4x5 Large Format
Create four books that can work both singularly and as a set. The four books then need translated into a larger synonymous form.
PHOTOESSAY & BOOK DESIGN
The project began with a daunting goal of how to use a large format 4x5 field camera, and iteratively turned into something so much grander. Simultaneously learning to tame the beast of a camera and being a raging-emotional 20-year-old, the body of work above was produced. It explores holes, both of the physical and metaphorical variants.
Using the photoessay on holes as a stepping stone, four books were produced documenting my learning experience. Each focusing on a differet aspect of shooting large format 4x5 photos:
- Upper left: 6’’ x 9’’; a photoessay documenting the process of producing a 4x5 negative and print
- upper right: 5.25’’ x 7’’; Collection and documentation of the medium’s tools
- Bottom left: 5.25’’ x 7’’; an interview and critical research about the medium
- Bottom right: Folded: 3.5’’ x 5.25’’, unfoled: 13.25’’ x 10.5’’; a fresh look at the learning experience, an interview with a peer about their collage of my large format notes (Amber Liu produced the content and I designed the book).
The book is 6’’ x 9’’.
A reshuffling of the previous four books into a single big book. All the books in this project function as singles, but also work well together design-wise through fluidity of typefaces and color palettes.
PHOTOESSAY & BOOK DESIGN
The first book is self referential by focusing heavily on pagination for a book that is about order. The book is bound by paper clips, so the pages remain loose and so the book format can be altered. The mylar insert acts as a key, displaying a certain order the pages need arranged in order to reveal the working order of production for my large format process.
Playing around with the order of the photoessay. Final order is represented in the first gif of this page.
The design of the second book is inspired by the rhetoric of film photography. The book is double printed. The first print silkscreened the “fake” (bitmaped), orange gradient onto the paper, which was then run through a laser printer to get the text and imagery atop.
The third book is designed to look like field notes and a more informal magazine. Between each content page, there are two acetate pages which hold corrections to the pages below. The handwritten introduction and notes give the book more structure and purpose.
The last book is designed to have multiple functionalities. If fully opened, the inside page containes the collage of my notes; and the exterior when folded into booklet form goes page-by-page through an interview with Amber Liu about their thought process in creating the collage.
I conducted a lot of field research, looking at existing books, exploring book store displays, tryingto find inspiration even from the research experience.
When working on the big book, I planned the general flow by creating a few book maps. They help visualize how all the old and new content will come together and effect the user journey of the final books.