This is the kind of in-depth book review I have been waiting for. Things like sequencing, pairing, and other editing choices are often most discussed (rightly so as well because they are what generally makes or breaks a book), but having all the technical knowledge explained by someone who is a book publisher helps lift the veil for those of us who are very distant from that world and understand it. I can't thank you enough for doing what you are doing!
I really appreciate this. I previously didn’t have the understanding or words to explain why I did or didn’t vibe with a photo book. I see how important sequencing your photos can be.
It's rare to see a review as thorough a this, it really brings to light some of the complexities of producing a photo book. Thanks for the insightful analysis, I look forward to seeing more videos like this.
Fantastic review Noah. It's given me a different perspective on how photobooks should be organized and how different choices can impact the viewer in interesting ways. I can see this UA-cam channel quickly becoming my new favorite. See you in the next one.
This was excellent. The details on printing methods, layout choices, materials, and how this book fits in with Hido's other work add so much to this review. I own a copy of this book, and feel that dimensionally it's too big. Looking forward to more these videos!
So happy to hear you liked it Kerry! I’m glad that taking the time to cover all of those aspects added something for you too. I agree the size definitely makes it much more cumbersome to handle. It’s pretty much impossible to look through standing up, it almost demands that you put it on a table. There’s definitely something to be said for the convenience of small and medium size books being easier to look through and enjoy.
Really glad you enjoyed it Garon! I’m a big fan as well, I was super excited when they finally reissued House Hunting and I could get a copy without giving up a small fortune. I might have to review that one at some point too.
Excellent review! I really like the insights on the photo sequencing and pairing, as well as observations about the physical qualities of the book. Looking forward to more book reviews, thanks.
Thanks for this excellent review Noah. I really appreciated the insight you could provide as someone with great knowledge and experience who is in the photo book industry. As a photo book addict and someone who aspires to produce some photo books myself, I would love to see you review many more books. Would love to see you breakdown books by the likes of Alec Soth, Bryan Schutmaat, Rahim Fortune, Andre Wagner, Mark Hunt, Ed Templeton…too many to list😂
Thank you very much James! I really appreciate the recommendations. I definitely plan on doing more book reviews, and some of those artists are already on my list. I’ll check out some titles by the others you listed for potential reviews as well. I’d love to see what you’re working on for your own book projects too.
"Psychologically, however, this book (Roaming) of landscapes exhibits the same rumination of his previous books. It demonstrates a meditation - or preoccupation - over how people live. The photographer or viewer may have left the hazy suburban ‘home’ portrayed in House Hunting and Outskirts, but the sensation of it remains. Go as far as you can, but you never leave yourself. Rather than consecutive, the photographs in Roaming feel persistent; a reoccurring feeling that rattles between the internal and external world, behind the windshield, no matter the scenery outside. Hido keeps at least three water bottles with him in his car. One time, I watch him spray his windshield before taking a landscape photograph. ‘I’ve learned from sheer disappointment that sometimes I need to take pictures, but it isn’t raining outside,’ he says. Sometimes the artist sprays glycerin on the windshield, for a different kind of effect. It’s a technique he compares to changing paintbrushes. The size, direction and position of drops of water on the car window inform the photograph that results, and within these fictitious raindrops, Hido says he can ‘compose’ the real picture that he wants to see. Ultimately, each photograph is a composition. It is a way of giving shape to a mental state, as opposed to capturing an actual setting. Every one of Hido’s landscapes, free of the human figure, is littered with human presence. Hido’s landscapes show telephone poles and electric wires, the road, the window through which it’s seen; they show both means and barriers of communication. ‘I can’t take photographs of pure nature,’ says Hido. ‘The view I’m photographing doesn’t exist unless you can drive up to it.’ So these are not retreats into the outdoor or ‘natural’ world. Rather, they are attempted (and ultimately failed) escapes from an internal one. Text by Katya Tylevich" Published on toddhido dot com slash roaming
As the other comment mentioned, he started doing it frequently starting with his third book Roaming. Although there’s actually one image in his first book House Hunting through a wet windshield too. I’ve always thought of it as something he did to add an extra textural element or layer to an images when he wanted it (which even in Roaming isn’t all of the time). Todd’s photographs have always seemed more about creating a mood than functioning as straight forward documents, so I generally enjoy the aesthetic. Personally it reminds me of the feeling of driving around and experiencing the landscape in the rain. I wasn’t previously aware that he was bringing water bottles and glycerin with him to create the effect when I wasn’t raining or snowing though.
Really enjoyed your presentation: thank you. While I don't agree with all your comments I did enjoy hearing them. More please! I'm a big fan of Hido, and find many of the book's images quite beautiful. I haven't seen the book in person, but watching your video I suspect he is trying to fit in a few too many ideas. I think that pairing images is super difficult; looking back and forth for connections easily distracts from focusing on the photographs, putting the viewer into a more analytic mindset that less receptive.
Very glad to hear you enjoyed it! I certainly wouldn’t expect that you would, my views are definitely coming through my own personal perspective as a curator, designer, and photographer, but are certainly not definitive. Happy to hear you want more though! Exactly! You put what it took me 20 minutes to say very concisely. I definitely agree he is trying to fit in too many ideas, although I don’t think that necessarily takes anything away from the beauty of the images themselves. It just makes the book less cohesive than it could been. I really appreciate the feedback. I agree that pairing images is a particularly difficult challenge. For the video I was attempting analyze and put into words why I don’t feel like certain pairs were working, or why others worked well. When it comes down to it though, I think the most important thing is about a pair is whether two images work together visually. This isn’t something that requires any analysis on the part of the viewer, they just look and feel good together. For the books that I publish, pairing is the part of the process I spend the most time on by far. But deciding which pairs work well together is very intuitive. When I see a pair that works well I immediately know it, because they work together visually. Additionally though, I do feel like the strongest pairs are ones where the two images work together to become more than the sum of their parts. To me, that typically only seems to happen when images are different enough to allow the viewer to draw some type of connection between them. Again though, I don’t think that connection needs to be explicit, or something that requires you to analyze it. It’s more likely to present itself as a feeling or mood that the images give off together, or maybe even a memory of your own past visual experiences. Or maybe nothing about that pair will particularly resonate with you. (How we process imagery is of course highly personal and subjective.) At least they can still fall back on looking good together.
That’s a good question Terrence. Having an image go full bleed definitely has a different feel than having border (of any size), but I agree these are probably smaller than I find comfortable. I assume they were going for an extremely taught feeling with such small margins. Full bleed wouldn’t have had the same level of tension, but it would have eliminated the production issues with uneven borders.
This is the kind of in-depth book review I have been waiting for. Things like sequencing, pairing, and other editing choices are often most discussed (rightly so as well because they are what generally makes or breaks a book), but having all the technical knowledge explained by someone who is a book publisher helps lift the veil for those of us who are very distant from that world and understand it. I can't thank you enough for doing what you are doing!
YES! Great video, Noah!
I really appreciate this. I previously didn’t have the understanding or words to explain why I did or didn’t vibe with a photo book. I see how important sequencing your photos can be.
Thank you Tim! That’s really great to hear that I was help give you a deeper understanding of why certain things resonate with you or not.
This was awesome! Really enjoyed your thoughts on the book.
Thank you very much Richard! Really glad to hear you enjoyed it!
It's rare to see a review as thorough a this, it really brings to light some of the complexities of producing a photo book. Thanks for the insightful analysis, I look forward to seeing more videos like this.
Thank you Dillon, I’m really happy to hear you found it insightful!
Awesome review, thank you! A lot of fun to watch and listen
Thanks Majki, happy to hear you liked it!
Ahh, this is an excellent review! As a huge lover and collector of photobooks, I hope there are many more reviews on the way! Subscribed 😁🤟🏼
Thank you so much Alex! There definitely will be! I already have another one out on the new Alec Soth book.
Fantastic review Noah. It's given me a different perspective on how photobooks should be organized and how different choices can impact the viewer in interesting ways. I can see this UA-cam channel quickly becoming my new favorite. See you in the next one.
Thank you so much Blake, that’s really amazing to hear! I feel like your take away was exactly what I was hoping for!
I could watch book reviews, this in depth, all day. I’ve always enjoyed your IG. very happy I now have this content to enjoy as well.
Thank you Dylan! I’m really glad to be able to provide content that you enjoy so much. I definitely plan on making more reviews along the same lines.
This was excellent. The details on printing methods, layout choices, materials, and how this book fits in with Hido's other work add so much to this review. I own a copy of this book, and feel that dimensionally it's too big. Looking forward to more these videos!
So happy to hear you liked it Kerry! I’m glad that taking the time to cover all of those aspects added something for you too. I agree the size definitely makes it much more cumbersome to handle. It’s pretty much impossible to look through standing up, it almost demands that you put it on a table. There’s definitely something to be said for the convenience of small and medium size books being easier to look through and enjoy.
Excellent review. I'm a huge fan of Todd Hido.
Really glad you enjoyed it Garon! I’m a big fan as well, I was super excited when they finally reissued House Hunting and I could get a copy without giving up a small fortune. I might have to review that one at some point too.
Love book reviews like this. I’ve got this book but great to find additional details and insight that I didn’t know
Really glad I could help you enjoy the book even more Steve!
Excellent review! I really like the insights on the photo sequencing and pairing, as well as observations about the physical qualities of the book. Looking forward to more book reviews, thanks.
Thank you very much for the feedback Bob! I really glad to hear you enjoyed it and are looking forward to more!
It would be great to hear your thoughts ont the new Gregory Halpern book?
Thank you David! I just ordered it the other day! It’s on the docket for a review.
@@NoahWaldeck Sounds great!
Great Review and first full video.
Thank you very much James, really happy you enjoyed it!
Great visual ananlysis and insights
@@gaatzaat Thank you Iain, I’m happy to hear you enjoyed it!
Thanks for this excellent review Noah. I really appreciated the insight you could provide as someone with great knowledge and experience who is in the photo book industry. As a photo book addict and someone who aspires to produce some photo books myself, I would love to see you review many more books. Would love to see you breakdown books by the likes of Alec Soth, Bryan Schutmaat, Rahim Fortune, Andre Wagner, Mark Hunt, Ed Templeton…too many to list😂
Thank you very much James! I really appreciate the recommendations. I definitely plan on doing more book reviews, and some of those artists are already on my list. I’ll check out some titles by the others you listed for potential reviews as well. I’d love to see what you’re working on for your own book projects too.
Thanks Noah. I have sent you a message on Insta. Cheers, James
Hey James, I don’t think I ever received your Instagram message, you can email me at noah@subjectivelyobjective.com too.
would love to see you review In Between Worlds, Harry Gruyaert
Thanks for the recommendation Alex, I’ll check it out!
Tell us something about map behind you, and pins
It’s a pin map of everywhere I’ve sold publications around the world. (I was wondering when someone was going to ask about that!)
@@NoahWaldeck do you have any pin on Poland map?
why do you think Todd shoots thru the windsheild? I dont really get it. Does that bring somethinug extra to the photograph?
"Psychologically, however, this book (Roaming) of landscapes exhibits the same rumination of his previous books. It demonstrates a meditation - or preoccupation - over how people live. The photographer or viewer may have left the hazy suburban ‘home’ portrayed in House Hunting and Outskirts, but the sensation of it remains. Go as far as you can, but you never leave yourself. Rather than consecutive, the photographs in Roaming feel persistent; a reoccurring feeling that rattles between the internal and external world, behind the windshield, no matter the scenery outside.
Hido keeps at least three water bottles with him in his car. One time, I watch him spray his windshield before taking a landscape photograph. ‘I’ve learned from sheer disappointment that sometimes I need to take pictures, but it isn’t raining outside,’ he says.
Sometimes the artist sprays glycerin on the windshield, for a different kind of effect. It’s a technique he compares to changing paintbrushes. The size, direction and position of drops of water on the car window inform the photograph that results, and within these fictitious raindrops, Hido says he can ‘compose’ the real picture that he wants to see. Ultimately, each photograph is a composition. It is a way of giving shape to a mental state, as opposed to capturing an actual setting.
Every one of Hido’s landscapes, free of the human figure, is littered with human presence. Hido’s landscapes show telephone poles and electric wires, the road, the window through which it’s seen; they show both means and barriers of communication.
‘I can’t take photographs of pure nature,’ says Hido. ‘The view I’m photographing doesn’t exist unless you can drive up to it.’ So these are not retreats into the outdoor or ‘natural’ world. Rather, they are attempted (and ultimately failed) escapes from an internal one.
Text by Katya Tylevich"
Published on toddhido dot com slash roaming
As the other comment mentioned, he started doing it frequently starting with his third book Roaming. Although there’s actually one image in his first book House Hunting through a wet windshield too. I’ve always thought of it as something he did to add an extra textural element or layer to an images when he wanted it (which even in Roaming isn’t all of the time). Todd’s photographs have always seemed more about creating a mood than functioning as straight forward documents, so I generally enjoy the aesthetic. Personally it reminds me of the feeling of driving around and experiencing the landscape in the rain. I wasn’t previously aware that he was bringing water bottles and glycerin with him to create the effect when I wasn’t raining or snowing though.
Really enjoyed your presentation: thank you. While I don't agree with all your comments I did enjoy hearing them. More please!
I'm a big fan of Hido, and find many of the book's images quite beautiful. I haven't seen the book in person, but watching your video I suspect he is trying to fit in a few too many ideas.
I think that pairing images is super difficult; looking back and forth for connections easily distracts from focusing on the photographs, putting the viewer into a more analytic mindset that less receptive.
Very glad to hear you enjoyed it! I certainly wouldn’t expect that you would, my views are definitely coming through my own personal perspective as a curator, designer, and photographer, but are certainly not definitive. Happy to hear you want more though!
Exactly! You put what it took me 20 minutes to say very concisely. I definitely agree he is trying to fit in too many ideas, although I don’t think that necessarily takes anything away from the beauty of the images themselves. It just makes the book less cohesive than it could been.
I really appreciate the feedback. I agree that pairing images is a particularly difficult challenge. For the video I was attempting analyze and put into words why I don’t feel like certain pairs were working, or why others worked well. When it comes down to it though, I think the most important thing is about a pair is whether two images work together visually. This isn’t something that requires any analysis on the part of the viewer, they just look and feel good together. For the books that I publish, pairing is the part of the process I spend the most time on by far. But deciding which pairs work well together is very intuitive. When I see a pair that works well I immediately know it, because they work together visually.
Additionally though, I do feel like the strongest pairs are ones where the two images work together to become more than the sum of their parts. To me, that typically only seems to happen when images are different enough to allow the viewer to draw some type of connection between them. Again though, I don’t think that connection needs to be explicit, or something that requires you to analyze it. It’s more likely to present itself as a feeling or mood that the images give off together, or maybe even a memory of your own past visual experiences. Or maybe nothing about that pair will particularly resonate with you. (How we process imagery is of course highly personal and subjective.) At least they can still fall back on looking good together.
I really enjoyed your review, Noah. I learned a lot.
@@kathleenwaldeck3056Thank you very much!
Curious their choice of margins. Why not bleeds?
That’s a good question Terrence. Having an image go full bleed definitely has a different feel than having border (of any size), but I agree these are probably smaller than I find comfortable. I assume they were going for an extremely taught feeling with such small margins. Full bleed wouldn’t have had the same level of tension, but it would have eliminated the production issues with uneven borders.