Tag: Printed photographs

  • Books

    Books

    I find physical books comforting. Each one is a statement, somebody somewhere saying “I was here. I made this.” Books are human. By almost any measure they are less convenient, take up more room, and weigh more than digital versions. They require shelves. They collect dust and boring insects. It’s not difficult to take one or maybe two with me, but more than that becomes challenging. Because of my own personal relationship with books, I don’t write in them. If I find something I want to remember, I have to write it down on paper. So I need a pen and paper or a notebook whenever I read.

    Still life #240331.1. A black and white photograph of old books on a shelf.
    Still life #240331.1.

    I do not own a dedicated ebook reader. I can’t imagine ever owning one. Not being able to turn a page would drive me mad. I do read articles on a tablet. And I annotate those articles. I find it incredibly convenient and easy. I can take hundreds of articles with me anywhere I go — my tablet never seems to weigh any more no matter how many articles I transfer to it. Sure, I never need more than a couple articles, but since I can take them, why not?

    Still life #240331.2. A black and white photograph of old books on a shelf.
    Still life #240331.2.

    Books and ebooks make me think of cameras and photographs. I can take thousands of pictures on my digital camera. I can take copies of every one of those pictures with me on my phone. It never gets any heavier. But somehow not being able to flip through photographs leaves me unsatisfied. Pinching and scrolling might allow me to see details I wouldn’t see in a photograph, but I don’t know that my experience has improved. I don’t enjoy holding my phone for other people to squint at, and I don’t enjoy squinting at other people’s phones.

    Still life #240331.3. A black and white photograph of old books on a shelf.
    Still life #240331.3.

    I will not likely examine every photograph I print, just as I probably won’t read carefully and remember every book on my shelves. But I like having those books there on my shelves, organized according to my own idiosyncratic system, ready to pull down when I want. I like having boxes of photographs, organized according to my own idiosyncratic system, ready to sort through whenever I want. When somebody asks, I can pull down a book and point out something, or I can pull out a photograph and show that person something.

    Still life #240331.4. A black and white photograph of old books on a shelf.
    Still life #240331.4.

    I also enjoy the process of making photographs, just as I enjoy the process of making books. Everything I make could never progress beyond some digital artifact — I always use a digital camera, I could compose on a computer, I could assemble documents that combined text and images, I could make PDF or EPUB files. But that would be, for me, unfulfilling. Some days, I use a film camera, some days a digital. Some days I confine myself to a digital process. Some days I stick to analog. Most days, regardless of how I get there, I make books or partial books and fragments of books. I have boxes full of books and possible books. Rumor has it that making things with my hands is good for my brain, but that’s not why I do it. I do it because I find physical books comforting. I do it because it’s my way of saying “I am here. I made this.”

  • 52 / 4

    52 / 4

    I just sent the files of the latest issue of 52 to the local printer, Fireball Printing. This issue is a collection of photos of leaves, usually just a single leaf though a few pairs of leaves. They reflect quiet fall moments before a breeze or a car disturbs them.

    The printed photograph encourages a different, lingering engagement with the image, and allows for sequencing and order that digital photos discourage. There is no scrolling, no share-on-social-media button (no buttons at all, in fact), no likes. Just a series of photographs. Perfect for a cup of coffee, a pastry, and enjoy.

    If you would like me to send you a copy, let me know: darin@drhayton.com. You can also download pdf copies from 52.

  • 52 / 3 Available

    52 / 3 Available

    The latest issue of 52 arrived yesterday. They look great. I had them printed locally, at Fireball Printing in Philadelphia. They did an excellent job. The print quality is superb. The paper has a nice, rich, substantial feel, making it a pleasure to sit and look through while enjoying a cup of coffee.

    I’ve started distributing them. So let me know if you want a copy.

  • 52 / 3

    52 / 3

    I just received the proof for the next issue of 52. This issue collects together black and white photographs documenting some effects of the current pandemic — the vacant streets and empty businesses — as well as some photographs of the city at night.

    As with the previous issues, I enjoy the way the printed photograph encourages a different engagement with the image. There is no scrolling, no share-on-social-media button (no buttons at all, in fact), no likes. Just a series of photographs that would complement a morning coffee and croissant.

    I should receive the final version in the next few days. Let me know if you would like to receive a copy.

  • 52 / 2

    52 / 2

    Whenever I take a photo, it is somehow unfinished until it is a physical print. Some constellation of emotional and aesthetic preferences compels me to edit and print the image so that I can hold the photograph, and can feel its weight and the thickness of the paper. I like to look at the photograph in different light and in different places, sometimes holding one vertically against a wall to see if a framed version might look good there, sometimes rifling through a box of snapshots to recall a moment. Regardless of a photo’s quality or size, I simply and always prefer looking at physical photographs.

    A book or a magazine is a really interesting way to print images. I like seeing how photographs work together, how a book or magazine collects together different photographs into a series that reflects a particular issue or concern. Sometimes those issues reflect fleeting interests from a particular moment. At other times those issues capture an enduring question or problem that fascinates a photographer. Thumbing through magazines or books reveals something about the photographer and that person’s evolving interests.

    That’s why I so enjoy 52, my short, occasional journal. This latest issue reflects on, inter alia, the flâneur and my fascination with windmills. Pairs well with an afternoon coffee and a sweet.

    Let me know if you want me to send you a copy.