6/30/2006
6/29/2006
Rimbaud
I'm in the middle of a biography of Rimbaud by Enid Starkie. Whenever you think you've read it all as far as the horror of an artist's life goes - there's always more. Arthur Rimbaud begins life in a small provincial French town. He excels in literature and wins several poetry prizes by the time he's fifteen. His mother is a woman determined to push Rimbaud into a "good" career - and he definitely has the brains for it. For these first fifteen years - he plays at being an obedient kid but behind his placid demeanor - there is already a wild egoism waiting to emerge.
His studies of magic, alchemy, and the Cabala convince him that there is a totally original non-Christian poetry that goes back to magical sources. According to his theory - by "disordering the senses" he can tap into the neo-Platonic power behind the senses, and become a sort of God. There is already a bit of a tradition of this in France with Baudelaire - but Baudelaire believes that this "debauch" will ultimately fail and destroy the poet. Rimbaud believes that Baudelaire didn't go far enough.
By the age of 16 he has run away from home to go to Paris several times; and each time he is met with abject failure (frankly a lot of it because of his own behavior). By the time he's 21 or so - he's written his major works - and alienated Parisian literary circles; his own family; his friends; and I suppose anyone else he's come in contact with. What is worse, is that he's come to believe that his ideas about channeling God (some say the Devil) - has not worked and that he's only been writing (like every former poet) through his own prism. A Season in Hell is partly about this horrible discovery of his own failure.
His former lover, Verlaine, has been sent to jail for shooting Rimbaud in the wrist. Rimbaud has stopped writing altogether and believes that he must make a success of himself by becoming an industrialist or a scientist. He is convinced that a new world based on science will produce the utopia he's been longing for.
But again - at every point where he might have found some success he gets bored with the drudgery of the "real world." A lost spirit, set adrift in a world which he cannot accept.
It's difficult to find a single moment of peace for him. He ends up in Africa - running guns, possibly involved in slave-trading. And through all this - from the most remote locations - he continues to write to his mother:
"I'm obliged to wander over the face of the earth, tied as I am to a distant undertaking. What is the use of all this indescribable suffering, if I'm not one day, after a few years, to rest in a place that I more or less like, and have a family of my own, a son at least, whom I shall spend the rest of my life in training according to my own ideas and whom I'll see grow into a famous engineer, a man rich and powerful through science. But who knows how long I may last in these mountains here; I may lose my life amongst these people, without any news of me ever coming out again." May 6th, 1883
His problem was that he was just living at the wrong time. If he'd live in San Francisco in 1965 he might have been the next Jim Morrison. In the '50's he might have been Alan Ginsburg living in Pasaic or Jersey City.
But as it was - he was simply born 100 years too soon.
His studies of magic, alchemy, and the Cabala convince him that there is a totally original non-Christian poetry that goes back to magical sources. According to his theory - by "disordering the senses" he can tap into the neo-Platonic power behind the senses, and become a sort of God. There is already a bit of a tradition of this in France with Baudelaire - but Baudelaire believes that this "debauch" will ultimately fail and destroy the poet. Rimbaud believes that Baudelaire didn't go far enough.
By the age of 16 he has run away from home to go to Paris several times; and each time he is met with abject failure (frankly a lot of it because of his own behavior). By the time he's 21 or so - he's written his major works - and alienated Parisian literary circles; his own family; his friends; and I suppose anyone else he's come in contact with. What is worse, is that he's come to believe that his ideas about channeling God (some say the Devil) - has not worked and that he's only been writing (like every former poet) through his own prism. A Season in Hell is partly about this horrible discovery of his own failure.
His former lover, Verlaine, has been sent to jail for shooting Rimbaud in the wrist. Rimbaud has stopped writing altogether and believes that he must make a success of himself by becoming an industrialist or a scientist. He is convinced that a new world based on science will produce the utopia he's been longing for.
But again - at every point where he might have found some success he gets bored with the drudgery of the "real world." A lost spirit, set adrift in a world which he cannot accept.
It's difficult to find a single moment of peace for him. He ends up in Africa - running guns, possibly involved in slave-trading. And through all this - from the most remote locations - he continues to write to his mother:
"I'm obliged to wander over the face of the earth, tied as I am to a distant undertaking. What is the use of all this indescribable suffering, if I'm not one day, after a few years, to rest in a place that I more or less like, and have a family of my own, a son at least, whom I shall spend the rest of my life in training according to my own ideas and whom I'll see grow into a famous engineer, a man rich and powerful through science. But who knows how long I may last in these mountains here; I may lose my life amongst these people, without any news of me ever coming out again." May 6th, 1883
His problem was that he was just living at the wrong time. If he'd live in San Francisco in 1965 he might have been the next Jim Morrison. In the '50's he might have been Alan Ginsburg living in Pasaic or Jersey City.
But as it was - he was simply born 100 years too soon.
6/28/2006
iView bought by Microsoft
Seems like everything I like is swallowed up by a bigger fish. I believe that iView will be bundled with the operating system and the "pro" version will be sold separately. iView began life on the mac . I use it to generate the galleries you see on this site and for managing (finding and cataloguing) images. It's one of those programs where you never need to open a manual or look up anything in help. Very straight-foward user interface. So I guess it's all part of the war to manage images. My guess is that Microsoft will "integrate" a raw conversion program into it.
News about iView acquisition.
News about iView acquisition.
6/27/2006
6/26/2006
Coney Island, Rain
"I have had my fun
And if I never get well no more
I have had my fun
And if I never get well no more
Yes my health is fading on me
Yes, I'm goin' down slow"
Howlin' Wolf, 1964 Goin' Down Slow
And if I never get well no more
I have had my fun
And if I never get well no more
Yes my health is fading on me
Yes, I'm goin' down slow"
Howlin' Wolf, 1964 Goin' Down Slow
6/25/2006
6/24/2006
Mermaids and More
Turned out to be an excellent day for shooting at Mermaid Day. First I visited the ocean and it was nice and misty. I shot a lot with the red filter. The parachute jump had been painted bright red. Maybe it was that way last year but I didn't notice. Lots of crusty characters around. Fortunately, the roller coaster wasn't running so I didn't take my ride. The train ride out was fruitful, as was the ride back. All in all - a magical day.
6/23/2006
Prints on Display
30 of my prints have been installed at the Palace Restaurant - 2nd floor - 122 East 57th street. I had lunch there today and took a few shots which I'll post after the weekend. This is not exactly gallery representation - but they looked damned good. In case you do stop by - they are not on the Silver Rag paper. I didn't have enough of it at the time - but either on Ilford Pearl or Epson Luster.
6/21/2006
Cinematographer
In 1982 I worked as an all around production assistant, bag carrier, dolly-pusher etc. on a film called Wild Style. It was produced / directed by Charlie Ahearn - and mostly shot in the Bronx. There was a lot of work done in small hip-hop clubs and this is a shot of one of the cinematographers - John Foster. The film was either the first or one of the first films to combine tagging and rap. I can assure you that I had no idea that it would document something that would go on and on...
You can read more about the film here: IMDB.
I did take pictures of the rappers and writers - but where they are - no idea. Fab Five Freddy gave me a nickname of "Animal" which stuck with me for a few other films. Animal was the slovenly photographer on the Lou Grant show. And as was - and still is - usual for me - I had grown a scruffy beard by the end of the shoot and wasn't very good about wearing fresh clothing.
You can read more about the film here: IMDB.
I did take pictures of the rappers and writers - but where they are - no idea. Fab Five Freddy gave me a nickname of "Animal" which stuck with me for a few other films. Animal was the slovenly photographer on the Lou Grant show. And as was - and still is - usual for me - I had grown a scruffy beard by the end of the shoot and wasn't very good about wearing fresh clothing.
6/20/2006
Bookbinding Fini
Also - as an aside - Hahnemuhle has a new paper out: Fine Art Pearl 285gsm (another let's emulate a darkroom fiber print paper). I'm very happy with the Museo Silver Rag - but frankly the more the merrier. Maybe that will drive prices down. You're talking about a buck fifty per letter-size sheet for the Hahnemuhle Pearl. Ah - the niche market. When we (the inkjet people) take over the world - we will abolish glossy paper and force the world to conform to our traditional fiber print-looking ways.
* * *
I have come to the end of this adventure. My conclusion is that it is going to be very expensive and time-consuming to make a high-quality inkjet photo book with say 40 - 75 photographs. It can be done on a limited basis as a prototype to show a prospective publisher, or as a portfolio - or for the wedding couple, but to do this in any quantity for selling to the public is too expensive.
Whether you use the Innova Opus Album, or the new Hahnemuhle Album (which I can't find in the states), or just buy a beautiful scrapbook and paste your pictures on it - you are making something to show your art or ideas to a couple of people.
When you introduce fine-art inkjet printing with hardcover bookbinding - if you include the labor - makes the book way too expensive to sell - unless it's just a small album book with 20 or so prints in it.
So for me - I think the idea is to make prototypes of books - postbound so the pages can be changed around - and see if I can interest a publisher.
Maybe the secret is to just buy a three-ring binder, I've got a nice hole-punch, and just put them in there. In other words, don't try to look like a "real" book. The spiral or the 3-ring binder is actually the best way to view many prints in a certain order. I could even get those little ring reinforcements. And sell each as a one-of-a-kind item.
And with that said - I will go back to my usual line of work - making photographic prints.
* * *
p.s. The process reminds me of the time when I was making hand-assembled photo cards. They were very nice. I sold them at about $4.50 each, which was the most anyone would pay for them. It was a tedious process, but you could somehow convince yourself that it was worth your while when there were only a couple of orders. And one day an order comes in for 700 or 1500 cards. I don't remember the exact number but it was large. and there I sat for the next 2 or 3 weeks making cards. When the cards were finished; and I had switched during the process from one broken printer to one that was working; and filled the house with cards that were drying and flattening under weights; and that some were sticking together because the glue hadn't been put on right; when everything was straightened out - I sat down and figured out that my profit was about half the current minimum wage.
This latest project has the same feel about it. Do it as a means of presenting your ideas to someone, but not as a sellable item (unless you find out that you are indeed famous. You'll know that if other photographers are interested in getting shots of your newborn baby).
* * *
I have come to the end of this adventure. My conclusion is that it is going to be very expensive and time-consuming to make a high-quality inkjet photo book with say 40 - 75 photographs. It can be done on a limited basis as a prototype to show a prospective publisher, or as a portfolio - or for the wedding couple, but to do this in any quantity for selling to the public is too expensive.
Whether you use the Innova Opus Album, or the new Hahnemuhle Album (which I can't find in the states), or just buy a beautiful scrapbook and paste your pictures on it - you are making something to show your art or ideas to a couple of people.
When you introduce fine-art inkjet printing with hardcover bookbinding - if you include the labor - makes the book way too expensive to sell - unless it's just a small album book with 20 or so prints in it.
So for me - I think the idea is to make prototypes of books - postbound so the pages can be changed around - and see if I can interest a publisher.
Maybe the secret is to just buy a three-ring binder, I've got a nice hole-punch, and just put them in there. In other words, don't try to look like a "real" book. The spiral or the 3-ring binder is actually the best way to view many prints in a certain order. I could even get those little ring reinforcements. And sell each as a one-of-a-kind item.
And with that said - I will go back to my usual line of work - making photographic prints.
* * *
p.s. The process reminds me of the time when I was making hand-assembled photo cards. They were very nice. I sold them at about $4.50 each, which was the most anyone would pay for them. It was a tedious process, but you could somehow convince yourself that it was worth your while when there were only a couple of orders. And one day an order comes in for 700 or 1500 cards. I don't remember the exact number but it was large. and there I sat for the next 2 or 3 weeks making cards. When the cards were finished; and I had switched during the process from one broken printer to one that was working; and filled the house with cards that were drying and flattening under weights; and that some were sticking together because the glue hadn't been put on right; when everything was straightened out - I sat down and figured out that my profit was about half the current minimum wage.
This latest project has the same feel about it. Do it as a means of presenting your ideas to someone, but not as a sellable item (unless you find out that you are indeed famous. You'll know that if other photographers are interested in getting shots of your newborn baby).
6/19/2006
Another Mermaid
Here's the link for info on the Mermaid Day Parade. I usually wind up at this event. The pull of the ocean and the fun pagan ritual. This year I plan to sneak my camera on the roller-coaster and shoot from there - both the parade and the roller coaster experience. Maybe I'll hide my camera in an airline sick bag.
The Inkjet Photo Book
All this effort to make books, when I don't even think anyone buys books anymore. Nevertheless....
This is the compilation of what I've discovered, on my quest to make a photobook with my own choice of inkjet paper. I don't blame you if you fall asleep reading this. In fact, unless you are interested in reading about the method of trial and error and error and error - I would skip this post entirely.
1) If you want to use a mat finish or high-cotton paper (InnovaArt etc.) and if you're willing to pay about $50 for a post bound book with some paper included) - it's a snap. You can use the Opus Album, or a couple of others. Actually if money is not an issue then just find a bookmaker to use a more professional sewn stitch to bind it for you. And if you don't really care what it looks like - just buy a wire binding system and you can churn out books with your own paper that lie flat for very little money. It doesn't have to be that crummy spiral schoolbook look; they are doing wonderful things with plastic bindings these days (plastic, my boy). It could be black for example.
2) If you are willing to use mat finish type paper, that's light enough, you can do a nice perfect bound book. The thing about perfect-bound (glued) books is that they really don't lie flat. If they do lie flat it's because you've really stretched the glue.
But there is a form of perfect binding where the book does lie flat. I believe they call it the lie-flat method.
To do that - you make the book block (the pages) like a normal perfect bound where the pages are glued together - but you use a slightly different spine, and the front and back endpapers are glued to inside of the covers. Again, these types of books will not work well with a resin-coated, ceramic coated - type of inkjet paper. These papers just don't bend enough and it's like flipping through a book of springy pictures.
3) There is something called a concertina fold (accordian) which will hold heavier paper stock. But you need to make them and the books have a feeling of - I don't know - a ledger / filing cabinet.
4) If you have or can get the case (total cover) together, and where the spine is the right size for the book you want to do - you can drill holes into the back cover, put some screwposts through, punch holes in your paper of choice. Then you have a nice linen cover (no screws in the cover) and a nice screwpost / case binding book. This is - so far my favorite idea. Get the ready-made case from someone like BreezeKit - and then adapt that nice linen cloth cover for to my own tastes.
In other words - the binding for the BreezeKit - it's fine if you use someone's paper that has holes punched in it - and has been creased to bend properly. But if you don't want to pay for very proprietary paper - i.e. you can use your own paper.
But for semi-gloss, luster, gloss paper - you need some sort of page hinging system.
Again - these are available. Lineco makes cloth hole-punched paper hinges with adhesive for the glossy type page to stick to.
Print File also makes a page hinge. And a few others. Some are more expensive than others. Some are double-sided - meaning that you can stick two pages to one hinge; some are single sided. At first thought - you might be leaning towards the double-sided hinge. Not a good idea. Cheaper, but when you realize that by turning one page (top page) you are also turning the second page (second photo attached to the hinge) - when you realize how awful that feels. Forget that and go for the one page hinge - if you are going to go the hinge route.
There is only one problem with the page hinge idea: cost. The cost for the hinges is about the cost for each page of inkjet paper you use. So you are doubling the cost making the print block.
If you do want to use hinges, one way is to make your own. Not as bad as it seems.
And here's how it's done: punch two holes on the short side of the paper to match the two holes in the bottom cover of your bound book. Then slice that paper with a paper cutter about 3/4's inch to the right of the two holes. In other words what you're going to make is a page hinge.
Now - cut a piece of Lineco self-adhesive linen cloth (used for reparing books) - and stick that to the paper you've just cut to put it back together. If you use this method, you cut the cost of the hinging to 1/3 what it would cost to buy pre-made hinges. You also have the ability to space the holes punched into the back of the book where you want them, since you are punching both the book and the hinges.
Another benefit of the cloth hinge is that it doesn't have the bulk or mass of the store-bought hinges. You can cut them quickly on a rotatrim. And to be honest, they don't even need to be exactly the same height - just so that they're shorter than the paper.
I'll have to take the book I made apart and post some pictures.
At any rate - the material costs are like this:
From BreezeKit:
Linen Case
(front back covers, cloth covered, end papers, spine for about 20 - 35 sheets)
$15
Paper: You have to figure your own costs. For me we're in the neighborhood of .45 cents per page.
Linen Cloth: I think I figured this to .15 per sheet, but I'm going to have to check that).
(amount of pages unknown
ScrewPosts (.25 cents each. You'll need two, top and bottoms so let's say .50 per book).
If you want to assume 30 photographic plates then the cost for materials might be around:
$15 cover + .50 screwposts, + linen strips 4.5, paper $13.50 = the neighborhood of $33.50 per completed linen-covered book. As I say, this is a sort of hybrid book, part-case bound, part post bound. Hey, what's a book anyway. I'd like to see someone define that.
There is another way - completely different cover idea that I'm working on. This way promises to be (I know this is like searching for Eldorado) - but anyway I always had a touch of the inventor in me - this is a different idea where you buy the proper card stock, or mat board, and you have it creased in four places. Either by yourself or by a bindery - and the cost should come down and give you more freedom over the dimensions and be even less costly. The need for interior hinges would still be there though.
Oh - one more thing. Anything I've said here goes for doing a ribbon book as well. Instead of posts get a strip of leather if you want a rugged feeling; or ribbon if you're feeling dainty - and do a stitch through the two holes with that.
You see - this is a little like Treasure of Sierra Madre and what happens to you when you take on the quest for gold in whatever form you seek it. I hope that I'll be more like the John Huston character than Fred C. Dobbs.
This is the compilation of what I've discovered, on my quest to make a photobook with my own choice of inkjet paper. I don't blame you if you fall asleep reading this. In fact, unless you are interested in reading about the method of trial and error and error and error - I would skip this post entirely.
1) If you want to use a mat finish or high-cotton paper (InnovaArt etc.) and if you're willing to pay about $50 for a post bound book with some paper included) - it's a snap. You can use the Opus Album, or a couple of others. Actually if money is not an issue then just find a bookmaker to use a more professional sewn stitch to bind it for you. And if you don't really care what it looks like - just buy a wire binding system and you can churn out books with your own paper that lie flat for very little money. It doesn't have to be that crummy spiral schoolbook look; they are doing wonderful things with plastic bindings these days (plastic, my boy). It could be black for example.
2) If you are willing to use mat finish type paper, that's light enough, you can do a nice perfect bound book. The thing about perfect-bound (glued) books is that they really don't lie flat. If they do lie flat it's because you've really stretched the glue.
But there is a form of perfect binding where the book does lie flat. I believe they call it the lie-flat method.
To do that - you make the book block (the pages) like a normal perfect bound where the pages are glued together - but you use a slightly different spine, and the front and back endpapers are glued to inside of the covers. Again, these types of books will not work well with a resin-coated, ceramic coated - type of inkjet paper. These papers just don't bend enough and it's like flipping through a book of springy pictures.
3) There is something called a concertina fold (accordian) which will hold heavier paper stock. But you need to make them and the books have a feeling of - I don't know - a ledger / filing cabinet.
4) If you have or can get the case (total cover) together, and where the spine is the right size for the book you want to do - you can drill holes into the back cover, put some screwposts through, punch holes in your paper of choice. Then you have a nice linen cover (no screws in the cover) and a nice screwpost / case binding book. This is - so far my favorite idea. Get the ready-made case from someone like BreezeKit - and then adapt that nice linen cloth cover for to my own tastes.
In other words - the binding for the BreezeKit - it's fine if you use someone's paper that has holes punched in it - and has been creased to bend properly. But if you don't want to pay for very proprietary paper - i.e. you can use your own paper.
But for semi-gloss, luster, gloss paper - you need some sort of page hinging system.
Again - these are available. Lineco makes cloth hole-punched paper hinges with adhesive for the glossy type page to stick to.
Print File also makes a page hinge. And a few others. Some are more expensive than others. Some are double-sided - meaning that you can stick two pages to one hinge; some are single sided. At first thought - you might be leaning towards the double-sided hinge. Not a good idea. Cheaper, but when you realize that by turning one page (top page) you are also turning the second page (second photo attached to the hinge) - when you realize how awful that feels. Forget that and go for the one page hinge - if you are going to go the hinge route.
There is only one problem with the page hinge idea: cost. The cost for the hinges is about the cost for each page of inkjet paper you use. So you are doubling the cost making the print block.
If you do want to use hinges, one way is to make your own. Not as bad as it seems.
And here's how it's done: punch two holes on the short side of the paper to match the two holes in the bottom cover of your bound book. Then slice that paper with a paper cutter about 3/4's inch to the right of the two holes. In other words what you're going to make is a page hinge.
Now - cut a piece of Lineco self-adhesive linen cloth (used for reparing books) - and stick that to the paper you've just cut to put it back together. If you use this method, you cut the cost of the hinging to 1/3 what it would cost to buy pre-made hinges. You also have the ability to space the holes punched into the back of the book where you want them, since you are punching both the book and the hinges.
Another benefit of the cloth hinge is that it doesn't have the bulk or mass of the store-bought hinges. You can cut them quickly on a rotatrim. And to be honest, they don't even need to be exactly the same height - just so that they're shorter than the paper.
I'll have to take the book I made apart and post some pictures.
At any rate - the material costs are like this:
From BreezeKit:
Linen Case
(front back covers, cloth covered, end papers, spine for about 20 - 35 sheets)
$15
Paper: You have to figure your own costs. For me we're in the neighborhood of .45 cents per page.
Linen Cloth: I think I figured this to .15 per sheet, but I'm going to have to check that).
(amount of pages unknown
ScrewPosts (.25 cents each. You'll need two, top and bottoms so let's say .50 per book).
If you want to assume 30 photographic plates then the cost for materials might be around:
$15 cover + .50 screwposts, + linen strips 4.5, paper $13.50 = the neighborhood of $33.50 per completed linen-covered book. As I say, this is a sort of hybrid book, part-case bound, part post bound. Hey, what's a book anyway. I'd like to see someone define that.
There is another way - completely different cover idea that I'm working on. This way promises to be (I know this is like searching for Eldorado) - but anyway I always had a touch of the inventor in me - this is a different idea where you buy the proper card stock, or mat board, and you have it creased in four places. Either by yourself or by a bindery - and the cost should come down and give you more freedom over the dimensions and be even less costly. The need for interior hinges would still be there though.
Oh - one more thing. Anything I've said here goes for doing a ribbon book as well. Instead of posts get a strip of leather if you want a rugged feeling; or ribbon if you're feeling dainty - and do a stitch through the two holes with that.
You see - this is a little like Treasure of Sierra Madre and what happens to you when you take on the quest for gold in whatever form you seek it. I hope that I'll be more like the John Huston character than Fred C. Dobbs.
m i s c
I've been too busy, partly with a bunch of small orders, and partly with the book binding world to write much recently. There was a back log with the orders because I was waiting for silver rag to come back into stock and also fedex delivered it to the wrong address (next apartment building) even though it was properly addressed. That was scary $450 worth of paper sitting somewhere. But my mailman told me that it was sitting next building over and he is going to get a super fabulous Christmas bonus from me.
Not all work. I was at the Mets game yesterday, and was lucky enough to get shots of everyone screaming their heads off when David Wright hit his grand slam. And also an old seat wiper (if that's what they're called) at the game that got into a conversation with my father, and I was in a good spot to do close-ups of his gnarled hand with the white rag and all that. I miss shooting and as soon as the book thing - which is close now - is finished - I look forward to heading out.
I think next weekend is the Mermaid Day parade. I'd better check that. I don't think I ever did shoot it with the rangefinder. I only pray that for once the day is overcast and not brutally hot.
(The printer is doing six 5 x 7's while I write this. It is a lovely thing.)
Not all work. I was at the Mets game yesterday, and was lucky enough to get shots of everyone screaming their heads off when David Wright hit his grand slam. And also an old seat wiper (if that's what they're called) at the game that got into a conversation with my father, and I was in a good spot to do close-ups of his gnarled hand with the white rag and all that. I miss shooting and as soon as the book thing - which is close now - is finished - I look forward to heading out.
I think next weekend is the Mermaid Day parade. I'd better check that. I don't think I ever did shoot it with the rangefinder. I only pray that for once the day is overcast and not brutally hot.
(The printer is doing six 5 x 7's while I write this. It is a lovely thing.)
6/16/2006
part 100
After all this time - not sure how long - of researching and experimenting with the photo book idea, I also realized that I want to spend my time arranging and maybe commenting about the pictures - not making the book. I made my way down to Sam Flax where I met some people who took pity on me and helped me. Thank you!
I think I'm close now to the self-made hardcover book. I can almost smell it. And I also stumbled with a fallback book that is ready made where you slip your prints into mats in the book. Very nice looking. Unfortunately - more later. The object of this exercise - in case it got lost - is to be able to make a few hardcover books that could be sold for $75 or less - but if nothing else could be used to send to publishers or just show around.
I think I'm close now to the self-made hardcover book. I can almost smell it. And I also stumbled with a fallback book that is ready made where you slip your prints into mats in the book. Very nice looking. Unfortunately - more later. The object of this exercise - in case it got lost - is to be able to make a few hardcover books that could be sold for $75 or less - but if nothing else could be used to send to publishers or just show around.
6/15/2006
Book making Part 99
I've spent a fair amount of money and time on the photobook making project.
What I've learned so far:
First off, if you are going to spend the time and money (paper / ink) to make a fine art photo book then it seems like an awful waste to make it into a "perfect-bound" paperback. You don't want to spend all sorts of money for the nice photo paper of your choice and wrap it with a paperback cover where the pages are glued to the spine. It doesn't make sense.
Speaking of paper back covers - if you are doing a book that is say 11.5 inches wide, then the cover stock needs to be at least double that 23 inches, plus an inch or so for the spine. So you're in the 24 inch range and it's not that easy to find cover stock (I haven't) that's say 8.5 inches by 24 inches. You can do it with roll paper but that poses some other problems such as curling and getting the spine printing just right etc. It can be done - but photo paper on rolls - not the best thing for the cover.
But that takes me back to the hardbound book. The closest I've come so far is the BreezeKit from DigifilmLabs. I have one setting now. The book body, i.e. the pages are bound by individually applying double-sided adhesive to each sheet. This isn't as bad as it seems since the book is only going to hold between 20 - 30 sheets, and I made a little rig so that the applicator has a straight edge to line up with and you can do the 30 pages pretty quickly.
The weak point - as far as I see it - is how the books body is attached to the spine of the ready-made cover: two pieces of black cloth tape. With photo paper - I don't think it will ever lie flat. And it is probably sturdy enough for 20 sheets. And so far, it is the most inexpensive solution for a hard cover book.
During my search for ready-made hard back covers, i.e. so that I could have a wider spine, I came across a product line called FastBack. They sell all the pieces for the hardcover and the binding process, I'll look into it more tomorrow.
* * *
Fastback at least in terms of what's available now - is a dead end. They can only bind along the long edge, i.e. the book must be in portrait format.
What I've learned so far:
First off, if you are going to spend the time and money (paper / ink) to make a fine art photo book then it seems like an awful waste to make it into a "perfect-bound" paperback. You don't want to spend all sorts of money for the nice photo paper of your choice and wrap it with a paperback cover where the pages are glued to the spine. It doesn't make sense.
Speaking of paper back covers - if you are doing a book that is say 11.5 inches wide, then the cover stock needs to be at least double that 23 inches, plus an inch or so for the spine. So you're in the 24 inch range and it's not that easy to find cover stock (I haven't) that's say 8.5 inches by 24 inches. You can do it with roll paper but that poses some other problems such as curling and getting the spine printing just right etc. It can be done - but photo paper on rolls - not the best thing for the cover.
But that takes me back to the hardbound book. The closest I've come so far is the BreezeKit from DigifilmLabs. I have one setting now. The book body, i.e. the pages are bound by individually applying double-sided adhesive to each sheet. This isn't as bad as it seems since the book is only going to hold between 20 - 30 sheets, and I made a little rig so that the applicator has a straight edge to line up with and you can do the 30 pages pretty quickly.
The weak point - as far as I see it - is how the books body is attached to the spine of the ready-made cover: two pieces of black cloth tape. With photo paper - I don't think it will ever lie flat. And it is probably sturdy enough for 20 sheets. And so far, it is the most inexpensive solution for a hard cover book.
During my search for ready-made hard back covers, i.e. so that I could have a wider spine, I came across a product line called FastBack. They sell all the pieces for the hardcover and the binding process, I'll look into it more tomorrow.
* * *
Fastback at least in terms of what's available now - is a dead end. They can only bind along the long edge, i.e. the book must be in portrait format.
6/14/2006
6/13/2006
COMMUTED SENTENCE
The first book I'm working on:
Bus Stop, 23rd Street
Going to Work
The Briefcase
The street preacher was - and as of this writing - is a constant feature on Park Avenue. He appears during rush hour - morning or night - and he scrawls wild tirades into the Park Avenue air: dire hellfire spit from his mouth because we haven’t repented. Or if we have repented, it hasn't been done properly.
Instead of a charsmatic welcome, the street preacher scared the tourists - and bored the regulars.
The morning is filled with good-byes. Yes, I’m off again to the mill. I’ll see you later for dinner. Won’t I? Okay honey. Take care.
The evening is filled with hellos.
Why
COMMUTED SENTENCE
Pictures Taken on The Way to and From Work
Introduction
Downtown to 23rd and Sixth. Uptown to 83rd and second. The trek lasted for seven long years. It’s a good 4 mile walk in New York, mostly because of those damned wide avenues. Sometimes I walked it. Sometimes it was the number 6 train.
That Lexington line is narrower than the IND line or the West side line. There are always delays. And if you are unlucky enough to constantly travel on it - and if you have a fear of crowds - you should avoid the number six.
I always had the camera hanging around my neck. One day my chest began to throb after a long walk. But it wasn’t a coronary - it was from the camera banging against my chest for a few miles. The camera has tried to implant itself in my chest - or if you want to get super-poetic - in my heart.
I almost always found something to shoot. Many of these images haven’t been put on my web site because I found that nobody really wanted to be reminded of this daily grind with pictures on the walls. But they may be tolerable in a small book.
The downtown morning walk was almost always the most fruitful because my nerves hadn’t been deadened yet by my time behind the desk. For the first few years I sat in a cubicle - later a dusty dark office. It was a cubicle world. The maze. Sometimes I would sit at my desk and dream about an overhead shot of the maze, even going so far as to imagine the speckled ceiling tiles disappearing.
Pictures Taken on The Way to and From Work
Introduction
Downtown to 23rd and Sixth. Uptown to 83rd and second. The trek lasted for seven long years. It’s a good 4 mile walk in New York, mostly because of those damned wide avenues. Sometimes I walked it. Sometimes it was the number 6 train.
That Lexington line is narrower than the IND line or the West side line. There are always delays. And if you are unlucky enough to constantly travel on it - and if you have a fear of crowds - you should avoid the number six.
I always had the camera hanging around my neck. One day my chest began to throb after a long walk. But it wasn’t a coronary - it was from the camera banging against my chest for a few miles. The camera has tried to implant itself in my chest - or if you want to get super-poetic - in my heart.
I almost always found something to shoot. Many of these images haven’t been put on my web site because I found that nobody really wanted to be reminded of this daily grind with pictures on the walls. But they may be tolerable in a small book.
The downtown morning walk was almost always the most fruitful because my nerves hadn’t been deadened yet by my time behind the desk. For the first few years I sat in a cubicle - later a dusty dark office. It was a cubicle world. The maze. Sometimes I would sit at my desk and dream about an overhead shot of the maze, even going so far as to imagine the speckled ceiling tiles disappearing.
Bus Stop, 23rd Street
Going to Work
The Briefcase
The street preacher was - and as of this writing - is a constant feature on Park Avenue. He appears during rush hour - morning or night - and he scrawls wild tirades into the Park Avenue air: dire hellfire spit from his mouth because we haven’t repented. Or if we have repented, it hasn't been done properly.
Instead of a charsmatic welcome, the street preacher scared the tourists - and bored the regulars.
The morning is filled with good-byes. Yes, I’m off again to the mill. I’ll see you later for dinner. Won’t I? Okay honey. Take care.
The evening is filled with hellos.
Why
6/12/2006
more bookmaking stuff
I got a chance to go back to the book binding today.
I got a chance to go on a spree in Staples and buy different photo papers, and different papers for text. Now that's something I never thought about before. What paper is best for text?
My idea for the books is that they can be composed of different paper - one paper for the text (both sides), and one for the photos (single side). This is actually how a lot of early books were done: a different paper stock was used for the "plates" and another for the text.
It's inkjet friendly in the sense that you really don't want to print lots and lots of photos on double-sided paper. I know the paper can take it - but for me - every time I put the paper through the printer there's a chance that something will get screwed up on the down side. Some cat hair. Some splat of ink. Ink on the rollers. And of course, there is the money angle: double-sided photo paper is actually more expensive than two single-sided sheets. Plus, if you do go to single-sided for photos, you can choose your favorite paper.
I picked up:
- A linen paper that I like - 25% cotton - but heavy enough so that you don't have to worry about print showing through the other side. And about 8 cents per sheet. 8 CENTS PER SHEET.
- Some 100% cotton paper, which has a nice feel to it - but it's a little more expensive - 14 CENTS per sheet.
And various sorts of photo paper. I wanted to see which turned easily in the book, and wouldn't crack - and also of course the print looked good.
In the middle of all this book binding I upraded the 4800 printer firmware - so now it doesn't complain about "Invalid Media" if you try to print glossy prints from the print tray.
Then there was phumphering my way though InDesign. I'm sure there are quicker ways to do some of what I've been doing - but I've covered the basics:
Flowing text, Picture Frames, Styles, Bleeds (I'm not doing any of them in the first book), ligatures and a few other things.
The last thing I need to do is design the cover. But before that it would be useful to decide what the first book will be.
I got a chance to go on a spree in Staples and buy different photo papers, and different papers for text. Now that's something I never thought about before. What paper is best for text?
My idea for the books is that they can be composed of different paper - one paper for the text (both sides), and one for the photos (single side). This is actually how a lot of early books were done: a different paper stock was used for the "plates" and another for the text.
It's inkjet friendly in the sense that you really don't want to print lots and lots of photos on double-sided paper. I know the paper can take it - but for me - every time I put the paper through the printer there's a chance that something will get screwed up on the down side. Some cat hair. Some splat of ink. Ink on the rollers. And of course, there is the money angle: double-sided photo paper is actually more expensive than two single-sided sheets. Plus, if you do go to single-sided for photos, you can choose your favorite paper.
I picked up:
- A linen paper that I like - 25% cotton - but heavy enough so that you don't have to worry about print showing through the other side. And about 8 cents per sheet. 8 CENTS PER SHEET.
- Some 100% cotton paper, which has a nice feel to it - but it's a little more expensive - 14 CENTS per sheet.
And various sorts of photo paper. I wanted to see which turned easily in the book, and wouldn't crack - and also of course the print looked good.
In the middle of all this book binding I upraded the 4800 printer firmware - so now it doesn't complain about "Invalid Media" if you try to print glossy prints from the print tray.
Then there was phumphering my way though InDesign. I'm sure there are quicker ways to do some of what I've been doing - but I've covered the basics:
Flowing text, Picture Frames, Styles, Bleeds (I'm not doing any of them in the first book), ligatures and a few other things.
The last thing I need to do is design the cover. But before that it would be useful to decide what the first book will be.
6/11/2006
misc
Hi Dave,
I just wanted to let you know that I have now received the print. It is absolutely beautiful (Promenade 5 x 7) and I am completely happy with it. I had actually been wanting to order a copy of that print for about 3 years, so it’s fantastic to finally be able to get one to put on my shelf. Thanks so much.
H. (England)
* * *I finally put the Gigabooks binder together. Looks good. There are a couple of odds and ends I need (the right paper, a guide for my rollatrim) before I put the first book together. Should be in the next few days. The first book will probably be 8 1/2 by 9 inches wide.
6/10/2006
777
I was up early to finish matting 30 prints to go up in a New York restaurant. I'll write more about it after the installation.
So it was a beautiful day, and there was a lot of work behind me (I had been up since 5 a.m.) and I got a chance to just put the M3 around my neck with the fifty and out I go. If you haven't shot for a while - the city seems alive with possibilities. You know the feeling. I had lost a couple of good shooting days - it was the torrential rain season here - working on two projects in the house.
But as I say - it was a crisp spring day. On the corner was the homeless woman with her dog and possessions in a shopping cart. But the cart was decked out with colorful objects. Her dog "shorty" was asleep. I leave them to their own world without any desire to interfere.
And two avenues over - ah - my favorite subject: a cat is sitting in the middle of the sidewalk in profile. It has just stepped out from a deli and people walk around it.
I bend down - it's always a careful thing with cats - how close to get so it doesn't scoot off - but the cat senses I'm a friend and ignores me. I can put it nicely in the bottom third. Now - what to fill the rest of the frame with? Will someone interesting walk by?
Will the cat even turn to look at me? And so I sit on my haunches, as does the cat, waiting. Okay, I take a shot or two first just in case (hammering the nail). And from behind an older woman walks by - stops and turns. She seems to be annoyed. Snap. Certainly she'll be out of focus. Fine. But what is she annoyed about? She takes a few more steps into frame. Snap.
I can almost hear her say, tut tut. But tut tut about what? Is it now illegal to photograph cats? Is she upset that the cat is in the middle of the sidewalk blocking pedestrians? Is she worried that the cat will run into traffic?
I know not. After a few minutes she walks off. The cat turns - as cats do - and moves lazily back into the store. I continue on my way - as I usually do - but her expression leaves me puzzled. And that's the mystery of even the simplest, most reverential shot on the street.
So it was a beautiful day, and there was a lot of work behind me (I had been up since 5 a.m.) and I got a chance to just put the M3 around my neck with the fifty and out I go. If you haven't shot for a while - the city seems alive with possibilities. You know the feeling. I had lost a couple of good shooting days - it was the torrential rain season here - working on two projects in the house.
But as I say - it was a crisp spring day. On the corner was the homeless woman with her dog and possessions in a shopping cart. But the cart was decked out with colorful objects. Her dog "shorty" was asleep. I leave them to their own world without any desire to interfere.
And two avenues over - ah - my favorite subject: a cat is sitting in the middle of the sidewalk in profile. It has just stepped out from a deli and people walk around it.
I bend down - it's always a careful thing with cats - how close to get so it doesn't scoot off - but the cat senses I'm a friend and ignores me. I can put it nicely in the bottom third. Now - what to fill the rest of the frame with? Will someone interesting walk by?
Will the cat even turn to look at me? And so I sit on my haunches, as does the cat, waiting. Okay, I take a shot or two first just in case (hammering the nail). And from behind an older woman walks by - stops and turns. She seems to be annoyed. Snap. Certainly she'll be out of focus. Fine. But what is she annoyed about? She takes a few more steps into frame. Snap.
I can almost hear her say, tut tut. But tut tut about what? Is it now illegal to photograph cats? Is she upset that the cat is in the middle of the sidewalk blocking pedestrians? Is she worried that the cat will run into traffic?
I know not. After a few minutes she walks off. The cat turns - as cats do - and moves lazily back into the store. I continue on my way - as I usually do - but her expression leaves me puzzled. And that's the mystery of even the simplest, most reverential shot on the street.
w-7a
I was out early today and picked up the m3 for the first time in a long time; and it was fun. I found clothing store named named "Lester's" and took shots of it for a) the 11th man and b) lester.
I was going to write a song about Kaz being traded from the Mets to the tune of Goodbye Norma Jean, i.e. Goodbye Matsui - but as far as I got was:
Goodbye Matsui,
Though we never
Liked you at all
You had improved your game,
You even caught a ball.
But I couldn't remember if his name was spelled with an "s" or a "z" and that was as far as I got - fortunately for you.
I was going to write a song about Kaz being traded from the Mets to the tune of Goodbye Norma Jean, i.e. Goodbye Matsui - but as far as I got was:
Goodbye Matsui,
Though we never
Liked you at all
You had improved your game,
You even caught a ball.
But I couldn't remember if his name was spelled with an "s" or a "z" and that was as far as I got - fortunately for you.
6/09/2006
what's new
The gigabooks binder arrived. I don't even have time to open the package. I have about 50 prints to mat. I'm not cutting mats myself anymore, unless they're square - but I still hinge them and attach the prints with see-through strips.
I actually got that notice the other day that the maintenance tank on the 4800 needed to be changed - so that was exciting (not). Pull the old one out and put the new one in.
When these commercials jobs are through - I'll go back to the bookbinding experiment and I guess put a plug for them in the blog.
My main problem - as always - is space. I just tossed about 100 test prints from the days of bronzing / spraying experiments with the 2200. Sort of a shame since they're not bad unless you hold them at the right angle under the light - but I'm tossing stuff left and right to make room for more mats and to setup the bookbinding space.
I actually got that notice the other day that the maintenance tank on the 4800 needed to be changed - so that was exciting (not). Pull the old one out and put the new one in.
When these commercials jobs are through - I'll go back to the bookbinding experiment and I guess put a plug for them in the blog.
My main problem - as always - is space. I just tossed about 100 test prints from the days of bronzing / spraying experiments with the 2200. Sort of a shame since they're not bad unless you hold them at the right angle under the light - but I'm tossing stuff left and right to make room for more mats and to setup the bookbinding space.
6/08/2006
6/07/2006
Washing Grand Central
I've been going through some of my architectural stuff for a commercial job. This is still one of my favorites: HP5 - ah what a film.
More Books
I ordered a couple of books by P.J. Wodehouse but when I crawled into bed to read one - all I could do was look at the binding and how the book was put together. Both were hard copy books, published in Woodstock New York, and printed in Germany. I removed the dust jacket and felt the cloth cover. I was transported by the feel to a collection of books by Dickens that we had as kids. I don't know how my father managed it but there were always the complete works of someone in our Bronx bookshelves: Dickens, Twain, the Tarzan series, Dostoyevsky.
I suspect that my penchant for reading all the books of a favorite author began back then. With Twain, for example, we didn't just read the famous ones, but there was a book of letters, and an essay about how to prepare for a speech (something he knew a lot about). I can still remember him describing how a speech should seem to be spontaneous but was always to be carefully rehearsed.
I'm certain that my father got these sets when neighbors moved away, or from the garbage bin. But once in the house, they were there for years - waiting to be discovered - one by one.
Books that my father had gone through were impossible to read because he circled every word that he didn't know, or that was new to him. Questions written all the margins. For years, he kept a box with index cards where he would write down one new word, and one new definition per day.
We were steeped in literature and classical music. We fell asleep listening to a record about the life (I think it was tragic) of Lizst. My sisters and I still laugh about the dramtic - dum-dum-dum crescendo at the end of the Lizst record when the narrator proclaimed: And Liszt died!
Dum-dum-dum
And the music swelled. And off we went to sleep dreaming about the lives of the musicians in far-away places like Vienna. I'm certain that all the great composers died in Vienna.
Mark Twain - as I remember it - died when the comet came back. He was in bed and asked his daughter - who he was not on good terms with - to bring him his two cats. She carries them to his bed and then he kicks off.
These are memories - probably mixed up memories - from these records we listened to at night.
One day - when the so-called rich people (we always thought everyone around us was rich) - moved from the third floor - we got a complete set of Shakespeare. Now that was a treat. My father would read to us from either King Lear or The Tempest. The Tempest was my favorite because of the magic stuff that went on. The bad guys were also the best characters.
Anyway - I hope this bookbinding bug gets out of my head soon so I can enjoy the books the way I used to.
I suspect that my penchant for reading all the books of a favorite author began back then. With Twain, for example, we didn't just read the famous ones, but there was a book of letters, and an essay about how to prepare for a speech (something he knew a lot about). I can still remember him describing how a speech should seem to be spontaneous but was always to be carefully rehearsed.
I'm certain that my father got these sets when neighbors moved away, or from the garbage bin. But once in the house, they were there for years - waiting to be discovered - one by one.
Books that my father had gone through were impossible to read because he circled every word that he didn't know, or that was new to him. Questions written all the margins. For years, he kept a box with index cards where he would write down one new word, and one new definition per day.
We were steeped in literature and classical music. We fell asleep listening to a record about the life (I think it was tragic) of Lizst. My sisters and I still laugh about the dramtic - dum-dum-dum crescendo at the end of the Lizst record when the narrator proclaimed: And Liszt died!
Dum-dum-dum
And the music swelled. And off we went to sleep dreaming about the lives of the musicians in far-away places like Vienna. I'm certain that all the great composers died in Vienna.
Mark Twain - as I remember it - died when the comet came back. He was in bed and asked his daughter - who he was not on good terms with - to bring him his two cats. She carries them to his bed and then he kicks off.
These are memories - probably mixed up memories - from these records we listened to at night.
One day - when the so-called rich people (we always thought everyone around us was rich) - moved from the third floor - we got a complete set of Shakespeare. Now that was a treat. My father would read to us from either King Lear or The Tempest. The Tempest was my favorite because of the magic stuff that went on. The bad guys were also the best characters.
Anyway - I hope this bookbinding bug gets out of my head soon so I can enjoy the books the way I used to.
6/05/2006
PRINT SHOP
My little print shop has been rockin' today.
1) Two commercial orders
2) Figured out paper for the text part of the book (linen rag, inexpensive and nice feel) and goes through inkjet fine. In other words: stationary.
3) Wrote a summary of what I've come up with so far in the book binding business but it's not ready to post yet.
4) Received digital photo book kit from BreezKit. This is by far the nicest and most flexible system I've looked at. You can use your own paper. Essentially, for $19 they are supplying the cover (black linen), adhesive, and other bits and pieces. Once you've got this, if you just want the covers... well you can make your own. I haven't assembled the book because...
5) Had two print orders to get out and another 50 or so prints to do and
6) For the first time I had a major clog with the epson 4800. And after a fair number of automated cleanings, I moved the print head to the center of the machine and cleaned off the ink pads with warm water. The heads are clean now but there's a touch of diluted ink around the edges of the print so I have to wait for it all to dry up a little. Waited, and the beast is happy now.
My apartment looks like a bomb hit it. I must have ten different types of paper floating around the place. Funny thing - I actually would use the Epson Luster for some parts of the book, but they had to print "Epson Professional" whatever on the back which kills it.
My plan (once all the commercial printing is finished) is to do a simple photo book with the Canon double-sided paper (using InDesign) and assemble it with the BreezeKit system. That will really give me an idea of how pages turn, smudge or don't smudge or any other hidden surprises.
1) Two commercial orders
2) Figured out paper for the text part of the book (linen rag, inexpensive and nice feel) and goes through inkjet fine. In other words: stationary.
3) Wrote a summary of what I've come up with so far in the book binding business but it's not ready to post yet.
4) Received digital photo book kit from BreezKit. This is by far the nicest and most flexible system I've looked at. You can use your own paper. Essentially, for $19 they are supplying the cover (black linen), adhesive, and other bits and pieces. Once you've got this, if you just want the covers... well you can make your own. I haven't assembled the book because...
5) Had two print orders to get out and another 50 or so prints to do and
6) For the first time I had a major clog with the epson 4800. And after a fair number of automated cleanings, I moved the print head to the center of the machine and cleaned off the ink pads with warm water. The heads are clean now but there's a touch of diluted ink around the edges of the print so I have to wait for it all to dry up a little. Waited, and the beast is happy now.
My apartment looks like a bomb hit it. I must have ten different types of paper floating around the place. Funny thing - I actually would use the Epson Luster for some parts of the book, but they had to print "Epson Professional" whatever on the back which kills it.
My plan (once all the commercial printing is finished) is to do a simple photo book with the Canon double-sided paper (using InDesign) and assemble it with the BreezeKit system. That will really give me an idea of how pages turn, smudge or don't smudge or any other hidden surprises.
6/04/2006
Binding Continued
I just ordered the Gigabooks binder from Gigabooks. There just were so many options to consider but this seems to give me the most flexibility at a reasonable price. I'm not going to do any more as far as layout etc. until I've got the machine.
* * *
Besides deciding on fonts etc. I have one other thing to find that is new for me: paper for printing the text part of the book, i.e. the book I'm contemplating will contain prints (that's now the easy part) and stories. So I need an inkjet ready paper that is double-sided and that feels and turns like book paper. Not enhanced matte. I'm guessing it would need to be a thinish cotton paper - but I honestly don't know. I think another trip to Staples is in order.
In other words - the book is going to have a narrative flow (words!) with what I'm calling "plates" with the photographs that illustrate the story. The model for all this is the old Sherlock Holmes stories - as seen in the Strand Magazine with illustrations. To further complicate this whole endeavor - the usual letter size paper is not appropriate and I really don't want to have to cut paper in bulk. So I'm leaning towards 8 x 10 sized paper. The "text" paper should have some grain - some tooth to it.
Anyway - I think that's the last part of this puzzle to figure out. I may be biting off more than I can chew. Though actually - the InnovaArt smooth cotton isn't bad - but it's costly. What the hell - if nothing else, I learned a new term: Imposition Software.
* * *
Besides deciding on fonts etc. I have one other thing to find that is new for me: paper for printing the text part of the book, i.e. the book I'm contemplating will contain prints (that's now the easy part) and stories. So I need an inkjet ready paper that is double-sided and that feels and turns like book paper. Not enhanced matte. I'm guessing it would need to be a thinish cotton paper - but I honestly don't know. I think another trip to Staples is in order.
In other words - the book is going to have a narrative flow (words!) with what I'm calling "plates" with the photographs that illustrate the story. The model for all this is the old Sherlock Holmes stories - as seen in the Strand Magazine with illustrations. To further complicate this whole endeavor - the usual letter size paper is not appropriate and I really don't want to have to cut paper in bulk. So I'm leaning towards 8 x 10 sized paper. The "text" paper should have some grain - some tooth to it.
Anyway - I think that's the last part of this puzzle to figure out. I may be biting off more than I can chew. Though actually - the InnovaArt smooth cotton isn't bad - but it's costly. What the hell - if nothing else, I learned a new term: Imposition Software.
6/03/2006
More About Paper and Binding
I did make some progress today. First thing was I found out that InDesign won't automatically print your book in folios / or signatures - and if you don't know what that is - forget it.
There are programs and plug-ins that you can buy for that purpose but they are either expensive or there was something about them I didn't like.
I also decided that I wasn't going to use matte paper. That was out. And it wasn't a good idea to be bending semi-gloss photo paper. So I am convinced that single sheet photo paper is the way to approach this.
I tested Canon dual-sided semi-gloss and that's just fine, though still on the expensive side. It's about a dollar per sheet at Atlex for letter size. So if your book is going to have say 20 pages - that's $20 for paper, though you could mix it with single sided etc. But as I say - prints look great, and it's just the right thickness so the pages will turn easily and you can't see the back image coming through. I did some smudge tests with it and it also seems fine. There may be another double-sided semi-gloss paper out there to test. If you want to keep it simple, you can just buy linen hinges with adhesive for each page - and put it into a post book.
But what looks most promising right now is a small binding press for perfect-binding. This means that the books will not lie flat when open - but will be more like the Aperature book, though frankly - the inkjet prints will be of a better quality.
I don't think I'm going to do the post-bound book thing because they look too much like photo albums. I want this to look like a real book. Ever so slowly - and with a couple of Tylenols - I'm getting close.
There are programs and plug-ins that you can buy for that purpose but they are either expensive or there was something about them I didn't like.
I also decided that I wasn't going to use matte paper. That was out. And it wasn't a good idea to be bending semi-gloss photo paper. So I am convinced that single sheet photo paper is the way to approach this.
I tested Canon dual-sided semi-gloss and that's just fine, though still on the expensive side. It's about a dollar per sheet at Atlex for letter size. So if your book is going to have say 20 pages - that's $20 for paper, though you could mix it with single sided etc. But as I say - prints look great, and it's just the right thickness so the pages will turn easily and you can't see the back image coming through. I did some smudge tests with it and it also seems fine. There may be another double-sided semi-gloss paper out there to test. If you want to keep it simple, you can just buy linen hinges with adhesive for each page - and put it into a post book.
But what looks most promising right now is a small binding press for perfect-binding. This means that the books will not lie flat when open - but will be more like the Aperature book, though frankly - the inkjet prints will be of a better quality.
I don't think I'm going to do the post-bound book thing because they look too much like photo albums. I want this to look like a real book. Ever so slowly - and with a couple of Tylenols - I'm getting close.
6/02/2006
Making Your Own Book
This is the fun part where you try a new paper and get to beat your head against the wall. First off, I've never been crazy about matte paper. You know that. Now how nice it was with my Silver Rag or Luster etc. where I could just go into Monochrome Advanced Mode, a couple of tests, and I was in business. So I can't go into Monochrome mode with Matte Paper and Photo Black Ink. So right away I'm into trying to either fool the printer; or a new setup with a profile. This is where you begin to eat up money on tests.
I think the problem is that you need to use matte black ink to get d-max with this paper; and actually the profiles I see are for MK ink. So - am I going to switch to MK ink on the 4800 for a book. No.
However - all is not lost. I'm going to setup the 2200 with MK and use a profile for that and see if it's doable. Ugh.
I suspect that today will be a day to go backwards.
11:05 A.M.
I switched to matte black ink on the 2200, downloaded a profile from Booksmart for this paper, did the setup for using the profile and turning off color management in the driver etc. The results are okay. But there is the usual color shift you get with the 2200 as you move the print from incandescent to daylight.
I can get rid of the shift by hooking up my ImagePrint software - but I'm just not crazy about the smooth matte look. Never have been. The overall look is similar to what you'd get with Enhanced Matte etc. Nothing spectacular. Not compared to what I'm used to with Silver Rag or even with Luster on the 4800.
Honestly - at this point - I want to use the paper stock that I like. I think I'm going to look for some other method of assembly. I will sacrifice having double-sided printing if I can get the paper I like, and if the book can lie somewhat flat when opened. I want to do some smudge tests with the Silver Rag. BTW - nobody even has Silver Rag right now and there is no ETA. And I'm down to my last roll.
12:00 p.m.
I'm going to wait for the BreezeKit that I ordered which lets you use your own papers and supplies the cover and adhesive and clips - before I waste any more money.
3:45 p.m.
I'm going to say one other crazy thing. For under $800 you can simply buy two machines that will do a "perfect binding" with glue for a hard cover book. The binder and a crimper. Don't think I'm nuts but this is a real possibility right now but I'm going to have to look into it more carefully. These produce "real" hardcover / softcover books.
5:20
Here's one more link about making your own perfect bound book featuring the gigabooks press (scroll to bottom). I mean, basically, you're talking about $300 startup for making your own perfect-bound books. Of course I doubt if you're going to produce hundreds this way - but if you get to that point - you're ready to have them bound by someone else.
6:33
And there are dual side semi-gloss inkjet papers out there. One from Moab looks promising.
I think the problem is that you need to use matte black ink to get d-max with this paper; and actually the profiles I see are for MK ink. So - am I going to switch to MK ink on the 4800 for a book. No.
However - all is not lost. I'm going to setup the 2200 with MK and use a profile for that and see if it's doable. Ugh.
I suspect that today will be a day to go backwards.
11:05 A.M.
I switched to matte black ink on the 2200, downloaded a profile from Booksmart for this paper, did the setup for using the profile and turning off color management in the driver etc. The results are okay. But there is the usual color shift you get with the 2200 as you move the print from incandescent to daylight.
I can get rid of the shift by hooking up my ImagePrint software - but I'm just not crazy about the smooth matte look. Never have been. The overall look is similar to what you'd get with Enhanced Matte etc. Nothing spectacular. Not compared to what I'm used to with Silver Rag or even with Luster on the 4800.
Honestly - at this point - I want to use the paper stock that I like. I think I'm going to look for some other method of assembly. I will sacrifice having double-sided printing if I can get the paper I like, and if the book can lie somewhat flat when opened. I want to do some smudge tests with the Silver Rag. BTW - nobody even has Silver Rag right now and there is no ETA. And I'm down to my last roll.
12:00 p.m.
I'm going to wait for the BreezeKit that I ordered which lets you use your own papers and supplies the cover and adhesive and clips - before I waste any more money.
3:45 p.m.
I'm going to say one other crazy thing. For under $800 you can simply buy two machines that will do a "perfect binding" with glue for a hard cover book. The binder and a crimper. Don't think I'm nuts but this is a real possibility right now but I'm going to have to look into it more carefully. These produce "real" hardcover / softcover books.
5:20
Here's one more link about making your own perfect bound book featuring the gigabooks press (scroll to bottom). I mean, basically, you're talking about $300 startup for making your own perfect-bound books. Of course I doubt if you're going to produce hundreds this way - but if you get to that point - you're ready to have them bound by someone else.
6:33
And there are dual side semi-gloss inkjet papers out there. One from Moab looks promising.
6/01/2006
Innova Albums
Opus Innova Albums (SMOOTH COTTON) arrived today. I'm going to begin printing on them through InDesign tomorrow after I've got things setup, profiles, margins et. al. Obviously what I'm curious about is a) how the prints look on paper using their profile and b) what's the smudge factor like.
I've also received good advise from J. and from H. about making your own books / covers. More later.
I've also received good advise from J. and from H. about making your own books / covers. More later.
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