Why has there been such a surge of interest in photobooks in just the past few years? For photographers, it’s a way to spread the word about their work beyond the geographic limits of their exhibitions. For collectors, it’s an affordable way to enjoy a series of photographs by an admired artist, from whom even a single print may prove too costly. This clamor for photobooks has been met with an equally large number of ways to publish them. Addressing both the interest and confusion, Griffin Museum of Photography hosted a lively panel discussion on the topic last weekend that, while enlightening and well received, revealed the tip of a very large iceberg.
Left to Right: Ryan Arthurs, Fran Forman, Raymond Adams and Christopher Chadbourne at panel discussion on publishing a photobook, moderated by Paula Tognarelli, Executive Director of Griffin Museum of Photography (photo courtesy of Silke Hase).
Three recently published photographers related their disparate experiences: Fran Forman had “Escape Artist: The Art of Fran Forman” published by a traditional American press, Schiffer Publishing Ltd. in December, 2014; Christopher Chadbourne funded the publication of “State Fair: The Last Living Munchkin from the Wizard of Oz and Other Stories” by the preeminent European press, Kehrer Verlag, in 2014; Raymond Adams self-published “America: Witnessed” using a Kickstarter campaign in 2013. Ryan Arthurs, a Boston photographer and co-director of the small, alternative “Houseboat Press”, shed light on various production aspects of the publishing puzzle.
Christopher Chadbourne spoke about the publication of his book, “State Fair: The Last Living Munchkin from the Wizard of Oz and Other Stories” published by Kehrer Verlag in 2014 (photo courtesy of Silke Hase).
Even with the production of a traditional type of monograph, there are vast differences in publishing houses. Chadbourne noted that using a European press, Kehrer Verlag, had the consequence of wide distribution and marketing in Europe, but almost none in the U.S., with noticeable sales differences. He invested $30,000 for a press run of 1300 books. The domestically based Schiffer Publishing Ltd. produced 1500 copies of Forman’s photobook with no direct contribution from her, although she was quick to point out that she incurred many expenses, from photocopying (used in 15 rounds of sequencing and editing) to graphic design software and even a new computer monitor. Emphasizing that the desire for full control over the content and presentation of his photobook took precedence over its wide distribution, Raymond Adams raised $19,000 in a Kickstarter campaign to self-publish 400 copies of his photobook. It is estimated that photographers today are commonly asked to contribute from $25,000 – $40,000 for the commercial publication of a typical press run of about 1000 books, with expected royalties of 1%-2% from a traditional press, producing a classically designed monograph. Yes, it is gasp-worthy.
Fran Forman spoke about the publication of “Escape Artist: The Art of Fran Forman”, published by Schiffer Publishing Ltd. in 2014 (photo courtesy of Silke Hase).
But there are options. Lots of them. In fact, running the gamut from well-known presses such as Aperture and Taschen to small alternative choices like Houseboat Press to artists who craft unique, hand-made books, this has become a confusing and expensive business. But Ryan Arthurs claims it doesn’t have to be costly. His alternative Houseboat Press bucks the restrictive traditional publishing models with nimble, low-budget options utilizing a “do-it-yourself mentality with tape, hole punch and staples.” Their aim is to make books quickly and affordably, sometimes for as little as a couple hundred dollars for a typical run between 50 and 100 copies. In their model, photographers put up 50% of the cost, books are “pre-sold” and marketed at book fairs and independent booksellers, reaping 100% of the profits for the press and artists. With inventive production features like triple pages with double spiral bindings that lay flat, Houseboat offers a variety of creative and scrappy production solutions.
Ryan Arthurs spoke about his small, alternative “Houseboat Press”, to the amusement of fellow panelist Fran Forman (photo courtesy of Silke Hase).
Before anything even goes to press, someone must edit, sequence and design the book, not to mention create accompanying text – sometimes the photographer and sometimes the publisher or a free-lancer. Each photographer on the Griffin panel undertook different tasks, based on skill set, experience and ability to pay for outside help. The details were as fascinating as they were mind-boggling. But there were commonalities, too: every panelist attested that, for anywhere from six months to a year, publication of his or her photobook became a full-time endeavor. Clearly, this is not something one should undertake on a whim. While the possibilities seem endless, one thing became abundantly clear from this panel, it is an all-consuming effort of time, energy and money. Christopher Chadbourne aptly summed it up: “I feel both poorer and richer for the experience.”
Raymond Adams describes the self-publication of his book “America: Witnessed” in 2013 (photo courtesy of Silke Hase).
For more information about the panelists and their books, go to: http://www.griffinmuseum.org/blog/product/book-publishing-discussion/
Feature Image: Raymond Adams, Ryan Arthurs and Christopher Chadbourne at the Griffin Museum panel discussion on publishing photobooks (photo courtesy of Silke Hase).
Photographers Lindsey Beal, Edie Bresler and others peruse photobooks following the panel discussion at Griffin Museum of Photography (photo courtesy of Silke Hase).
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