In a previous post I mentioned that I’d be visiting Adrian Tyler in Madrid.
It really was a flying visit and we were both pushed for time, but we managed to grab time for me to look at his work, and he gave me a crit on workprints from the Exotic series .
I don’t get to meet other photographers much so I really value hanging out and talking about work. I came away with the clear understanding that I need to work more. Adrian is just so prolific, with multiple projects on the go and trips planned up to a year in advance.
But the main learning point for me was in the way Adrian edits his work. I rarely print anything, yet he prints small work prints of everything, shuffles them around making edits. Then constructs small spiral bound books of potential sequences. It works really well. Having the ability to flip rapidly back and forth really helps evaluate if the sequence works. Being a book designer, I guess he has a natural feeling for the format. But there is certainly something totally different about shuffling prints. I tend to make slideshows, but it isn’t as organic as handling the real thing.
October 11th, 2007 - 2:19 pm
In the past, I’ve made work prints on US Letter, put them into transparent plastic envelops with holes for 3-ring binder. [One problem that has niggled unconsciously which I just this moment twigged to is that I print landscape images as landscape rather than in the dominant orientation of the 'book'. (Note to self.)]
I guess doing this is less of a commitment to content & sequence and it certainly doesn’t *feel* like a paper book. Maybe it’s a first stage notion, with this excellent spirobound being a subsequent one.
I think ‘get on with it’ is always a good thing to say to your self, perhaps a daily mantra while grinding the coffee beans.
Thanks for this. The new pix are lovely as well. Glad the WordPress problems were not fatal.
…edN