Book Explains How to Publish a Photography Book

PHOTOGRAPHERS. If you have an idea for a photography-book project but aren’t sure whether to self publish or seek a publisher, read the new book “Publish Your Photography Book” by photography-book-industry insiders Darius D. Himes and Mary Virginia Swanson. In addition to explaining the process of publishing a book of your photographs, the book highlights avenues you might not have considered and points out potential pitfalls.

It also suggests that a photography book can help enhance your visibility and career. Himes and Swanson note that a well-executed photography book can provide you with a passport to the international photography scene and lead to exhibitions, talks, gallery walks, press interviews, and other opportunities.

The book is divided into six sections.

Section 1: The Photography Book Phenomenon
Here, the authors explain why interest in books as a means of photographic expression is rising (and isn’t likely to be disappear any time soon). They point out that a photography book is more than a simple collection of printed photographs. It is often regarded as an autonomous art form.

Section 2: The Nuts and Bolts of Publishing
Whether you plan to self-publish or submit a proposal to a trade-book publisher, this section emphasizes the importance of clearly understanding your goals and developing a solid and engaging concept for your book.

The authors recommend examining your favorite photography books in more detail: What is the book about? Can you summarize the subject in one clear sentence? Is there a singular artistic vision? How is the cover designed? How are the pages laid out? How are the images sequenced? How much does the book stick with you after you’d viewed it?

Section 2 also talks about how publishers work, explains how to approach a publisher, and suggests things to look for when reading a publishing contract.

You’ll also learn how and when it makes sense to use print-on-demand technology to publish a book yourself and when you’d be better off going through a publisher.

For example, working with a publishing company involves collaborating with experienced professionals. This means you must be prepared to compromise in certain areas because the book is not just yours alone, but is also part of a company with a brand and a mission. When you self-publish, you must take on all steps of the process yourself, including hiring individuals who can help you execute your vision for the book and help market it.

The authors write that: “Successful self-publishers are those who are organized and entrepreneurial at heart, who know their audience, can effectively reach that audience, and have the financial and labor resources available to take on numerous roles.”

Section 3: The Making of Your Book
This section walks you through the three main stages of making a book: determining and shaping the editorial content, creating a design that enhances the content without overwhelming it, and working with a printer. Many of these decisions will be based on the concept you have developed and communicated for the book.

Section 4: The Marketing of Your Book
No matter whether you self-publish or have your book published, expect to play an active role in marketing and promoting your book. And you don’t wait until your book is printed to begin thinking about marketing. The first phase of your marketing strategy should begin well before your book is ready to ship. The second phase will be designed to extend the life of your book beyond its publication date.

“Publish Your Photography Book” provides tips for building mailing lists, creating a budget, maintaining a consistent brand identity, working with a publicist, mailing publicity packets, and using the Internet.

The authors also talk about opportunities for cross-marketing. For example, “If the photographs featured in your book can be acquired as limited-edition prints, or are available to be presented as a collection in a traveling exhibition, it is wise to include that information in all formats of your press materials.”

Section 5: Case Studies
Throughout Sections 1 through 4, you’ll find insightful interviews with publishers, editors, designers, photographers, and self-publishers that reinforce some of the advice presented in the book. Section 5 profiles seven photographers who have published one or more photography books:

  • Alec Soth, “Sleeping by the Mississippi” and “The Last Days of W”
  • Paula McCartney, “Bird Watching”
  • David Maisel, “Library of Dust”
  • Lisa M. Robinson, “Snowbound”
  • Alex Webb and Rebecca Norris Webb, “Violet Isle”
  • Sean Perry, “Transitory and Fairgrounds”
  • John Gossage, “The Pond”, and “Stadt Des Schwarz”

One of the profiles quotes McCartney as saying, “It is very important that my books are artworks in themselves, not merely portfolios of my photographic projects…I think of books as a medium—like painting, photography, or sculpture—where all of the elements, including form, content, and materials are in dialogue with each other and are meaningful to the finished work.”

Section 6: Resources, Appendices, and Worksheets
This section includes 24 pages of helpful resources. For example, it includes: a diagram of the anatomy of a photography book; timelines for design, production, and marketing activities; a worksheet for preparing for your book; and guidelines for submitting a proposal to publishers. Also included are lists of: publishers; distributors; independent bookstores and dealers; festivals, awards, and trade events; blogs and book art resources; and online marketing resources.

About the Authors
Darius D. Himes was a founding editor of photo-eye Booklist and is a cofounder of Radius Books, a nonprofit company publishing books on the visual arts. Himes is a lecturer, consultant, and writer who has contributed to numerous publications. PDN magazine named him one of the fifteen most influential people in photography book publishing. For the past four years, Himes has been the lead judge of Blurb’s Photography Book Now Competition.

Mary Virginia Swanson is a consultant in the area of licensing and marketing fine-art photography. Swanson frequently lectures and conducts seminars and educational programs for photographers. She is a respected judge of competitions and awards as well as frequent portfolio reviewer.

If you want guidance about how to proceed with a specific book idea, Darius Himes and Mary Virginia Swanson offer one-on-one in-person or Skype consultations. To schedule a consultation, visit: http://www.publishyourphotographybook.com/

LINKS

Publish Your Photography Book

 

 

 

 

Percentage of Adults Who Own E-Readers and Tablets Is Relatively Small

Despite all the publicity surrounding tablets (such as the iPad, Samsung Galaxy, and Motorola Xoom) and e-readers (such as the Kindle or Nook), the percentages of adults who currently own tablets and e-readers are still well below the percentage of adults who own laptop and desktop computers and cell phones.

According to a survey of 2,277 adults conducted from April 26 to May 22, 2011 by The Pew Research Center’s Internet & American Life Project, only 8% of adults over age 18 own tablet computers and 12% own e-readers. This includes 3% of survey respondents who own both an e-reader and a tablet computer. Just 9% of adults own an e-book reader, but not a tablet computer. And only 5% of adults own a tablet computer, but not an e-reader.

In contrast, 56% of adults own a laptop, 57% own a desktop, and 83% own a cell phone.

Chart from Pew Research on E Readers and Tablet Ownership

The survey found that the most likely owners of e-readers are Hispanic adults, adults younger than 65, college graduates, and those living in households with incomes of at least $75,000. Over the past six months, ownership of e-readers among parents has grown more rapidly than it has about non-parents.

According to the Pew report entitled “E-Readership Ownership Doubles in Six Months” by Kristen Purcell, similar demographic patterns of ownership exist for tablet computers, although parents are no more likely than non-parents to own these devices. In the case of tablet computers, men are slightly more likely than women to own tablets.

The survey found that since last November, e-readership ownership doubled from 6% to 12%, while tablet ownership has grown more slowly. In May 2011, 8% of adults reported owning a tablet computer, compared to 7% in January, 2011 and 5% in November, 2010.

You can read (or download) the 7-page report on the Pew Internet website.

LINKS

Pew Research Report: E-Reader Ownership Doubles in Six Months by Kristen Purcell

 

 

LuxFolio Lets You Show 3D Photos and Designs on Your iPad

The LuxFolio™ Stereoscopic Portfolio iPad app ($2.99) lets you view and present 3D stereoscopic images on your iPad or a connected monitor, TV, or projector. The images can be produced with special 3D cameras or mounts or with 3D rendering software.

The app was produced by Luxology, an independent technology company in Mountain View, California that is developing next-generation 3D content-creation software. Luxology’s flagship product is modo 3D rendering software that is used by film and broadcast artists, computer graphics specialists, photographers, packaging designers, game developers, and web designers.

In the LuxFolio app, Images can be viewed in one of three ways:

The 2-up mode displays both images side-by-side and is designed to support connected stereoscopic video displays.

The wobble mode shifts between left and right views to simulate the act of moving your head side-to-side to see the stereo parallax of a scene.

The anaglyph mode works with commonly available red-blue 3D glasses. This view combines the two sides of the stereo pair using different colors, so that the left image is mostly blocked by the blue filter over the right eye, and the right image is blocked by the red filter over the left eye.

Modo screenshot on LuxFolio. Courtesy of Luxology.

You can organize images into slideshows with adjustable slide duration, plus manual forward, backwards and pause controls. Full screen iPad viewing is supported with zoom and pan functionality using standard iPad gestures.

“The LuxFolio app lets customers of modo and various other 3D software packages view their stereo assets on the go,” said Brad Peebler, president and co-founder of Luxology. “We are just beginning to tap into the image presentation and processing capabilities of the iPad and look forward to presenting customers with new and exciting options in the future.”

LINKS

Luxology

LuxFolio

 

See Visionaries Discuss Technology, Creativity, and Art

If you enjoy learning about trends, technologies, and ideas that will be shaping our lives and culture, check out the videos posted on TED.com.

Artist Janet Echelman talks about “Taking Imagination Seriously” at TED2011. Photo: James Duncan Davidson/TED

TED is a nonprofit organization devoted to “Ideas Worth Spreading.” It originated in 1984 as a conference for leading thinkers in Technology, Entertainment, and Design, and has since broadened its scope. TED now conducts two annual conferences, offers other idea-sharing platforms, and covers topics such as business, culture, science, and global issues.

TED.com was designed as a clearinghouse of free knowledge and inspiration from the world’s most inspired thinkers. It was also developed to enable curious souls to engage with ideas and each other.

On TED.com, you can watch videocasts of some of best talks and performances from TED conferences. Each talk is no longer than 18 minutes long. The interactive transcripts that accompany the videos enable you to preview the key points in the talk.

Two talks that caught my attention recently were given by sculptor Janet Echelman and author Eli Pariser.

Janet Echelman: Taking Imagination Seriously

In this nine-minute video, self-taught artist Janet Echelman tells the story of her first creative breakthrough into sculpture and how it became a catalyst for monumental artworks that were commissioned in Portugal, Phoenix Civic Space Park, the Vancouver Winter Olympics, and at the San Francisio International Airport.

Image of aerial sculpture by Janel Echelman
For the Inaugural Biennial of the Americas in Denver, Janet Echelman created this 230-ft. aerial sculpture entitled “1.26” Photo: Janet Echelman

She recalled walking through a fishing village in India and recognizing the latent beauty and sculptural possibilities in fishing nets. “I’d seen it every day,” she explained. “But this time, I saw it differently—a new approach to sculpture, a way to create volumetric form without heavy solid materials.” With the help of local fishermen, she used the ancient knotting craft to produce a billowing sculptural self-portait entitled “Wide Hips.” Today Echelman is internationally known for her place-making sculptures that transform urban environments.

VIDEO: Janet Echelman: Taking Imagination Seriously

Eli Pariser: Beware of “Filter Bubbles”

Book Cover for The Filter Bubble by Eli PariserIn this nine-minute video, the former executive director of MoveOn.org , shares insights from his new book: “The Filter Bubble: What the Internet is Hiding from You.”

He talks about some of the unintended consequences that are occurring now that web companies use algorithms to predict what type of content they think we want to see while filtering out other information we should see. As as example, he shows the vastly different results two individuals received after searching for the word “Egypt.”

Pariser contends that when online companies “personalize” our content for us (without our knowledge or consent), we get trapped in a “filter bubble” and don’t get exposed to information that could challenge or broaden our worldview. He believes this will ultimately prove to be bad for us and bad for democracy.

“We really need the Internet to be that thing we all dreamed of it being,” said Pariser. “We need it to connect us all together. We need it to introduce us to new ideas and new people and different perspectives. And it’s not going to do that if it leaves us all isolated in a Web of one.”

VIDEO: Eli Pariser: Beware online ‘filter bubbles’

BOOK: The Filter Bubble: What the Internet Is Hiding from You

About TED.com

 

How Designers Are Using Digitally Printed Fabrics

DESIGNERS. In other posts on this blog, I observed that continuing advances in digital fabric printing might open up new opportunities for designers. This could be especially true as older fabric designers who relied on screen-printing retire and as customer expectations for fast turnaround continue to intensify.

Since then, I’ve been taking note of articles that show how and why fashion designers have started using digitally printed textiles. Here are just three examples:

Wall Street Journal: Are You Wearing a Watercolor?

An article by Christina Binkley in the Wall Street Journal called attention to dresses and tops in the Helmut Lang collection that use photographs shot by the brand’s designers, Nicole and Michael Colovos. Some of the images were shot with an iPhone. She says the designers uses make collages from photos they’ve shot of peeling paint, subways walls, and other sights. Thus, the resulting collages may look nothing like the individual photos.

She cites another example in which designer Albert Kriemler made a dress fabric from part of a painting by the late artist Ian Hamilton Finlay.

Binkley notes that some designers still prefer the deep, clear hues of screen prints because digital inks don’t soak into the fabric as thoroughly. Plus digitally creating and printing designs require technicians who understand software and “have a great hand with the computer.”

But she also gives an example of how digital technology enabled a designer to get a fast-turnaround job for an awards-show dress that he might otherwise have lost.

Brisbane Times: How to Wear Digital Prints

This article by Glynis Traill-Nash notes that digital fabric printing has become accessible to more designers. She says designers either use photographs manipulated to abstraction or create uniquely designed panels that can be sewn together to create an overall graphic effect.

Wall Street Journal: Akris Captures the Season with Wedding Tower Views

In this article, Christina Binkley notes how precisely digital photos can be reproduced on textiles by showcasing a dress on which designer Albert Kriemler reproduced a photograph by Jurgen Schreiter of the Wedding Tower in Darmstadt, Germany. She calls the effect “mesmerizing,” but notes that one of the risks of wearing a photographic-print dress is that it may be too memorable to wear frequently.

LINKS

Are You Wearing a Watercolor? by Christina Binkley

How to Wear Digital Prints by Glynis Traill-Nash

Akris Captures the Season with Wedding Tower Views by Christina Binkley

RELATED POST

Are Designers Making the Most of Digital Textile Printing?

Do You Have What It Takes to Be a Chief Content Officer?

Photo of journalist at typewriterWRITERS. As a trained journalist who currently provides freelance content-marketing support, I was pleased to see that “Training as a print or broadcast journalist” topped the list of the 11 key traits Ann Handley listed in her Marketing Profs article on “How to Hire a Chief Content Officer.” She notes that journalists are trained to tell a story, and their innate understanding of audiences gives them a more nuanced, outside perspective that marketers can sometimes lack.

Ann, who is chief content officer of Marketing Profs and co-author of the book “Content Rules,” says that finding a Chief Content Officer with the right combination of skills is important because “The person in charge of your content sets the tone for your site.”

If you think you might be interested in becoming a chief content officer, here are the 11 key traits Ann listed and described in her article:

1. Training as print or broadcast journalist

2. Nose for a story

3. Digital intuition (an understanding of how the Web works)

4. Business acumen

5. An amateur passion (e.g. you already produce content just for fun)

6. A community leader (connections with potential contributors)

7. Social DNA

8. An open mind

9. Knowledge of the industry (or not)

10. A winning personality

11. Editorial skills

Ann advises employers that “The key is to find people who understand and embrace the fundamental thesis of Content as Opportunity. Businesses now have both an imperative and the incentive to produce top-shelf content.”

A Wish List, Not a Checklist

In my opinion, the 11 traits Ann Handley describes in her article are right on the money. But these traits probably represent more of a wish list than a checklist. Realistically, it may be very difficult to find a single individual who excels in all 11 areas.

Ann acknowledges that some journalists aren’t interested in content-development work because they fear “selling out” or crossing over to the “dark side” (even if they might earn more money).

Frankly, I think there valid reasons why some journalists don’t regard content development as a viable choice, and I’ll explain why in a minute.

I have worked in a variety of settings: academia, non-profits, a NASA research center, an ad agency, an association, a publishing company, and privately held companies.

In terms of “content development,” working for a NASA Public Affairs Office was ideal. My mission was to find and write stories that would help assure taxpayers and Congressional budget-committee members that government funds were being used productively by the research center’s rocket scientists, aircraft-engine developers, and energy-technology engineers. I particularly loved writing stories about entrepreneurs who were using NASA technology to develop new products or start new businesses. (In fact, a NASA researcher first told me about an advanced networked-communications research project that has since evolved into the Internet.)

But truthfully, my most enjoyable jobs were at the ad agency and publishing company. That’s because in these jobs 1) I was working side-by-side with like-minded writers and creative pros; and 2) writing was part of the core business. The quality of the writing was part of what the publishing firm and ad agency were selling. Content development was never viewed as a questionable overhead expense that might easily get slashed whenever marketing gurus starting promoting the next big thing in marketing.

Why Journalists Might Not Jump at Content Jobs

In addition to feeling undervalued in a marketing-driven work culture, I can think of three other reasons journalists might shy away from seeking full-time content-development jobs:

Fear of repetitive work. In some companies, content development might simply involve writing and editing variations of the same story day after day. Journalists thrive on seeking stories that are fresh, unusual, or important.

Clashing motivations. Most writers don’t go into journalism for the money. In contrast to marketers who seek to make a difference on the company’s bottom line, journalists want to make a difference to our democracy, society, and understanding of a changing world. Working in a newsroom is comfortable because a journalist’s co-workers tend to share the same values and sense of purpose.

Bad experiences with marketers. In the pressroom at trade shows, journalists routinely share horror stories about less-than-positive experiences with marketers and PR representatives. While journalists were striving to earn credibility and the trust of their readers, some marketers have arrogantly tried to dictate how certain stories should be told. Threats to pull advertising from the journalist’s publication always made matters worse.

So, here’s my advice to journalists who might be considering a full-time career as a content developer:

Be selective about the opportunity. It won’t feel like you’re selling out if you genuinely believe in the company’s products, services, and core values. Plus, the company can’t benefit from your skills unless you are genuinely enthusiastic. Authenticity matters.

Understand how your content-development work will be reviewed, evaluated and measured. This will reveal a lot about the culture in which you will work.

Find out how your potential employer defines “quality content.” Ask for examples of the type of work they admire. This can tell you whether you would be a good fit for their organization and whether they are likely to be receptive to your ideas and recommendations.

So, yes, I agree with Ann Handley that corporate content-development positions can provide some terrific opportunities for trained journalists. And, I agree that the employer won’t get the full benefits of having a chief content officer unless they hire a person with the right traits and attitude.

In certain circumstances, an experienced journalist would make an excellent chief content officer. But it’s also important to understand why some journalists may choose not to embrace the thesis of Content as Opportunity.

In my opinion, it can be beneficial to hire journalists to consult with and train marketing staff and then balance content-development projects with other types of work. Some marketing departments get so wrapped up in meeting month-to-month goals they lose sight of other trends occurring in the world around them. So, a good journalist could not only develop content, but also report on emerging trends that might require a company to adjust future goals. Journalists are not only good at content development; some also excel at market research and analysis.

So, what do you think? Agree? Disagree? If you are a journalist who has had experience working on both sides of the fence, I would love to hear from you!

LINKS

Marketing Profs Article:
How to Hire a Chief Content Officer: 11 Key Traits by Ann Handley

Book:
Content Rules: How to Create Killer Blogs, Podcasts, Videos, Ebooks and Webinars that
Engage Customers and Ignite Your Business by Ann Handley and C.C. Chapman

Content Marketing Institute:
Chief Content Officer Job Description Sample Template: by Joe Pulizzi

RELATED POSTS

Editorial Excellence Can Help Marketers Escape Content Chaos

 

6Sight Summit Discusses the Future of Imaging

6Sight LogoPHOTOGRAPHERS. Creative pros know that innovative thinking comes from seeing new things, listening to different ideas, and being open to new experiences. That’s why successful entrepreneurs attend conferences about topics other than the skills and equipment they need at the moment.

By paying attention to where technology is headed, smart entrepreneurs are the first to envision new types of business models and anticipate trends that could potentially disrupt their current businesses.

If your business involves selling photography products or services, check out the program of the 6Sight Future of Imaging Summit, which will be held June 20 to 22 at the Sainte Claire Hotel in San Jose, California. Produced by PMA® International, this event brings together technologists, marketers, futurists, industry analysts, educators, high-volume users, and journalists to preview breakthrough imaging technologies, forecast innovative uses, and spark new ideas and alliances.

At this year’s event, mini-summits will focus on technology, trends, and opportunities in four areas: mobile imaging, social imaging, photo publishing, and photo image capture.

Mobile Imaging Summit. This track is chaired by 6Sight mobile-imaging analyst Tony Henning, who observes that “Ten years after their introduction in Japan, camera phones are finally delivering on their promise. In the last few years, camera-phones and their ecosystem have progressed from being the unwanted stepchild of the imaging industry to the driving force. Significant growth and innovation in the photography industry is coming from the mobile side.”

The keynoter will be J. Gerry Purdy, PhD., principal analyst, mobile and wireless, MobileTrax. He points out that, “The largest selling digital camera in the world sits inside a smartphone. We are seeing sales of over one billion units a year. Through technical innovations, you can now take a really good photo with a phone, as well as HD video.”

Dr. Purdy predicts that more content will be generated by users with camera phones than all the cameras and camcorders combined. Following Dr. Purdy’s presentation, Henning will lead a discussion of the future of mobile-imaging hardware and software with panelists from Nokia, Vidyo, NVIDIA, Verizon Wireless, and other leading companies.

Photo Image Capture Summit: 6Sight’s digital photography expert Paul Worthington will lead this summit, which will explore imaging innovations that will change the way we capture images. He notes that “Affordable, quality cameras are so ubiquitous, it’s easy to forget they are exponentially better than the pricey hardware of yesterday. But those improvements and cost reductions bring a new challenge: What will make consumers buy new cameras, and how can the industry continue to grow and profit?”

The keynoter for this summit will be Vincent Laforet, a Los Angeles based commercial director and photographer who is regularly commissioned for advertising, fine art, corporate and editorial projects. Laforet’s work has been published in most major publications around the world.

Social Imaging Summit: Social media pioneer, business guru, and investor Guy Kawasaki will lead the social imaging summit. This topic is of great interest to photo-service providers because social networking has replaced the traditional 4 x 6-inch print as the primary method people use to share their photographs.

Kawasaki is well-known for his best-selling book “The Art of the Start,” which is a must-read for entrepreneurs seeking funding for start-up companies. In his newest book, “Enchantment,” Kawasaki explains why delighting your customers, bosses, and employees is much more effective than trying to manipulate them. He explains how enchantment can change skeptics and cynics into believers and the undecided into loyal customers and followers.

Photo Publishing Summit: Digital printing and marketing expert Barb Pellow of InfoTrends will lead this summit. She says that as the photo market continues to explode, “Consumer-based photo merchandise, including photo books, calendars, and greeting cards will experience double-digit growth. Numerous vertical market and business applications are emerging to support real estate, travel and leisure, events, and special interest groups. The 6Sight Future of Imaging Summit is going to provide a tremendous opportunity for participants to explore new business ideas.”

For more information about the conference, visit www.6sight.com. For a preview of the quality of insights you can expect to get at the 2011 conference, visit the Video Rewind Archives of the 2010 Future of Imaging Conference and watch the 30-minute wrap-up panel discussion that concludes Day 2 of the conference.

The 6Sight Report keeps you posted on the types of technologies that will be discussed at the Future of Imaging Summit.