The Blandscapes are a series of 4 (at time of writing) small, economical, easily reproducible and open editioned, quarter-fold zines from Nate Matos. They’re quite different from his Serif & Silver series and Compendium, but no less inspiring. Littlefields is, for me, a beautifully strange sort of photo magazine from Jim Clinefelter. Each ‘issue’ consists of a random selection of 10 […]
‘Tiny Plastic Box #1‘ is the first in a series of books documenting Jon’s film-based, pinhole, 365 project. Yes, you read that correctly: film, pinhole, 365. GoGo!
I don’t know where they got my email address—probably some mailing list-type service—but Light Work sent me an email with an advertisement for their 2017 Book Collectors Offer: a signed copy of Ms. Weems’s new book of her 1990 Kitchen Table Series and a 2017 subscription to Contact Sheet for a fairly reasonable price. I hemmed and […]
Jörg Colberg’s Understanding Photobooks: The Form and Content of the Photographic Book deserves more study and attention than I’ve given it before tapping out this titular review. In short, if you’re expecting a photobook, go somewhere else. But if you’re into photobooks or thinking of making a photobook, pick up a copy: Colberg teaches photobooks in Hartford Art […]
Serif & Silver was a quarterly journal Nate Matos wrote and published between June 2015 and March 2016. I was completely unaware of it at the time—as I’m largely unaware of many things—and I would’ve remained unaware, if not for The Shoot with Matt Day (iTunes). The interview with Matos inspired me quite a bit and got me wanting […]
Back in August, MIT Press ran a 35% off special on all photo books to celebrate Camera Day, and I picked up 5… Four arrived straight away, but the fifth wasn’t even published yet. With essays from Joel Snyder, Geoffrey Batchen, Vincent Lavoie, Mary Panzer, Olivier Lugon, André Gunthert, Nathalie Boulouch, Heather Diack, and Sophie […]
Paul Graham’s Does Yellow Run Forever? is a year or two old now, so you may already know all about it, but I’m a bit behind I guess. I became aware of Graham’s work following the review of his 2015 show at Pier 24 and its associated, excellent catalog, so it’s understandable that I missed it […]