One of the the antipodes most prolific and outspoken photo book creators, passed away last month, Harvey Benge. In his own words, “I live and work between Auckland and Paris. My interest lies in the strange anthropology of cities, observing and making photographs of the unusual and overlooked in the human landscape where nothing is as it seems. I make photographic series which evolve into book works.”
Catherine Cattanach is a Wellington-based portrait photographer, wife, mother and coffee aficionado, who was named NZIPP Wellington Photographer of the Year 2018 and NZ Creative Photographer of the Year in 2016. Recently she ventured into the world of photo book creation with two stunning publications Eryngyium and Homage. In her interview she reveals the process and valuable lessons from her experience.
This post was inspired by a debate I participated in at the second Photobook NZ Festival in Wellington. We concluded that while Instagram is not the future of photography publishing it is an invaluable tool for photobook makers and self publishers to promote and sell their books. I argued that the photo book is the more superior format for encountering and experiencing photographs due it’s physicality and long term accessibility, and my hot tip was that the hashtag #photobookjousting will get your New Zealand and Australian photo book seen by those that count. Read on for arguments from both sides of the debate …
In an era dominated by social media and digital everything one might question whether it’s still necessary to print a photography portfolio and if so, what are the benefits. Photography consultant, Sally Brownbill and commercial photography studio, Image Workshop, advise on why printed folios have lasting power.