Blurb Advice

Make the right publication.

It sounds simple, but Blurb has become a truly diverse offering, so the options are exponentially what they were a few short months ago. With new additions like offset printing, Blurb to Amazon and Blurb Global Retail Network the user has many choices to make.

But I don’t want to talk about these things just yet because LONG before these decisions are made you have to have a serious conversation with yourself in regard to who you are, what work you actually have and what your audience will truly consume. You have to make the right publication.

I say this after several years of working for the company, and after meeting with thousands of people across several continents. I’m going to narrow this advice to the photographer world for several reasons. First, most of those reading this blog are from that world, and also because I’ve met with more photographers than any other genre of the creative world. Today is another story, but historically this has been true.
Philip Vigil, artist, in his studio in the Jemez.
(I need new bio pic so bad I’m reduced to this. A selfie from a bathroom near the Jemez Reservation.)

I still see a fair number of photographers making publications that feel historical, expected or in other words publications that look like something they think they are supposed to make. Look, making any publication has the potential to teach you copious amounts in regard to your work, your design skills, your typography skills and your ability to move this book if moving it was part of the original plan, and remember, not all publications are made equal or even to be sold for that matter. I’m currently making a magazine for someone else, and they don’t even know I’m making it. (Yes, I’ve lost it.)

I ALWAYS start with a goal. Experimentation? Portfolio? Catalog? Sell it? Don’t sell it? Sell it to those I already know? Sell it to those I don’t know? What is the work? What book does the work demand? (Not the other way around!). What about a magazine? What about a series of magazines? Do I have audio for an Ebook? Do I need an Ebook? Do I even understand how an Ebook works? Folks, these are just a FEW of the things that go through my head upon making the decision to put more publications into the world.

I don’t know you personally, and I don’t know your work necessarily, but I can almost GUARANTEE that NOBODY you know wants to look at 400 photographs. Or 300. Or 200. Or even 100. Not unless you did a book of nude celebrities, and if this is the case then ignore this entire post. But for the rest of you, myself included, we need to realize the world is a very different place in 2014, and the one thing that is unequivocally in short supply is attention. I simply can’t take in that many images. I’d rather see ten great images in a clean and powerful pub than a 250 image opus on your trip to India.

The first question I get from a lot of photographers is “What is the biggest book I can make?”

Not a good place to start actually. Good for Blurb? Yes. Quite. But we want you to have success, to be happy, and certain books demand the largest size, the highest page count and the top-of-the-line materials, but many do not. Most deserve a very specific set of ingredients, all of which start with the work.

Ask yourself what the work feels like. What size compliments that feeling? What materials? Uncoated stock? Coated? Landscape format? Portrait? Or does a magazine better suite your story? What price point does the publication need to stay under for it to be viable to the audience you are searching for? Would the work be better as multiple books? A set perhaps? Chapters? Or maybe the EPub will open your work up to an entirely new, global audience who may or may not be able to purchase a print copy?

Resting on my handmade bookshelves at home are over 350 monograph style publications, most of which were published traditionally. The truth is I rarely spend much time with these publications. It’s not that I don’t want to spend time with them, I do, but life gets in the way. I spend more time with the odd balls, the one-offs the publishing orphans. They FEEL different. They feel wildly personal, almost as if the photographer or artist did ONLY what they wanted to do, and consequently these publications have a resonance.

So you have some choices ahead of you. Make the most of them, and enjoy the process. These questions, this exploration is what makes all of this so much fun. And don’t worry about hitting home runs. They will happen if you just focus on plot and swing easy.

I’d like to continue this Blurb advice theme over the coming months, but more specific to certain topics. Also, you people interested in podcasts? Hit me back and let me know. I’ll continue the other content as well, but these two things are interesting to me.

For your listening pleasure I’ve included a link to the interview I did in regard to magazines.

Blurb Color Pocket and Trade Books

Okay folks, a fun announcement here. Blurb just released their trade and pocket books in color. What are trade and pocket books you ask? Well, they are the, until now, black and white only, small books used mostly for text. Now, photographers being the crafty people they are, quickly adopted this format for a variety of things including small zine’s and art books. My “On Approach” book is an example of such book. The first thing I thought when I saw the black and white trade sizes was, “I wish I could get that in color.” Well, now we can. These books are by no means a replacement for anything. These books are not heavyweight art paper or designed for the monograph. They are affordable, approachable and born to be positioned in new ways. They are made with a white, uncoated stock that actually works really well for your scribbly handwriting in addition to your photographs! For those of you Leica users, this entire book was done with two M6’s and a 35mm and 50mm lens. Panama was slightly different for me in terms of my approach. I had no story, no idea, no plan, no theme or project. I just went. I went to just look and make snapshots. I hadn’t done this in many, many years, and I have to say…it was fantastic and something that had an impact on my current project. TRI-X and Portra 400 were the films used.

Out With The Old, In With The New


So, I’m bag obsessed, like many photographers, and this is my new daily bag, which came to me via trade.

And, this is a pile of outgoing gear, on the trading block for new Leica lens, which I still don’t have. My life is a mess.