Legend 3D Subhan Saleem Asif Volume three is called We Always Lie to Stangers which is an homage to Vance Randolph, a very well-known Ozark folklorist who worked at the University of Arkansas and would collect folklore stories and oral story telling traditions of the Ozarks. Chadwick Boseman Sheila Boateng Jabari Warrior uncredited Che'valier Paul Warrior uncredited Donja Harper
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What is the project about and how did it start and evolve? The project began in its loosest form about 10 years ago while shooting pictures in the Azores, on the island from which my family emigrated in the s. The series follows two paths: The images in the book are meant to tell a personal story but using the style and tools of the Kumulipo. The book of the photographs is divided in to three sections: Black-and-white images of the Azores, set against pieces of a small part of the Kumulipo chant.
Large-format color images of the Big Island, titled after and depicting the stories of the chapters of the Kumulipo. How important is the thread of text through your book? The premise the whole time was that the Kumulipo specifically, and Hawaiian chant poetry more broadly, was the best representation of what it feels like to be in the Hawaiian landscape… so to try and interpret that would be a good way to try and render that landscape sincerely. Within the book, the text pieces hopefully work as dots to connect the photos, or as opportunities to write your own stories that connect them.
I guess, ultimately, they should help set the mood of the project. You had great success in your Kickstarter campaign. I have some hints at how it was successful, but will you share your thoughts? How did you build your network to help with the support? Do you think it was the awards? I think the awards certainly help in part because they give the backers something to look at beyond the book itself. Ultimately not many people purchased the larger print awards, but having them all there was a way to show the images, and maybe to discover as a backer that the scope of the project was bigger than just the book.
You raised more than anticipated. What changes did you make to the book with an expanded bu dget? I made more on the campaign than I had anticipated and put that money back in to upgrading a couple of the specs of the book. The dimensions are slightly bigger, and the page count is a little higher. I believe that your video had quite a bit to do with the success of the Kickstarter. Will you briefly discuss how you produced the video? I shot and edited the whole thing, and thankfully had a friend do the music for it.
I used that time to shoot video of the landscape and of my working in it. I think I probably had a few hours of footage that I edited down to a few minutes. I also viewed it as an opportunity to show parts of the project that no one would see otherwise, which made it appealing to me, too.
Your book is scheduled to be published this year, but you have had some difficulties with selecting the correct printer. Will you share a bit about the difficulties and how and why you selected your current printer? Will you go on press? I first sought out recommendations, and got a few. One of them was for a printer local to me, who seemed very highly regarded, and was helpful and receptive when we first met. It was at first important to me that I could be on-press, because I had had something printed before that was poorly done — so I was excited that this press was local.
So every time he wrote back saying that it would all be ok, I believed him. Finally, I had to drop him and move on. A few weeks before I ultimately dropped him I started researching other printers, looking mostly to see where books that I love had been printed. I wrote to a dozen places in one day, and heard back from about half of them, and started corresponding with about half of those.
They do a series of proofs and tweaks in Seattle, and then the final versions of those proofs are used as hard-proofs on press. Do you have some exhibitions in conjunction with the release? Did the book help with exhibitions or vice versa? But the momentum of each obviously informs the other. Having gone through this project thus far, what advice do you have for photographers who want to self-publish a book? Be honest with yourself about why you want to do a book.
I guess it could be rationalized as part of broader strategy… to have books and exhibitions and personal work and commercial work all inform each other. And if I did commercial or editorial work that might be true. But if you work primarily doing personal fine art projects, then I think you must feel like a book is the best culmination of your project to justify doing it. A book is very much in that same category, even with Kickstarter and pre-orders, etc.
It has its pros: But like a lot of art work, you might never know if it was a good decision except as a part of your own artistic needs. An Interview with Dana Mueller. Will you briefly tell me about the project May Days?
May Days is my first monograph. I have worked on this series of photographs in book form for the past three years. In and the following year, I taught photography at the Center for the Studies of Jose Marti, where I met Cuban friends who introduced me to attitudes, views, and life of the island.
The series of photographs are a visual record of my time there — during the days of May — and encounters with people and places that seemed significant to me at this specific moment. Although I grew up in the former East Germany, it was important to me not to see things through the filter of socialism and economic hardship — although only too apparent — but through social and human engagement that was serendipitous and open.
We met at Filter Photo Festival a few years ago when you were presenting May Days to reviewers there. You were trying to decide who you wanted to work with for publishing your book. How did you finally decide on the current publisher? Was the final book relatively true to your mock up? Yes, I was speaking to a few small independent publishers and printers at the time and was trying to figure out the best fit for the project.
This being my first monograph I was new to the experience and, with the plurality of book publishing venues, it seemed overwhelming. Through my wonderful collegue Shawn Bush who designed the cover and text, I was introduced to Fraction Editions and the enthusiasm for the project, by both my designer and publisher, is what motivated me to move forward. I also had a strict budget and both were willing to work with me to find solutions when costs went beyond what was anticipated.
I am happy to say that the published version of the book is essentially identical to the mock up, with only a couple of deviations. The layout involved 13 gatefolds and, fortunately, we found a printer who was willing to take on the challenge thank you Kehrer Design! Many publications today, whether entirely self-published, require a financial and time investment from the photographer.
How did you fundraise for this book? What should a photographer plan for the budget that you did not expect? Publishing a photography book is expensive, still, even though new technologies in independent publishing create more opportunities for artists like myself to realize work in book format — but it remains a considerable financial commitment.
The uncertain and unsettling aspect was to raise the funds, which I did partially through an online fundraising platform, plus I also needed to approach private donors, which was not easy. Once I felt the goal was within reach, I committed myself to go ahead as so much time, effort and collaborative energy was allocated in making the book possible I am talking months, even years in the end.
First, the creation of the actual book, which included the investigation of relationships between images and possible narratives, plus the consideration of a more interactive object which was incredibly exciting and it was what I enjoyed most. In the end, I felt I paid too high a fee for usage services. At the same time, if one feels there is no other way to fund a project — grants, support from institutions, or private donors — then of course online fundraising is still an option.
But I would first recommend using your own network of friends and acquaintances. Lastly, the production of the book is where you hand over everything to a team of wizards who transform it into a physical reality. I loved that process and again working with a production team that supports the work was tremendously rewarding.
In terms of planning a budget — the most costly aspect of publishing is the printing. Everyone will tell you that. If you are thinking about working with a publisher speak to your friends and colleagues who have had experience working with various venues, and get a better sense of what is right for you and your budget. And that is fine, it forces you to figure out other ways of making it work. For me it came down to how can I make this book, and who can I work with to collaborate.
What is your role in design, production and marketing? In your experience, what is the time investment that a photographer must make in the success of their book? My goal was to publish in the fall of I started the book in the summer of It took a year — off and on between my teaching schedule — to edit, layout, design, and create various versions of the book dummy four in total. Into the summer of and early fall, I started to approach printers and independent publishers. In spring , I fundraised and it was not until early summer of that I knew the book had a chance of being made.
David Bram at Fraction was committed to finding the right printer, which took some time, and eventually we were finally able to publish in spring — the first books arrived in May. Publishing involves numerous parties and it takes time. Your book is loaded with gatefolds and makes for a slow experience of viewing the book and allows for more dynamic interaction with the publication.
This was also your concept in the mock up as I recall. How important are the gatefold to the experience? Also, I know that features like gatefolds can increase cost. Did you have to compromise for other features of the book such as dimensions or binding to all for the gatefolds in the budget?
I definitely wanted to create for the reader an experience of discovery when turning the pages, as well as creating visual echoes and repetitions I am referring here to the plates that I call ghost images. The gatefolds added significantly to complicate that play. I found working with edit and layout was incredibly exciting. In terms of costs, we approached the printer with all 13 gatefolds and gave them our budget.
As we talked to Kehrer, they confirmed all gatefolds were possible. It was a challenge. To stay within budget, we had to compromise. A type of paper I preferred was too expensive and we found another, still very fine paper but for a better price.
If one works on a book for some time, priorities both shift and also crystalize, so you make your choices and changes as you go along. At least that is how it worked out for us. Finally, I am working on a piece about text in photobooks. My first question asks you to explain the book. You may talk about it, but you chose to allow the book to be an object without explanation.
How did you make the decision to not include text and how important is the experience of viewing the book without a verbal description for you? I wanted to allow for an active involvement when coming to the work without a pre-determined understanding or explanation through the written word. But I wanted to offer an experience with May Days that was more open to interpretation and response. The Spook Light Chronicles: The project is placed in the Ozark region of Missouri, Arkansas and Oklahoma and focuses on folkloric and oral storytelling traditions of the region.
Locals also claim to see the Devil on the road at night, giving passersby the chance to exchange a wish for their soul. Lara and I viewed this story as the perfect metaphor for searching and desire and the pull between dark and light that finds its way in rural Ozark life.
The story of meeting the Devil on the road comes from European folklore. We thought it was interesting that this story became embedded in the Ozark wilderness. We are both from this region and wanted to make a body of work that spoke to our own memories of the place we grew up in while also addressing the current social and economic realities facing rural life in the region.
The project began as a traditional documentary body of work, but quickly evolved to contain interpretive images, text and archival photographs. We worked on the project for five years and amassed a huge amount of material, much of which never made it into the books, the result being a multi-genre narrative with many layers and interpretations.
How did you decide to do your book? Was the project conceived and produced to ultimately be a book project? Initially, we did want to do a photobook. We both naturally gravitate towards the book to focus in on a project and to be able to give the viewer a much more nuanced view of what the body of work could possibly be. We decided to do a book because we had been receiving some attention for the work before it was finished. This project seemed perfect for the book form.
The book gives you the opportunity to slowly get to know the landscape and get a feel for life there. It also gives you an opportunity to explore the archive, essays and oral histories we included. Available to ship in days. Very informative book on Ancient Egypt, my 9 year old son has enjoyed reading it and is using it as one of his sources for a school paper he is writing.
National Geographic Kids Funny Fill-in: My kids love these. Grammar hidden in fun. Great for kids grade K - 4. Used for a school project. National Geographic Kids Readers: My five year old son loves this book. He's asked for it for over a year and we finally gave in and let him read it, worried that it would be a bit scary. He's fascinated by it, it's educational, and easy to understand as well as interesting.
Eleven-year-old Zet and his younger sister Kat are left with the responsibility of minding the shop while their father is in a faraway land fighting for Egypt and their Pharaoh. But each week the children's earnings dwindle until they fear they won't have enough to feed themselves, their baby brother and their mother. So when a thief bounds through the market place, Zet steps up to the medjay, or police officer, to offer to help catch the thief in exchange for the reward.
This brave, but foolish action soon lands Zet and his sister in trouble, so deep their very lives and the lives of their family are in peril. As Zet and his sister wind their way through the streets of Thebes, the scents and sounds and activity of the thriving commercial city come alive. They meet many people in their quest from the man who grows papyrus I bought this for my son's friend for her 9th birthday.
When she opened it, I got a very emphatic, "OH!! I love it when I rock the gift! Who Was King Tut? Has a lot of information about Tut and ancient egypt too. If you like egypt and are interested in King Tut this is the book for you. There's a problem loading this menu right now. Get fast, free shipping with Amazon Prime.