In the August/September issue, you won’t want to miss the profile on documentary photographer Charles-Frédérick Ouellet. There are also interviews with animal-rights advocate/photographer Jo-Anne McArthur and music-industry photographer Vanessa Heins. Marius Masalar shares his reflections on how to take a thoughtful approach to photo equipment, and Jon Reaves talks about using grain in your images. Patrick La Roque dives into sharing work through e-books, and Dave Brosha tells the story of shooting a 12-hour wedding with a broken toe. We also talk about how a Midi controller can speed up your Lightroom workflow and much more!
Thank you to everyone who contributed: Laurence Butet-Roch,Vanessa Heins, Dave Brosha, Jo-Anne McArthur, Charles-Frédérick Ouellet, Patrick La Roque, Jean-François Landry, Jon Reaves, Marius Masalar, Jenny Montgomery, Emmanuelle Champagne, Valerie Racine and Guy Langevin for contributing to this issue.
And here are two passages about the benefits of publishing your images in book format, in case you’d like a little nudge in that direction…
“Don’t wait for someone to ask you to do a book! If you have an idea in mind, go ahead and self-publish! Make physical mock-ups because you need to get those images out of the computer. You have to manipulate them to make a book. If you work only on-screen, you’ll miss some things. A mock-up doesn’t have to be fancy; it can be done with whatever you have on hand. In doing so, you’ll be forced to deal with several big aesthetic and conceptual aspects. … I often consider a book the end point of my projects. This forces me to draft of a sequence of chapters, which helps me order the images. However, to be completely honest, I have to find the right music. With time, the sounds and silences help me find the right order for my images.”
—Charles-Frédérick Ouellet, interviewed in Guy Langevin’s article “Resistance Dynamics: Charles-Frédérick Ouellet and a Changing World”
“For me, a book remains the ultimate vehicle to communicate a clear, concise vision. As an ‘object,’ it’s self-contained and finite; it immediately sets a frame of reference. It forces curation, which, in turn, involves a thought process—what to include, what to dismiss. It also allows us to take a step back and provides a necessary overview. More importantly, it requires us to make choices—final choices—because, ultimately, a book is static and will remain frozen in time. It’s this monolithic, unchanging quality that necessarily (and in spite of ourselves) yields a statement, for better or worse. Anything we might eventually regret is usually powerful.”
—Patrick La Roque in his article “Universal Opportunities: On E-Books, Reach and Legacy.”