The difference between a graphic artist such as Robert Rauschenberg, who incorporates photographic images in his work, and a photographer such as Scott Hyde, who employs silk-screen techniques in producing his final picture, is one that I do not care to define. […]
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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. […] 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 2014All content of this publication is © copyright 2009, 2010, 2011, 2012, 2013, 2014, 2015, 2016, 2017 by A. D. Coleman unless otherwise noted. All materials contained on this site are protected by United States copyright law and may not be reproduced for commercial purposes without prior written permission. All photos copyright by the individual photographers. "Fair use" allows quotation of excerpts of textual material from this site for educational and other noncommercial purposes.
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