FEDERC directive
Thank you very much for the introduction for being invited here today.
I first met Wayne Ford when I was working on my developments for Phonearc, a free and open photography class.
Wayne Ford is somebody who has a seemingly never-ending knowledge of photobooks,
and this knowledge was regularly explored for the benefit of students.
In that I would have a space that would enable people to benefit, not only from his experience and his knowledge, but also to share their irony.
The Photo Book Club works much like a traditional book club. Each month we choose one significant book to look at.
existu cyfrych i ni o relayio ag unig ac yng Nghefnwyr yn ei cyfrif
ac yn ddweud y cwmniadau ar y bwysig ac yn ddweud o'r cwmniadau, y cwmniadau, y cwmniadau ar y bwysig, y llwyddiadau a'r ddweud.
Mae'r ddweud y cwmniadau yn ddefnyddio'r ddweud o'r ddweud o'r ddweud, Facebook a'r ddweud o'r ddweud o'r ddweud.
Y cwmniadau ar y bwysig ym Nesaf ar ôl yn weitbwy 순 producewater at Elidw� Trefo.
Credu mergell ease a wedi wattau o gorffod ei fod minndill, gyda'r llun fl definitely ar y cwmniadau ei fodlon may ibaer
ac mae'n pan o'i rhan. mae'n ddweud ac mae'n dweud gyda'r cwmniadau yn dynion.
Mae'r�hau yn clawt roedd ym mwyaf maes ersherwydd gallu sydd mai eisteddfoddiad ei fodlon gyda y brife Cesianol.
Ac manos fel wneud y myugh drwsgredeg sy'n
Dwi wedi eu hun arbitrary am sema gamd foundational yn berson i'w pa таких cy upgraded a fyddio bwysig am y titul ei wath i diwrnod a mewn hiad ateb ac pob ychydig o w cargo iheil at y sicr o scomatio wahar
Fe w biased A bo ni fyddion ei wneud a fe fyddion ei fyddion yn ei response sydd gennym yr un wrth cais yn perigod pan'wn ddangos digon i'ch eux
ond dig unplorsinasch.
Y nôr gallwch dod inflation iawn yn cael ei nhw llawer them.
A wnaeth beth hwn ar'w hyffredin ateb g koko wahanol bood y gwir siarad—
ond chi ddeg yn niall ran â'i llyff dreadn a lawer rail bank tidur.
Rydych ni'n osně diffynt ar dwi'n cael ei rhoi i.
Ond hynny'n roedd yr unrhyw boedd,
yn gallwn ei nob hills o'i gwir i,
yr unrhyw boedd y gwir i mersiwn.
A fe'n telefon â'i gyylan bod nhw dy receipt o chi wni â'r bobl yn gwelchER!
Rafonизwyddon ychydig jagadbent hefyd
drafonid sydd archifumysus
o gystef trasid
um bod yn gyhoallr
ac yn gyfoedd yn falch
ar saved
Winno ar butulu
Ond dwi'n gwezwch
ac du'n ffer bod mer undergoing
Ar
Tiffanyn, Ibu'r Helygarid wyhaeth o'r bwysigwyr f magnets,
Na'r wyf ar 2 fy knights mor dw i'r See kill yma Truwydd, ond rwy'n 160 ysg טwledau a ffermrodd Un equivalent yn ffotob y hofydol.
Roedd gennychst cymryd o unib yn ressent assistance roedd 110 ymw hawdd ar gyfer.
Dyna boed bod hynny Gog CDU'r lle f rasp am y com Enw yma.
M iyno sef bod y newydd hynny ulyg am fer馬 occ.
Ond dawn iawn llawer ofen yn allu'nSuperf Stocks I sup hynny o wneud o'r eich cam lle o'r feddswydo'n ei bahyswyd.
Ond dw i ddim yn cynhyrchu'n cosmetics, dwi'n dod i nifer am wavefgosydd i'
is that a group of photobook plans can gather together around the table and share and discuss photobooks.
And as well as bringing books that we've looked up on the website, we invite all participants to bring it on their own.
And so this way everybody gets to see and handle and interact with a range of books.
And everyone gets to hear a personal and a passionate view on people's chosen books
rather than a publisher's text and maybe a few spreads that you find online.
We had our first meeting two weeks ago as part of Photo Book London.
And we had a publisher, we had photographers, we had students and other book lovers all turn up to discuss their books.
We had more planned meetups that we get organised directly by the Photo Book Club.
And we've also set up a map and a notification system so that people all over the world can see who's geographically near to them
and they can sign up so they get notified where the latest meetup is taking place and where it is.
And the hope here is that we can facilitate the shared generative experience of the meetup
in small radar communities all over the world.
And so with this in mind, with my experience of the Photo Book Club in mind,
I'm just going to take a look at the question that we're all being asked today,
which is whatever is the cover books, what happens to storytelling now
and in particular for me what is next for photo books.
Well, there are three key areas that I'm interested in here and I'm just going to touch on.
The first is the book as an object and the idea of additioning.
The second is community and lastly experience.
The book as an object and additioning is going to be important to the future of books
because it's important to a new generation of consumers.
The Photo Book has always been an object,
but the rise in indie publishing has introduced that idea to a new generation of consumers,
a digital generation of digital natives.
The wide variety of paper stock and formats and layouts and so on.
This reinforces the idea that the book is more than just a container of images.
And so value is being placed with the physical objects
and with the idea of the unique, the addition and ultimately the generative.
An example of this trend is Craig Atkinson,
who's a photographer, publisher and illustrator.
And this is a book called Bits in which he's collected illustrations, images,
notes and so on and also a general ephemera from his studio for a year.
And he's collected them to form a sort of book of artefacts.
As well as this being a book of artefacts, the addition on this, it isn't in pencil,
hand drawn on the inside cover or on the back cover,
but he's spray painted it directly onto the front.
Addition is 25, so the addition that you get hold of actually becomes your front cover,
highlighting the idea of the limited and also making each copy more unique.
And here Alex is standing in front of special editions of Broken Manual,
while he calls these ideal editions.
This is the way he'd ideally like the work to be presented.
And in these, the book, Broken Manual, is put inside another book that's been hand cut out
and it's accompanied by a signed print.
And these books and books have lived in an exhibition for four months.
And so by the time people have actually bought these books,
yet their hands on it, it's already had a life in itself.
Community.
This is important to the future of books,
because people are getting together, on and off line,
to share, discuss and fund books.
Projects like slide show, slide like pot show, instant coffee photography,
various pop-up libraries and also our own meet-ups
to demonstrate that people are interested in this shared generative experience.
Of course this is nothing new, people have been getting together to discuss books
and to watch films and to interact with each other for a long time.
But it's interesting that a large number of people attending these are these digital natives,
people who have grown up consuming material on a screen.
And so for them this is a sort of way of connecting with people
and with the world and with work away from that screen.
I don't think this means that the online community is any less important,
which is why at The Photos of Book Club
we try really hard to get that community fit.
It's why we invite all of our followers to share their comments on Twitter.
It's why we offer our website as a platform for those who want to say more
and engage further in the dialogue of our books.
It's also why content producers and publishers
should really be aiming to work with these communities.
Kickstarter doesn't always directly relate to books, in this case it does,
but the social funding platform is a great demonstration of how these communities can work.
So communities will form around projects that they're interested in
and those that fund the project will usually receive some sort of behind the scenes unique access.
They'll get entry to a limited club of sorts and they'll be these backers here.
And they'll also get a reward at the buy-in level that they choose.
And traditionally with books there may only be two buy-in levels.
But in Kickstarter you'll see often 10 or 15 buy-in levels for each project.
So you're giving everybody the opportunity to choose how much they want to support the project.
And if you look around platforms like Kickstarter, emphasis,
and now there's crowd books, which is specifically for photo books,
you see that the majority of the rewards here are going to be generative.
Generative artefacts and generative experiences.
So we have here, one of them here is a walking tour of the Unseen Red Hook,
the location for this project.
And we also have the book which is signed and hand numbered first edition with my warmest thanks.
And we also have two prints that are available at different price points.
Now with both of these prints the images are available online.
The images are available for free to see online, but there is no value in that.
And it's when it becomes a signed print that value is put into it,
and when it becomes a limited edition hand printed from the negative,
that you get that generative artefact and thus the value goes up.
So communities are becoming integral to the success of lots of photo book projects.
And so to experience, to me a photo book should tell a story,
and it should take you on some sort of a journey.
And the choices that go into the production of that book should all help to tell that story.
The typography and the binding and the layout and the accompanying text,
they should all help for that storytelling experience.
And now we have so many more tools available to us to tell these stories.
Photographers are exploring this with multimedia pieces.
They're using audio, they're using video along with skills and even geo data.
The next step in the photo book experience is to bring all of these together
into a complete and immersive project.
This is Nick Biltons, I live in the future and here's how it works.
And this shows how just using a simple QR code here
could embed digital items within the physical book.
So if you were to scan this with an iPhone, an iPad, any sort of tablet or smartphone,
you're taking to a completely different layer of information,
a layer of information that can't actually live on a printed page.
So you have videos and we have links, there's updates,
and then a further layer you have this community idea with a comment and discussion area.
The idea that we can make our own way through a photo book in a non-linear fashion,
stopping to explore different events and locations as they take our interest,
receiving updates and even interacting with its author and subject.
This is going to play a huge role in the future of photo books.
I say don't see the future of photo books as a digital versus analog discussion.
Both have their own set of benefits and both have a role to play in 21st century publishing.
It's when these benefits are combined, the future of books can only be a more exciting place
for storytellers and for consumers.
Thank you.
