrait of a City, which is a fine example of what a self-driven book should look like.
Whether you like his work, or you simply want a great photography book to inspire some fresh thinking (especially if portraits are your thing), I'd highly recommend you take a look.
My copy is sat on the bookshelf, waiting to be brought into action just as soon as I have a spare moment - but from what I've seen of it already, the ol' brain will be buzzing with ideas once I properly indulge myself in the pages' rich, contrasty, black and white images.