SoCal PhotoExchange

The Extraordinary Art of Tami Bahat

Posted in Photo Art Business, Photo Galleries, Photograph Exhibits, Photographers, Photography by Gerhard Clausing on February 9, 2018

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Tami Bahat’s vision transcends time and space. When I met her for the first time some years ago, I was fully convinced that she was some sort of ethereal spirit that had been placed in my path as a reality check to reevaluate our contemporary upheaval through renaissance eyes. Not only does she have a gentle, forthcoming way of interacting with everyone, she is also a most insightful and creative artist whose work is both abstract and natural, both modern and history-laden, all wrapped up into each individual image, delightful to contemplate and appreciate. Incredible! As Will Geer once said, “it needs to come from the heart,” and Tami Bahat’s creative inventiveness is certainly full of heart and intellect as well.

Let me take you on a small preview of her current solo exhibition, “Revisiting Humanity: Secrets and Lifetimes,” shown at the Building Bridges Art Exchange gallery at Bergamot Station Art Center in Santa Monica, only through February 17, with a special closing reception from 6 to 9 that evening. Don’t miss this exhibit! There is no substitute for seeing the actual work and its gallery presentation, the superb prints as presented by Tami in gorgeous frames.

Marisa Caichiolo has curated Tami’s work into outstanding settings, generously presented, on a level of quality that art museums would be proud of. The subdued lighting is perfect for the mysterious work that looks as if it might have been created in a different time, yet, on closer examination, is so modern. We are confronted with a variety of figures that seem to serve in important roles in their own space and time, both of which remain mainly undefined, for the viewer to puzzle over. The figures are shown in a very theatrical manner against dark backgrounds, lit interestingly to give a pleasant, yet somewhat Kafkaesque effect; at the same time we feel an urge to place them somewhere in time, perhaps some centuries ago. And yet we can’t quite pinpoint where they belong or what they might be feeling, as their expressions are fairly neutral. This is where the viewers are enticed to do their part and to project themselves into what appears like a stylized historical tableau with contemporary psychology thrown in to startle us a bit. Some of the figures are shown together with other creatures or in the process of engaging in activities, with a clear mantle of other centuries and an unseen director (a puppet master, or possibly the Establishment) hovering over the whole enterprise. The shadows know … there can be danger in some of what’s in you or around you, or it can be lovable, or anything in between. There is an astonishing obliviousness that we observe. We want to caution the characters … watch out – some of the creatures present may not be as complacent as the momentary stillness might imply! Look at the images below and judge for yourself. Better yet, go see the exhibit and immerse yourself in Tami’s world of art.

Other series that Tami previously created also show her skills in translating emotions into images. Shades of Man Ray, Ralph Eugene Meatyard and William Mortensen, but with a very unique contemporary twist: the series “Reflection,” “Subsurface,” and “Wildlife,” exhibiting varying levels of abstraction and exquisite compositional arrangements, challenge the viewer to question form and purpose of life itself – implicit in her images displaying ambiguous beauty and tension. One example from each of these three other series is shown below. I invite you to view more of Tami’s work on her website.

We expect many more great projects from Tami Bahat in the future!

Gerhard Clausing

 

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The Dispute

 

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The Housekeeper

 

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The Fishmonger

 

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The Maid

 

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The Twins

 

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Divergence

 

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High and Low

 

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Inseparable

 

Image No. 1 above: © Gerhard Clausing, Nos. 2-13: © Tami Bahat

 

 

 

 

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John Montich at El Camino College Feb. 12 – Mar. 8; Art Palm Springs Feb. 16-19 this year

Posted in Photo Galleries, Photograph Exhibits, Photographers, Photography by Gerhard Clausing on February 8, 2018

John Montich will show the largest Cibachrome print he has ever done at the Moving Line Exhibit at El Camino College Gallery in Torrance. He will also participate in an artist talk on February 22 at 1 p.m. Further details can be found here (check the current exhibition link).

The Art Palm Springs Show will take place from February 16 to 19 this year. A discussion of the work of Andy Warhol (Feb. 16) will be one of the highlights, Further details can be found here.

 

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Pentax Spotmeter V – User Report

Posted in Camera equipment, Photo techniques, Photography by douglaspstockdale on February 7, 2018

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Pentax Spotmeter V 2017 copyright Douglas Stockdale

For my analog/film photography, I have been a long time user of spotmeters, my first was made by Soligor and when I dropped that too many times, I replaced it with the Pentax Spotmeter V. The Spotmeter V is an analog spotmeter that has since been replaced by Pentax with a digital version. The meter will measure the luminescence of a very precise area of the subject designed by a round spot much like a bullseye within the meter.

What brought me to use this precise light meter tool was my introduction into the zone system many, many years ago. In a future article I will discuss the zone system in more detail, suffice to say when using black & white film that was hand developed, there were a number of film processing tricks a photographer could use. This was predicated on the fact that they knew the lighting conditions of their subject and what the black & white values that they wanted in the resulting print. The secret trick to make this happened depended a lot on using a spot meter that could record exact light readings in various places within the subject; from the lightest values, mid values to the darkest values.

One thing that I did not like about the lesser expensive Soligor spotmeter was the undersized handle grip, which was rather annoying and maybe a reason that I dropped this delicate instrument one too many times. The Pentax in turn has a large handle and from that perspective alone is a delight to use. You can really get a grip on this little beauty.

The second was the Soligor had a two phase scale; you had one set of values with a slight squeeze of the button and if needed a different sensitivity, you squeezed a little harder to get the second set of light values. In comparison the Pentax has one continuous scale within the view finder, which is much easier to use, especially if the light values were in the mid point of the scale that for the Soligor had the readout jumping between the two values and a bit confusing to know exactly what was going on.

To use this spotmeter requires the photographer to take the value(s) viewed inside the meter and then translate it to the rotating scale on the outside of the meter, see below, to determine the required camera settings. As example, if reading a gray card (19% gray) and the meter pointed to the value of 10 & 1/2, you moved the dial to point at the 10-1/2 mark and for an ISO 100 film, you could chose a series of exposures that provide you with an appropriately exposed film (e.g. 1/15 sec at the half click between f/8 and f/11).

The final luminescence value determined for the mid-point is called the exposure index (EI) and when using the older Hassleblad lens, there is a corresponding EI scale on the lens. Thus this meter and lens make a great combination. When the EI is set on the lens, the aperture and shutter speed sequences were coupled together and locked in. A change in the aperture created a corresponding change to the exposure time. Thus a photographer could make one exposure and then quickly change the coupled exposure index settings for a different combination and still have the desired film exposure.

Although I no longer hand-process my film, I still depend on this meter to evaluate the lighting of my subject and then determine what my exposure should be.

This Pentax Spotmeter V has been a work-horse for me and has provided me without any troubles for the past ten plus years.

Cheers!

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Super Blue Blood Moon Exhibition

Posted in Photo techniques, Photograph Exhibits, Photographers, Photography by Gerhard Clausing on February 3, 2018

The Moon has always had a strange fascination for us. Mysterious powers have been attributed to this ever-present companion of ours (there are many folk tales about it), and science has verified that we definitely need that stellar friend.

So this past week we had a convergence of several phenomena that resulted in showing us a “super blue blood” moon. A few of our members actually got up in the wee morning hours and subsequently submitted their images: Douglas Stockdale and Roger Bennett, and this exhibition honors their dedication. Doug describes the difficulties of this kind of photography in his own blog. Robert Staeck submitted a moon image as well, adding, “Well, it could have happened.” Another member, the one who is writing this post and is known for his surreal images, wanted to share a vision of the moon that he had later that morning when he finally got up. Thus image No. 4 came about, an impression showing a man in the moon with quite a different expression!

There will be more group exhibitions throughout the year! Enjoy!

Gerry

 

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© 2017 Douglas Stockdale

 

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© 2017 Roger Bennett

 

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© 2017 Robert Staeck

 

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© 2017 Gerhard Clausing

 

 

 

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Really Right Stuff ball-head system – User report

Posted in Photo techniques, Photography by douglaspstockdale on February 1, 2018

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Really Right Stuff BH-40 and mounting plate with Hasselblad 2017 copyright Douglas Stockale

The review of the Really Right Stuff (RRS) ball-head system is the second part of my series on tripod systems and last week I discussed the Gitzo carbon-fiber tripods. To create a really good camera support platform, you need to use equal parts tripod and the means to hold and position the camera system. While the tripod provides the basic support I have found that a well design tripod head can make the photographic experience a lot of fun or if not well designed it can be a lot of frustration. Having used a both a ball-head and a pan-head, I do really, really do prefer the ball-head system for the following reasons.

First, I will admit that the pan-head systems have come a long way since I purchased my all-in-one tripod that included a pan-head camera mount. From my discussions with other photographers the pan-head seems better suited for those who need precision and are not in any big hurry, such as architectural field work. Essentially you have three levers to control changes; for the vertical, horizontal and tilt. I just found it frustrating to use a pan-head as a change to one of the three levers usually entailed adjusting the other two, which is why you better not be under a time constraint.

Since my field work is usually more dynamic and after frequent struggling with a pan-head I made the change to a ball-head support system and I am glad I did. I can vouch for all of the comments that I read about the Magnum photographers almost elusively using a ball-heads as I now realize that a ball-head makes a ton of sense. Set up is fast. And faster still if the ball-head is smooth as silk in operation.

After a lot of checking and reading reviews I concluded that the camera support system made by Really Right Stuff (RRS) was my choice, although a bit more pricey, these are made by a US machine shop which is run by photographers. They have created a really nice market niche and in my book have shown that they can create one of the best ball-heads in the market that is made in the US. Lots and lots of precise metal machining going on.

I acquired the middle of the line PH-40 which is predicated on the weight of the camera system, with the BH-55 meant for the really heavy cameras, e.g. a load view camera or DSLRs with some really long lens. RRS also has some lighter and more compact ball-heads as well. At the time I bought this ball-head I still had my Mamyia RB-67 with the prism, which is a heavy beast (since changed to the Hasselblad system) and a bunch of digital cameras including a full-frame DSLR.

The ball-head weight issue for long lens (my longest zoom is the Canon 70-200 mm f/4 L lens) is with all of that heavy glass hanging out at the end of the lens acts like a big gravity lever that can result in ball-head creep. This occurs once you lock the ball-head down for your composition (or a pan-head), there might be a tiny bit of moment in the camera/lens due to the amount of static weight being placed on it. Even with the relatively light 70-200 on my Canon, I still recheck the composition before committing to the exposure.

Although the ball head comes with a threaded screw, what makes this system work even slicker is when you pair a ball-head up with a quick release system. This also requires a matching mounting plate dedicated to the camera base. In my case I opted for a lever quick release base mounted to the ball-head and I have not had any issues with snagging this lever and inadvertently having the camera come off. The design of the lever does require some force to engage it, thus it does take some effort to open and close so a slight brush with your clothes is not going to allow a catastrophe to occur. For a square format camera like the Hasselblad a simple bottom quick-release plate will suffice, see above.

For a DSLR with a rectangle format, I would recommend acquiring an L bracket (see below) that once the camera is locked down for the composition, the camera body can be quickly changed to for an alternative framing. Although an L bracket does add a bit more weight to potentially an already heavy camera such as the Canon 5DMk3, I have found that the L bracket weight actually seems to act as a counter balance to the battery and hand hold aspects of most digital camera systems. The camera as a whole now seems more balanced and for hand holding situations, the horizontal framing process seems quicker now. Maybe it’s just me, but I get similar comments from other photographers when they pick up my rig.

I will be honest; the majority of my work is with horizontal framing, but when I wanted a quick vertical framing after the camera was set-up, it was lightening fast to change the body and quickly get the exposure. When you are working with a fluid situation, the amount of time to make a camera change can also make the difference in getting the alternative shot.

My one gripe; the quick release plate does include a leveling bubble, but this bubble is concealed when the camera is on the ball-head. If for an architectural composition in which the horizon and verticals need to be in alignment this would require removing the camera body and checking the bubble or setting up the tripod and get the bubble right before mounting the camera body. My work around for speed? I purchased an inexpensive bubble that slides into the flash bracket of my DSLR (regretfully not shown below).

All in all I have now used the RRS BH-40 for over five years through the US, Europe and Asia. It easily dismounts from the tripod to reduce size for travel and is an absolute delight to use; very, very smooth operation. It is really great that when you are engaged with a subject that you don’t find yourself worrying about your support equipment and it essentially becomes an extension of your creative imagination.

It’s also my option that Really Right Stuff is the top of the line for ball-heads systems. Not the most inexpensive system, but you only need to buy it once and you should consider this a valuable investment in obtaining great photographs.

Cheers!

RRS BH-40 ball-head with Canon 5DMark3

Gitzo compact carbon fiber tripod: user report

Posted in Camera equipment, Photo techniques, Photography by douglaspstockdale on January 24, 2018

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Gitzo G1228 Mountaineer Reporter Carbon Fiber Tripod, copyright Douglas Stockdale

A number of years ago when I bent and broke for the last time my aluminum tubing heavy duty tripod, I decided to make an investment in a carbon fiber tripod. One of my many reasons for selecting the Gitzo G1228 as the tripod’s name implies it that it’s meant for backpacking and mountaineering; rugged and light weight. The carbon fiber materials were very much lighter than the beast that I had before and every bit as rigid and has held up very well over time which is the reason for this user report. By the way the current Gitzo model is the G1228 MK2.

My intent was to use if for my DSLR and medium format cameras with light to moderate weight lens. I understand from others that this tripod can probably handle a light weigh 4×5″ camera as well. I was also intending to travel with it on airline flights and when the ball head is removed, the tripod collapses and measures 20 1/2″ which is ideal for stuffing in an overhead bag that fits in the overhead bin. I have since carried this tripod with me on assignments all over the US, as well as to Europe and Asia. No issues.

The downside to this compact travel size tripod is that when the four section legs are fully extended as well as the column fully extended my camera is almost the right height for eye level viewing. The less you can extend the tripod legs usually the greater its stability, which is the whole reason for its use. So when I using this tripod with my camera rig, such as in both the photos, I try not to extend the column if the composition appears to work. I have also found that when the three legs are held together, the tripod can double as a monopod and provides just enough added stability when working with an active situation (perhaps looks a bit weird, but it works).

The legs are secured or extended after a quick twist of the heavy duty locking rings and I prefer this over the flip-tap type leg systems. It seems that the flip-tabs keep getting snagged (not great for packing with clothes) and are always in the wrong place. The leg sections always seem to extend quickly and smoothly.

Since I am a big fan of ball-heads to attach the camera to the tripod, having the option of a plate to attach the head design of your preference was a nice feature. This also allows a more compact size for travel when I remove the ball head.

The Gitzo is very stream line and robust and has done by me very well for the past five years.There was a hook that threaded on the bottom of the column, but I seemed to have lost that a while ago. If you can keep track of your hook, that is idea place to attach a bag or some other object to provide additional stability for the tripod, such as on a breezy day.

With a lot of my travel assignments now by car/SUV, I am considering a longer tripod. I would prefer that I do not need to extend the smallest legs and still have my cameras at eye level. I would also buy another Gitzo again when I am back in the market for another tripod; little pricey, but worth it.

Cheers!

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Palm Springs Photo Festival, May 6-11, Workshops Filling Up

Posted in Photo Workshops, Photograph Exhibits, Photography by Gerhard Clausing on January 24, 2018

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5f9f4a0785b992f3bfd83c10_1100x466.jpgThe Palm Springs Photo Festival is where you can learn from celebrated master photographers, present your work to our remarkable faculty of industry influencers, attend important seminars, symposiums, evening presentations & enjoy our networking events!

QUICK LINK:      PSPF Website

Having participated in the Palm Springs Photo Festival several times, enjoying workshops with Ralph Gibson and Duane Michals, and many lectures and exhibits, I can highly recommend it!

Workshop enrollment now open, filling fast!

G. Clausing

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Challenges and Joys of Medium-Format Macro

Posted in Camera equipment, Photo techniques, Photography by Gerhard Clausing on January 23, 2018

Recently I have picked up my Pentax 645Z again, to rediscover the world in miniature. The depth of field/focus can be very minimal at close range, seemingly elusive. I have a razor-sharp macro lens that I bought used at reasonable cost (compared to similar Hasselblad and Leica medium format lenses), the Pentax 645 120mm f/4 SMC FA Macro, that makes it possible. Several such excellent automatic and manual Pentax 645 lenses are left over from the film era and are shunned by some photographers who would rather spend thousands for a similar lens with the “digital” designation.

So, with or without extension tubes, there is a world in miniature to be discovered. The live view function on the rotating viewfinder makes it even more possible. The subtleties of color captured with a 51M pixel sensor and the information-gathering ability of these large lenses are amazing. And the time and money saved by not having to process and scan film is substantial, of course. So my idea is to capture a dreamy world, whether it is one of my “selfscapes” or the stuff that we all have around the house, such as my desk surface that becomes a constructed landscape, or the flowers in a vase that have seen better days.

Hope you enjoy the images below. – This is also a forum for exchanging information, so if you have any questions about this or would like to share similar guest contributions, please let me know in the comment section below, or send me an email!

Cheers!

Gerhard (Gerry) Clausing

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All images © 2014-2018 by Gerhard Clausing

Canon 50mm f/1.4 lens check

Posted in Camera equipment, Photo techniques, Photography by douglaspstockdale on January 15, 2018

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Santa Ana, CA, May 13 copyright 2017 Douglas Stockdale

This is not meant in any means to be a full technical review of the Canon 50mm f/1.4 lens that I recently purchased, but in the immortal words of the late Garry Winogrand, “I want to see what this looks like”. As background I have been using almost to the exclusion, the standard Canon 24-105mm L zoom lens which is the “kit” lens that came with my Canon 5D. I think that the 24-105mm is a great all around lens but I am also of the opinion that the prime lens, such as this 50mm f/1.4, will provide an extra brilliance in the rending of the image.

The photo above is essentially the first exposure I made after walking out of Samy’s Camera store in Santa Ana, CA, a full frame capture on my Canon 5D Mark3. I am planning to dedicate this lens on my Canon 5D for my studio work for when I re-photograph photo books for The PhotoBook Journal.

Right now I want to see this full frame image after processing with Photoshop in a lower resolution (72dpi) JPEG on my monitor, since the images I make with this are essentially destined for viewing in this format on the web. I first did a check of the image’s outer edges and corners since that is where a lens usually starts to fail in image quality. My assessment: looking very good and this appears to be a keeper. No need to make a return trip back to Samy’s Camera.

I am not thinking about another photo project involving Southern California food trailers, but it is nevertheless an interesting idea. I must admit, while walking out of the store and trying to decide what to quickly photograph, this red foodie trailer quickly caught my eye. So a little bit of formal composition and the photo was captured.

After working with a zoom lens for so long, using a fixed focal length (e.g. prime) lens was a mental rust remover. Such that if I wanted to tighten up this composition and stay full frame, I actually needed to move my feet. Back in the day when one bought a 35mm film camera, it usually came outfitted with a 50mm lens, such that my Canon Ft-QL (that was somewhere in the very early 1970’s) came with a 50mm f/1.8 FL lens, and this same focal length came with my upgrade to the Canon Ae-1 in the early 1990’s.

Actually for street photography the 50mm (normal focal length) is a really nice lens to work with and I know a lot of street photographers who swear by this focal length for the majority of their work. Nevertheless I may also just tuck this little lens in my camera bag when I take some road trips, or if I want to go low-key/light-weight to replace the heavy and slower 24-105mm zoom altogether ;- )

Cheers!

Below, recent photograph with this 50mm f/1.4 on the Canon 5DMk3 from my project Path to Somewhere; Arroyo Trabuco Trail, December 2017 (cropped square).

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Douglas Stockdale – Guide to Self-Publishing an Indie Artist Book

Posted in Photo Art Business, Photo books, Photography by Gerhard Clausing on November 3, 2017

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Author and Principal Photographer:  Douglas Stockdale (born Butler, PA; resides Rancho Santa Margarita, CA)

Publisher: Self-published; first edition, first printing of 400; copyright © 2017

Text: English

Stiff-cover saddle-stitched book of 40 numbered pages with 14 images on several types of paper; 7.5×9 inches; full-color digital lithography, printed by Dual Graphics, Brea, California; $19.95 plus shipping ($4.50 in US & $15.00 USD other countries)

Book Design: Douglas Stockdale and Craig Evans – Text Editor: Gerhard Clausing – Cover Photograph: Scott Mathews

Notes: This book had its debut at the Medium Festival of Photography on October 26, 2017, and was received with great enthusiasm. It is a detailed guide to help the artist through all the steps and considerations to keep in mind when thinking about and executing an independently published artist book.

Douglas Stockdale, editorial founder of The PhotoBook Journal and our SoCal PhotoExchange, who has been our guide through many artistic and publishing intricacies which he has discussed in hundreds of book reviews and articles, really gets to the point in this publication. Fortunately, his collaborator and sponsor in this venture is the renowned printing and communications company Dual Graphics in Brea, California, which already assisted Ansel Adams in artfully transferring his photography to print many years ago.

Doug certainly practices what he preaches. As a successful mentor and leader of workshops dealing with planning, producing, and marketing photo books, and as an author of a number of them himself (In Passing, Ciociaria, Pine Lake, Bluewater Shore), he is able to lay out logical and creative patterns for planning and doing artist books that are designed to help artists avoid many possible pitfalls that he has observed over time. The discussion is divided into five stages, which also constitute the chapters of this book:

  1. Book Pre-Visualization
  2. Marketing (including funding and fundraising)
  3. Book Development (including editing, sequencing the images, and making a book “dummy”)
  4. Book Design (and options)
  5. Book Production

Just to name one very important consideration, this Guide introduces marketing issues early in the process, rather than at the end, as others have done, since marketing information and decisions are integral to all other considerations that follow. Doug also devotes important space to the topics of selecting and sequencing the images to be included in an artist book, a topic that is sketchy in other guides on publishing your own artist book. There are many other planning considerations that he discusses to help the reader untangle potential difficulties.

Another fascinating feature of this book, extremely useful and exclusive, is the addition of sample pages of several different types of paper on which the same color and monochrome images are printed, so that the effect of printing on papers with different surfaces and characteristics can be seen. While the images below are no substitute for getting the actual book and studying the printing on the actual paper, they allow you to begin to see some differences. This feature alone is worth more than the cost of the book, as it is the best demonstration for working closely with a top-notch printing company, and to alert the potential maker of an artist book to all the details that can make a huge difference. There are also detailed descriptions of the papers included, as well as definitions of many terms that make the artist more knowledgeable when dealing with the printing and binding options. Needless to say, the author’s style is to the point, easy to read, and not filled with unnecessary technical jargon.

This book is highly recommended, especially if you are not sure about doing an artist book. The overview and the details provided here will help you understand and appreciate the process and will serve as a checklist to guide you through the entire process when you have made the decision to go through with it.

Gerhard Clausing

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