From now on, when people start to talk about or to write about the illustrated book as a phenomenon in book cultures, they’re going to have to start taking into account the photography book as a kind of entity in itself. […]
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What do these images need? What does this book need? If I brought this out and people could buy it for five dollars, might I not sell eight thousand copies more, or two thousand copies more than I’m going to sell if I bring it out priced at fourteen dollars? […] This is a problem because an increasing number of [photography] books that come out are, in fact, extended statements. They are intended as unified books and intended to be dealt with as a unit of work. We’ve got to re-educate ourselves within photography to sitting down with that kind of book, and not the “greatest hits” kind of book which used to be the tradition. […] If photography books are to become really viable as products, without meaning as “merchandise,” if they’re to be able to be self-sustaining as a produced artifact, they’ve got to go beyond the market in photography. […] |
 SPJ Research Award 2014 |
Dog Day Afternoons: Bits & Pieces (12)
Surprisingly few members of the international photography network came out in public support of Liu Xia during her long ordeal; most of those who demonstrated and petitioned steadfastly on her behalf came from the literary community. […]