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Photobook “Best-Of” lists sprout like wild-cakes this time of year. Among selections, we are not always guaranteed variety, but we are guaranteed quantity.

Aperture tends to preempt many of the main runners and riders in the autumn with its shortlists for the Aperture/Paris Photo Book Awards (30 books total). Then the deluge beings.

A deluge that which Photolia has made an inventory. It’s a list of Photobook “Best-Of-2013″ lists; a list of 80+ lists!

Furthermore, QT Luong at Terra Galleria has taken all the individual titles of those 80+ lists, broke down the votes and constructed a meta-list that cumulates each book’s number of votes. Some titles have votes in double figures, and the “winner” Lieko Shiga’s Rasen Kaigan has 22 votes.

By years end, Best-Of lists had been written and checked twice by Wired, American Photo, Time, Mother Jones, New York Times, Dazed DigitalLens Culture, Washington Post, Brain PickingsTom ClaxtonMicrocordEric GundersenConscientiousTim ClarkMonsters & MadonnasValerian and Discipline and Disorder just to name a few.

The Guardian made two lists — one for best indie books and one for offerings by established photobook publishers. Not to mention Alec Soth and Martin Parr‘s eagerly anticipated annual dispatches. Roger May shifted the formula and picked his favorite book purschases . The Artists Book Cooperative maintained their cheeky approach with the year’s worst photobooks.

So what does all this mean? Head to Blake Andrew’s analysis of the best of the “Best-Of photobook lists. Hilarious.

Well, who am I to reject this ubiquity of Photobook “Best-Of” lists? A few weeks ago, I was asked by Photo Eye to name my highlights for the PhotoEye Best Photobooks 2013 feature. I picked seven titles. Here they are. And, below they are.

Bumbata, Cosmin Bumbuţ (Punctum)

bumbutBeyond the prison subject matter which is, of course, very appealing to me, Cosmin Bumbuţ’s book is the best of design with beautiful binding, a punctured front cover, and thoughtful essay. Those elements compliment pictures that are, frankly, some of the closest, least judgmental I have seen of incarcerated peoples. Bumbuţ spent 3 years visiting a single prison. The portrait he paints is of a closed but relatively stable environment with equal representation. Staff and prisoners feature in similar amounts. The variety and color is something beyond that of most American prison photographers. Here is a documentarian who has worked hard to form an understanding with his subjects.

In December, I spoke at length with Bumbuţ about his project and the book.

Tales From The City Of Gold, Jason Larkin (Kehrer Verlag)

larkinIt is astonishing that with such a distinct and consistent approach to image-making that this is Jason Larkin’s first monograph. His work seems so familiar. Once more, the Englishman Larkin has entered (with his 4×5) a peculiar faraway place with peculiar and depressing social and environmental history. Johannesburg is one of the world’s most successful mining cities but waste dumps litter the landscape. South Africans have built communities in the mines’ hinterlands. The price of gold is spiking and the lives of people who live and work in the region is tied to our global commodities market. Larkin casts a curious but not a judgmental eye over our priorities at the dusty and noisy point at which commerce and daily life intersect.

Photojournalists On War, Mike Kamber (University of Texas Press)

kamberEnd of year lists often prioritize photo books with fancy design elements; books that are small run, hand-sewn delicate things. But what about those books about photography that are a bit bigger? What about books put out by a large press, such as UT Press, say? And what about books with more text than image? Photojournalists On War is a brick of a book. Mike Kamber interviewed 89 photographers who covered the War on Iraq. If we are to understand the nature of that flawed conflict then we should pay attention to the journalists whose activities were meant to makes sense of it at the time; make sense of it for us. But, what sense do they make of it now? By virtue of the breadth of opinion and depth of questions, Photojournalists On War is THE reference book for any discussion of the War on Iraq and photography. In much the same way as Photographs Not Taken in 2012 delivered us personal reflections and new entry points to photographic thinking, so Photojournalists On War in 2013 surprises and delights with the first-hand and imperfect narratives. Truth is not usually found in a photograph, but perhaps it can be found in a photographer’s words?

Swell, Mateusz Sarello (Instytut Kultury Wizualnej)

sareeloSea foam smells, threatening birds, big clouds. Swell is a rough experience. As was Mateusz Sarello’s break-up. This book is in two halves. Each half is a visit to the Baltic Sea — the first with his girlfriend, and the second without as part of some therapeutic turn. So different are the images and mood of the images it’s effectively two books in one. Both books’ exposed spines reflect the vulnerability Sarello has embraced in creating a book about his crushed love-life. 88 pages of fragile hand-made loveliness. Handle with care. Given the proliferation of east-of-Western-Europe sea photography projects (think Petrut Calinescu, Rafal Milach, Mila Teshaeiva, Mikhail Mordasov and even Rob Hornstra), it’s tricky to do something novel in this sub-sub-genre, but Sarello pulls it off with focus on the hyperpersonal. And he’s not afraid to use Instax Fujifilm either. I was skeptical at first, but later blown over by the earnestness of the well-edited and understated grouping of images.

Rasen Kaigan, Lieko Shiga (AKAAKA)

shigaBetween 2006 and 2012, Lieko Shiga lived and worked in the region of northeast Japan worst hit by the 2011 Tsunami. Shiga is part photographer and part conceptual artist, so it makes sense that these images (many of which abandon formal photographic considerations) look nothing like the photojournalism we saw in the aftermath of the Tsunami. Darkness, hard-flash, plants, flowers, sweaters, sand and minerals. It’s all very earthy … and strange. But then again, that region is a geography and a collective psychology transformed. Despite Shiga’s camera experiments, we are still presented images of Japanese communities on the mend, making do, building up, tilling the land and doing the simple things that they must. Big disasters are met with small victories. Shiga’s volatile approach is a reminder that the uncomplicated things she photographs only exist because of massive tectonic force.

What might be otherwise read as an assault on the senses is a celebration of the senses — a celebration of life and of living.

Control Order House, Edmund Clark (HERE Press)

clarkThe images are boring; but the concept is exhilarating — which is exactly the point. Edmund Clark photographed the interior of a “home” inhabited by a UK terror suspect under house arrest. A dull suburban 3-bed semi in no-name Britain. Clark worked within pre-agreed, tightly controlled parameters set out by the UK Home Office. Clark and HERE Press include scans of his contracts and official correspondence. The act and the access is more important than the images; the images are only evidence that Clark made a sortie into this never photographed territory before. (In April, I wrote about Control Order House for Wired.)

So many projects these days comment on control from the outside, but here we see images from from within, and according to, control.

Two Rivers, Carolyn Drake (Self-published)

tworiversCarolyn Drake’s photography has long impressed me, so I’m not surprised her first book is a triumph. Dutch book-designer Sybren Kuiper brought considerable style to Two Rivers. Apparently, it was Kuiper who proposed starting the book’s sequence at where the two rivers appear to end versus Drake’s original idea to begin where the rivers originate high in the mountains. Drake has visited the vast expanse of central Asia that lies between the Amu Darya and Syr Darya rivers 15 or more times in recent years. Judging by the images, it remains a region that beguiles Drake. Two Rivers abandons traditional documentary sequencing and reveals the creators own feelings, uncertainties, awe and brief encounters. One slimmer book is words and notes for the chapters in the other larger book containing pictures of fuzzy narrative, refused objectivity and love. The wrap of images around the Japanese style bound pages is stunning.

© Jo Metson Scott

What happens when you’re a soldier and you are asked to fight in a war your conscience tells you is immoral?

Jo Metson Scott‘s series The Grey Line and accompanying book interrogates this conundrum and those that lived – and continue to live – it.

I’m not from a military background and I always opposed the Iraq War, so it was a stretch for me to empathise with Jo’s struggling subjects who, to me, simply made – and continue to justify – rational assessments. How difficult or taxing can common sense be? To get me out my own head, I called on Jo to explain this emotional minefield of a topic.

Scroll down to read our Q&A.

© Jo Metson Scott

© Jo Metson Scott

Q&A

Prison Photography (PP): Where does the title come from?

JMS: The title is to try and explain the difficult position so many of the soldiers found themselves in. Nothing is ever black and white, nothing is ever as simple as right or wrong, and these people were having to make a decision between what they were contractually obliged to do and what they felt was the right thing to do. I felt The Grey Line was a way of explaining the difficult line they were choosing to walk.

PP: You say some of the soldiers were imprisoned for their views?

JMS: Actually, none of the soldiers were imprisoned for speaking out against the Iraq war. Some of the soldiers refused to fight in the Iraq war and were imprisoned for going AWOL, but not for speaking out.

Each person’s story is very different, so I’m always nervous about generalizing. So instead, I’ll give an example. Kevin Benderman was one of the older and higher rank soldiers I interviewed and he was very opposed to the Iraq war. He was deployed to Iraq for a short period. Over there his opinions really became clear and he felt strongly that being in Iraq was the wrong thing to do. When he came back he applied for Conscientious Objector status but it was denied. So he refused to go back. He was court martialed and given a 15 month prison sentence.

Kevin said he always knew that he would get a prison sentence. It was fascinating to hear how his morals were so strong he was compelled to go against the military and risk his career. It wasn’t that he was a pacifist, or had found God, he just strongly believed that what America was doing in Iraq was wrong. That’s what really impressed me about some of the people I interviewed, they really stayed true to how they felt. Kevin knew if he spoke out and refused to fight, his career would be ruined, he’d be accused of being a coward and he faced imprisonment, but he still refused to go to Iraq.

It’s like another person I met who refused to deploy to Iraq. He was openly gay, and could easily have got out through the ‘Don’t Ask Don’t Tell’ Policy, but he felt if he wanted to leave for moral reasons it would be wrong as he would see it as taking the easy option. Instead, he applied for Conscientious Objector status, which was denied, so was then imprisoned for refusing to be deployed.

Kevin Benderman can explain his situation so much more clearly that I ever will. He said to me:

“Have you heard the term, “I cannot in good conscience do that…?” Well, that’s how it was for me.

I took a look around when I got over there. We weren’t fighting an army, there were no weapons of mass destruction. None of that stuff was there. We were just bullying the civilians. We weren’t fighting soldiers; we were just kicking doors down of civilians’ houses and taking them out and that’s not what I joined the army to do. I mean, if there had been a soldier over there I would have fought a soldier, but that’s not what we were doing… not at all[…]

There was no doubt in my mind that I’d go to prison. I had to be made an example out of. I mean, I was an NCO for one. I wasn’t a young kid and they knew that if I was able to do what I was trying to do it would only strengthen my argument. They had to make an example out of me so that no one else would try it.

With all the charges they were trying to give me I could have got seventeen years. They tried to charge me with larceny, desertion, missing movement. I knew it was a bunch of bullshit. I knew they weren’t gonna be able to stick all that stuff on me. I was convicted of missing movement by design, which carried a fifteen month sentence. It was a dishonourable discharge but it was upgraded to bad conduct. But that still isn’t very good. I mean you can’t really do a whole lot with a bad conduct discharge.

I know I did the right thing but it just didn’t really change anything, you know? I invested twelve years of my life in the military. I gave that away. I gave away my retirement. I lost my home, my wife … I can’t really find a … well, I’m stuck here driving a truck.

I had more trouble with my family – sisters, brothers and brother-in-law – than with people in general.

My family didn’t even want to hear my reasons for doing what I was doing and they still don’t. Most of the ones who have openly criticised me have never served and don’t know what they’re talking about. More soldiers and veterans agree with me than my own family do. But I’m not really concerned about their opinion and that makes them mad. You know, that was part of the stress; my own family chose George Bush and his stupid ass doing something illegal over defending me, and they wouldn’t even hear my reasons why. […]

There’s still people who say I’m a hero. Well no, I’m not a hero. I was just doing what I thought was right and I really thought that people who made noises about the constitution and the law would stand up for that instead of just wanting someone to be a figurehead for them. […]

A few years ago I took a job in Afghanistan as a civilian contractor. I wanted to go back was because I know I’m a good mechanic and there’re still soldiers over there and I figured they deserved somebody who was conscientious about the work. I had given them the best vehicles that they possibly had. I didn’t leave the military to abandon the people that I served with, but I knew that it didn’t matter. Whether or not it was right to be there […] I’m a good mechanic and they’re still over there. They’re not coming back and we’re not prosecuting Bush and I wanted to make sure that they had the best possible vehicles. Should we be there? No. Are we there? Yes.

© Jo Metson Scott

© Jo Metson Scott

© Jo Metson Scott

PP: Benderman’s is one story of how many? What was the number of soldiers you met?

JMS: Over the space of 5 years I met in total 45 soldiers. 29 are in the book.

PP: Has the story of conscientious objectors been adequately told?

JMS: Before I started the project, I had only associated the term Conscientious Objector to the first and second world war – to times of conscription. So I was intrigued to know why someone would need to apply for conscientious objectors status when they had willing signed up. Meeting with the veterans and doing this project made me realise that of course people who are in the military can have a change of morals and principles just like any ones else does, and some people also realise that they no longer want to be a part of war.

But not all of the people I met with were conscientious objectors. Many of them didn’t even know that the process existed. I was interested in meeting people who had moral doubts about their involvement in the Iraq war, not all were conscientious objectors.

Some people choose to whistle blow and speak out to the media about their experiences, others simply refused to fight and went AWOL. Others chose to keep quiet until they left the military and then spoke out. Speaking out from within the military is a very difficult thing to do. The quote below is from a veteran called Ryan. He was in the Marine Corp and was deployed for 7 months to Iraq. After he was honourably discharged from the military, he decided to speak out about his experiences in the military and about what he came to see as atrocities that he and his colleagues committed in Iraq.

After I made my public testimony, my brother disowned me on Facebook for everyone to see. He said I was a traitor and I wasn’t his brother anymore, that I wasn’t even a man.

Every single person that I served with in the war found out about my testimony and have publicly said that I’m a liar, a bitch, that I’m full of shit, that I’m a fucking American flag-burning, troop-hating, communist.

I understand why a lot of these guys did what they did; they’re not ready to accept that what we did was wrong … because it’s hard. It’s hard to accept that what you believed in was wrong. And not just wrong like two plus two is five, but wrong like you fucking killed somebody and that’s something you have to live with for the rest of your life. Some people just aren’t ready to live with that yet.

© Jo Metson Scott

PP: What do you hope to communicate with The Grey Line?

JMS: Many of the people I spoke to were very torn between their duty, the bond with the people they fought with and their own belief that what they were doing was wrong. Several soldiers talked about being ordered to do things that they felt very uncomfortable about doing, but that they knew were legal.

I spoke to one soldier who had been a military Intelligence officer in Abu Ghraib. He had absolute faith in the military, but was feeling very uncomfortable with what he was being asked to do. In the quote below, he talks about his experiences of interrogating a young detainee.

He was 16; just a kid, scared to death, and skinny as a rail. We went out to get him from the ‘general population’ [prisoners who aren’t in solitary confinement] area to interrogate him. The general population area was right next to the questioning booth, but they still wanted me to put one of those sacks over his head to transport him. It wasn’t like a normal sack, it was like a plastic sand bag with sand all over it. It barely fit on his head and he was shaking as I put it over him. We used it so he couldn’t see where we were taking him, even though we could see the booth from where we were standing. We had to cuff him too, but his wrists were so skinny you couldn’t put the handcuffs on him. So he just kind of carried them instead. I felt so rotten.

The weirdest thing was when we were in the room with the kid and an MI guy came in and gave the interrogating officer a handful of Jolly Ranchers. It was meant to be put on the table like, if you talk we’ll give you some apple Jolly Ranchers, you know? The kid knew nothing. He was just this guy’s son. Originally we were supposed to interrogate his father, a general in Saddam’s regime, which was why I had agreed to be a part of it. It sounded interesting. But then when we got there, they told us that he had already been ‘broken’ and as a sort of consolation we were told we could interrogate his son.

I only found out afterwards what they had done to break his father. His son had been doused in cold water, driven around in a truck in the freezing cold night, and covered in mud. I guess, at the same time his father was being interrogated somewhere else and from what I understand they told him that they’d take a break from the interrogation and let him see his son.

So the general’s thinking he’s gonna see his son and have some kind of a reunion with him, but instead they just allowed him to see his son naked, shivering, and covered in mud.

A lot of people will probably wonder why I didn’t say something publicly right away, but it would have been pointless. Even though I thought what was happening was wrong, doesn’t mean that it was illegal anyway.

© Jo Metson Scott

PP: What are your thoughts on the Iraq and Afghanistan wars, Jo? Was it wrong, justified, legal or illegal? Is your opinion of importance? Does it come through in the work? Or need to come through?

JMS: I was shocked when Tony Blair took my country to war. I couldn’t believe that he could go against the majority of the country’s wishes. I was shocked that he didn’t listen to the advice of the UN. Maybe it was naive of me, but that is how I felt. I think that is why I became interested in the soldiers stories. I had really believed in Tony Blair when he had come to power. I never would have dreamt he would have taken us into a war like Iraq. And that’s why I wondered how some soldiers must have felt. Many people join the military having complete faith in their government, so what happens if then the government goes into wars you think are wrong? As a soldier you have no choice.

People will always say. “You can’t have military that questions every order their given,” but on the flip side what if it was you? If it was you being asked to do something you felt in the bottom of you stomach was wrong? Something you felt went against everything you been taught? Do you ignore that feeling and carry out your contractual obligation or do you listen to your conscience?

In the end I didn’t particularly want to look at the politics of the Iraq war (though a lot of issues are raised in the book). What I wanted to explore was how an individual deals with the doubts they have in times of war. I wanted to look at the more complicated issues affecting a soldier’s decision. There are so many other things that affect one ability to make a decision – commitments to colleagues, expectations of family, financial implications, confusions of loyalty and legality. The aim of the book was to explore the complexity of their situation. There wasn’t a right way or a wrong way of doing things.

PP: How does The Grey Line fit in with your other work? You’ve recently been in Sri Lanka, you hang out with Beth Orton. I mean, to me, all your work is gentle, warm and purposeful so I’m not asking about the style or aesthetics in The Grey Line, I’m asking about its purpose for you as an artist.

JMS: I love doing commercial work and the challenges and opportunities it brings. But my approach and my purpose in doing commercial work is different to my personal work, and its difficult to compare them.

I am interested in people and because I have a camera it allows me to enter their lives in a unique way. I like to tell other peoples stories through my photographs.

For a long time now the theme of morality is something that I have questioned and explored – my own sense of morality and other people’s sense of morality, and how that affects their decisions… I think that I was unintentionally looking for way of exploring this theme with my photography, and when I first met Robert, something clicked.

PP: Can you imagine not having explored this issue? Can you imagine not having made this statement to the world?

JMS: It doesn’t really feel like I made a statement, or at least it wasn’t my statement to make. The men and women that were in the military and had the courage to question are the people making a statement.

PP: Thanks Jo.

JMS: Thank you, Pete

© Jo Metson Scott

BOOK LAUNCH

On 20th March (6.30 -10pm) The Grey Line, published by Dewi Lewis, is having a book launch at Fishbar Gallery, 176 Dalston Lane, E8 1NG.

[Right click on the images below to view them larger.]

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BIOGRAPHY

Jo Metson Scott is a portrait and documentary photographer whose work highlights the relationship between people and their communities. She has been commissioned by organisations including The New York Times, The Telegraph and The Photographer’s Gallery and her work has been exhibited in both the UK and Europe, including Arles Photography Festival, Nottingham Castle Art Gallery, Hereford Photography Festival and the Venice Biennale Fringe. She is repped by Webber Represents. Jo lives and works in London.

Refugee Hotel

It was great to see Obama take on a liberal agenda yesterday with promises in his inauguration speech to improve equality for gays and lesbians and to reform immigration policy.

On the topic of immigration, or more precisely one arm of immigration – refugees and asylum seekers fleeing political or religious persecution – have you seen Gabriele Stabile and Juliet Linderman‘s new book Refugee Hotel?

Refugee Hotel is a collection of photography and interviews that documents the arrival of refugees in the United States. Stabile’s images are coupled with testimonies from people describing their first days in the U.S., the lives they’ve left behind, and the new communities they’ve since created.

noticed the work as the book was in planning 18 months ago. Good, now, to see it massaging its message in people’s hands.

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The press release details the following testimonies:

Psaw Wah Baw was forced to flee her village in Burma amidst armed conflict. She describes how her family left their village with just five cups of rice, beginning an arduous journey toward resettlement that would take them through Bangkok, Tokyo, Illinois, and Texas.

Pastor Noel fled the civil war in Burundi in 1972 for a refugee camp in Congo. When war erupted in Congo in 1996, Noel was once again forced from his home. He now lives in Mobile, Alabama, and is a central figure in the African refugee community as he pursues citizenship.

Felix joined the rebel army in South Sudan as a teenager but was forced to flee to a refugee camp in Kenya when fighting within the army threatened his life. After long delays and identity theft by a fellow refugee, Felix now lives in Erie, Pennsylvania, where he works for Habitat for Humanity to assist African refugees in purchasing their own homes.

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Refugee Hotel is the latest project by Voice of Witness, a small San Francisco-based non-profit, founded by author Dave Eggers and physician/human rights scholar Lola Vollen.

Voice of Witness uses oral history to illuminate contemporary human rights crises in the U.S. and around the world by publishing book series that depict human rights injustices through the stories of the men and women who experience them. The Voice of Witness Education Program then takes those stories, and the issues they reflect, into high schools and impacted communities through oral history-based curricula and holistic educator support.

Published by McSweeney’s, you can buy Refugee Hotel here.

Read more about the project on FADER and Miss Rosen and TIME LightBox.

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View a large PDF of the Refugee Hotel Press Release

Published by McSweeney’s, you can buy Refugee Hotel here.

two-beers-for-haiti-1

I’m intrigued by Nathalie Mohadjer‘s project Zwei Bier Für HaitiI hope you will be too. First, you’ll need to get past the idea that Zwei Bier Für Haiti is about, or in benefit for, Haiti. It is, in fact, a body of work about the residents of a homeless shelter in Weimar, Germany. Mohadjer made the images between 2006 and 2010. She explains the title:

“When an earthquake shook Haiti in January 2010, Margitta, one of the inhabitants, started a fund-raising campaign among her neighbors in the homeless shelter, which she called “Two Beers for Haiti.” The idea was for every resident to drink two beers less a day. She collected a total of 15 euros.”

I’m always intrigued by long-term photo studies of institutions on the margins and those within them – Peter Hoffman’s Bryan House and Maja Daniel’s Into Oblivion are two top-notch examples. Mohadjer’s Zwei Bier Für Haiti/Two Beers For Haiti fires the same visual intrigues. Good stuff.

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Mohadjer has nine days left on her crowdfunding effort for the book. It’ll be published by Kehrer Verlag regardless but every penny donated will be a penny less out of her pocket. See the crowdfunding page here and the video-pitch on vimeo here.

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EXHIBITIONS

Works by Nathalie go on show today at the Museum Sala Galatea, Cordoba, Spain (January 16 – February 24, 2013) and works from Zwei Bier Für Haiti go on show at the Heussenstamm Gallery Frankfurt, Germany for the Abisag Tüllmann Prize Exhibition (February 19 -Mars 15, 2013).

(Silent movie)

… Joseph Bristow from Harrogate, UK!

The four books will wing their way to you as soon as you provide a mailing address.

The 25 entries came in from 9 different countries. And for those 13 U.S. entrants, I might just be tapping you up for a couch in the next 10 weeks.

That was fun. Enjoyed that.

Videography by Sye Williams

I never realised powerhouse was so prolific.

Of course, everyone in the photobooks debate had their own preface and a necessary confirmation bias to bolster. Andy and Miki unleashed a monster. Great stuff.

IT’S THE EYE OF THE BURGER, IT’S THE CREAM OF THE FIGHT …

Hamburger Eyes has my mostest respect so far. HE is rightly confident in the book as a medium; HE doesn’t uphold a naive belief in the internet or technologies to deliver ALL the goods; and they make a call for real life.

Photos and photographers should “get into some shit” away from the web.

Hamburger says:

I was asked to write my thoughts on this subject as part of a forum in the form a blog, meaning FLAK PHOTO and LIVEBOOKS are writing about the subject and inviting others to join in by writing something, linking it, then they re-link it up for an ultimate future post of all of it together in one blog? I don’t know I’m confused too. Blogs eat blogs, and they never be not hungry.

Blogging is a good segway into my thoughts about the future of photo books. I’m thinking the internet is turning into a library or more like jail for your photos. Yes, libraries are way awesome and yes we are all photo nerds forever learning, but how long can you stay in there. It’s like detention for your photos. Saturday school. Your photos need to get out, go on dates, and get into some shit.

What happens next is what’s already happening now. Photogs are deleting their flickr and their blogs and crewing up with only the hardest realist ninjas. It’s hyper attack mode. Photogs are scrambling because their agency just cut them and their editors got laid off. Not to mention, “Oh, you shot this or that, someone else caught it before you on their cell phone and New York Times already spent their budget on those.”

HERE’S WHAT I SAY

I wrote a huge treatise not only on the future of books, but on the future of the image and the future of our existence based upon our surrender to the image. We will soon all be docile slaves.

I shelved the piece. I’ll need to chew on it for a while until the next photoblog debate about the future of photography/contracts/journalism/print/distribution/consumption comes along. My main points will still apply:

- E-books is an oxymoron. Hopefully, all digital text will be referred to as E-words.
– Actual books will be fewer in quantity and higher in quality.
– Open source will dominate, because ownership of any digital matter will become useless.
– Micropayments are bogus. In the future if a creator unleashes it on the web, they will hold no claim to it
– Every household will have access to rapidly improving printing technology; any available online material will be printable to spec.
– Handhelds will have instance access to every non-proprietary file on the internet.
– People will have self-facilitated projections to the sides of buildings as a legitimate alternative to books when experiencing images.
– We will become detached from one another. Those who question the mediation of technology – even moderately – will be ostracised. In this regard, book ownership will become a slightly perverse political act.

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